In the recently held National Film
Awards in New Delhi Mohanlal and Shah Rukh Khan, two towering figures of Indian
cinema, who embody the diversity and dynamism of the country’s film culture, won
coveted National Awards. While Shah Rukh Khan, popularly hailed as the “King of
Bollywood”, who rose to global prominence through Hindi cinema, won best actor
award for his role in Jawan, Mohanlal (popularly known as lalettan) the quintessential actor of
Malayalam cinema revered for his naturalistic performances, won the coveted
Dadasaheb Phalke Award for his life time Achievement in Indian Cinema. While, for Shahrukh Khan aged 59, it was the first National Award, for Mohanlal, aged
65, it was the highest award that Indian Cinema offers to any Indian Film
Personality. A closer look at the trajectory of their film
careers take us into contrasting yet complementary artistic traditions with
divergent narrative styles, and audience expectations. But a question remains, who
is more successful and loved amongst them?
Shah Rukh Khan’s journey from
theatre and television to mainstream Hindi films in the early 1990s coincided
with the liberalization of India’s economy. His early roles in TV in serial
Fauji immediately revved up interest in him and later films like Baazigar
(1993) and Darr (1993) broke the mould of the virtuous hero, presenting instead
a charismatic anti-hero. This boldness however quickly gave way to a romantic
persona that redefined the Bollywood hero archetype. Dilwale Dulhania Le
Jayenge (DDLJ) (1995) was one such landmark in Indian cinema that combined
diaspora concerns with traditional Indian values and cemented Khan’s image as
the universal lover. His career arc mirrors the aspirations of a middle class
that was becoming increasingly global yet rooted in cultural tradition. Khan’s
strengths lie in his magnetic screen presence and an ability to blend
flamboyance with vulnerability. However, it is often argued that he has
occasionally relied too heavily on formulaic romantic roles, leading to
stretches of creative stagnation before his recent resurgence with
action-driven spectacles like Pathaan and Jawan (2023).
Mohanlal, by contrast, built his
reputation on understatement and versatility. Beginning his film career in the
early 1980s, he emerged during Malayalam cinema’s golden era, when socially
relevant narratives and realist filmmaking were dominant factors determining success
or failure of a film. During that era Mohanlal could effortlessly shift from
the disarming charm of films like Thoovanathumbikal (1987) to the moral
gravitas of Iruvar (1997) and the layered introspection of Drishyam. His genius
lies in making the extraordinary feel ordinary imbibing even larger-than-life
characters with a lived-in and simplistic authenticity. Unlike Khan’s star
persona, Mohanlal often dissolves into his roles, enabling Malayalam cinema to
explore complex social issues without the distraction of celebrity spectacle.
While his prolific output includes uneven projects, his sheer consistency over four
decades remains remarkable and unparalleled in Malayalam cinema.
A Comparison of these towering
stars in the backdrop of National Film Award would but underscore the regional
diversity of Indian cinema. Hindi films traditionally target a pan-Indian and
international audience, rewarding charisma and spectacle, while Malayalam
cinema prizes narrative realism and cultural specificity. While roll out OTT
platforms have suddenly elicited immense Pan Indian and global interest for
regional films especially South Indian Movies, Hindi Cinema today faces the
largest challenge of having to compete with the un-whetted appetite for good
films by masses. While a few years back
Shahrukh was a household name who has been a heartthrob but remained an uncrowned
king in the context of having won National Awards, reach of Mohanal was somehow
limited to regional audiences due to language barriers and non-availability of
content (dubbed or otherwise) in all regions due to monopolistic distribution
systems in the cinema world.
While both actors seem to share
similar moments of success and glory in their individual career paths, their charisma
and emotional connect have easily broken linguistic and cultural barriers through
their films. While Shahrukh Khan has a global fan base, mostly comprising of
women that include the Indian diaspora
spread across the world; Mohanlal’s nuanced performances have slowly and firmly
earned international recognition by making the Malayalam Film Industry a reason
for debate and attention within India and abroad.
A comparison of careers of these
two towering stars is not possible but magic of films through heroes like them reveal
the hard work, determination and mystery that revolves around evolving nature
of stardom. While on one hand Shahrukh Khan has embraced marketing, social
media, and global collaborations to sustain relevance, Mohanlal’s longevity is
anchored in craft and adaptability within a smaller but discerning market. Both
approaches highlight different strategies for survival in a rapidly changing
industry.
Ultimately, Shah Rukh Khan and
Mohanlal represent two poles of Indian cinematic excellence: one that thrives
on grand romantic ideals and mass spectacle and the other that relies upon
subtlety and realism. Together, they illustrate Indian cinema’s richness that
has hidden layers of not one single tradition but like threads that weave out
wonderful patterns in a fabric, they encompasses myriad styles, languages, and
emotional registers. Thus Indian cinema
and film industry today wields tremendous soft power where each actor is a
master of his own distinctive universe and each film turns out to be a unique
creation that encapsulates artistic excellence, technical expertise, hard work
and creative imagination of the entire team led by stars like Shahrukh Khan and
Mohanlal, who truly deserve recognition that can inspire millions through the
medium of Cinema and films.
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