Showing posts with label Megastardom. Show all posts
Showing posts with label Megastardom. Show all posts

MEGASTARS OF INDIAN CINEMA


India has seen seven stars achieve mega stardom and two of them are Shahrukh Khan and Salman Khan.

The others being Dilip Kumar, Rajendra Kumar, Dharmendra, Rajesh Khanna and Amitabh Bachchan. 

There is not one name in sight from regional film industries and yet today you see names like Prabhas, Yash, Allu Arjun and others put up with there with two superstars who are not only the biggest superstars of the day but among the biggest ever. 

There are many stars in the industry but it does not mean box office super stardom as this happens to very few. You can have the biggest HITS but what you do in the film has to be a craze and that makes the big difference as many actors have give huge hits over the last 100 years but only 7 are really big box office stars.



1. Dilip Kumar (1952-1964)
Blockbuster films like Aan, Azaad, Insaaniyat, Naya Daur, Madhumati, Paigham, and Kohinoor, which were more in the commercial element of those times, smashed box office records. These films created the superstar Dilip Kumar. The likes of Aan, Azaad, and Insaaniyat also set the precedent for that big-budget Hindi commercial potboiler, which was to dominate Hindi cinema for years and still does. 

The peak of his career came in the early 1960s with films like Mughal-E-Azam (1960) and Ganga Jumna (1961), which created history and remain today among the biggest blockbusters of Hindi cinema. The performance in Ganga Jumna is also probably the greatest ever by an actor in India. The workload slowed after that, though the big hits still came with Ram Aur Shyam (1967) and Gopi (1970), but it was difficult now to fit into that traditional hero format due to age.



2. Rajendra Kumar (1963-1968)


















3. Rajesh Khanna (1969-1974)
Ittefaq (1969) starred Rajesh Khanna in the lead and was released in early October 1969. At this time, Rajesh Khanna was virtually unknown as far as the audience was concerned. It was first released in Mumbai, Kolkata, and Jaipur, and the latter two tanked. But then, at the end of October 1969, a film named Aradhana came out, and Rajesh Khanna became a star, and this built some interest in Ittefaq. Delhi/UP was released a month after Aradhana, and other circuits were released after the historic blockbuster Do Raaste (December 1969), when Rajesh Khanna was a megastar. So basically, it was a low-budget film that was about to meet its waterloo at the box office, but as fate would have it, the male lead of the film became a megastar, and such was the craze at that time that he could pull through a low-budget Ittefaq while sleeping.

Rajesh Khanna saw the Greatest Ever Run at the box office, which lasted from October 1969 to June 1971. It was an extraordinary run because it is unlikely that 14 hits like this will be given by anybody in a span of 21 months again. It could happen again, but not in a short 21-month span. He delivered 14 hits out of 15 films, including nine blockbuster/super hit films.

Rajesh Khanna and Shahrukh Khan are probably the biggest romantic stars in history and its this genre.

Rajesh Khanna lost super stardom in late 72 to early 73 but the films with Mumtaz still worked like Roti, Aap Ki Kasam and Prem Kahani in 74-75.



4. Dharmendra (1971-1987)
One of the biggest stars ever (the biggest ever if we count the number of HITS and successful films). The big breakthrough was the huge blockbuster success of Phool Aur Patthar (1966), which was one of the biggest grossers of that decade and is probably around the 400 crore nett mark in terms of business today. It put Dharmendra among the top five stars and gave him the image of that physical macho star, which was to set the box office fire in the 70's. 

The late sixties saw many huge hits like Aankhen (1968), Shikar (1968), and Aaya Sawan Jhoom Ke (1969), but they did not capitalize on the image that Phool Aur Patthar gave. The rubber stamping of the image came with Mera Gaon Mera Desh in 1971, which was a bigger blockbuster than Phool Aur Pathar. This film also changed the direction of Hindi cinema, as prior to Mera Gaon Mera Desh, the big films were mainly romantic dramas shot in the Kashmir valleys with super-hit music. The mega success of this film made the industry shift to action.

The peak of Dharmendra came in the mid-70s with films like Sholay (1975), Pratiggya (1975), and Dharam Veer (1977). After this, the quality of films dropped, but that initial draw remained intact, driving films to succeed until the early 90's. Eventually, the career saw around 60 jubilee hits and over 100 successful films. These figures are way ahead of the rest, and it can be said with almost 100% certainty that it won't be beaten unless Akshay Kumar or Ajay Devgn (these two have a volume of films today) start giving 3–4 hits a year for the next ten years. Even if this miracle were to happen, the level of success of Dharmendra HITS is far superior, with many films having historic success. Many of these HITS are solo films, but in the 1970's there was a trend toward multistarrers, and Dharmendra worked in many of these as well. The difference here between Dharmendra and the others in the 70's was that when Dharmendra was in a two- or three-hero film, it became his film, and it could be seen by the audience that he was the main lead and the others were in supporting or lesser roles.



5. Amitabh Bachchan (1977-1992)
Many newcomers got paired with Mumtaz as distributors picked up films on her name and one of these newcomers was even future superstar Amitabh Bachchan in Bandhe Haath. Due to the super hit heroine this film fetched a higher price than Zanjeer, the film which made Amitabh Bachchan a star. 

Amitabh Bachchan is the biggest star the country has seen to date. 

In total there could be 30 bumper openings for Amitabh Bachchan as in the eighties and early nineties it was bumper for nearly every film be it that film eventually turned out to be a HIT or FLOP. 

If we go further back and include legends and biggest stars of all time like Dharmendra, Rajesh Khanna and Amitabh Bachchan then its eleven times for Dharmendra (including Tahelka and Kshatriya), four times for Rajesh Khanna and twelve times for Amitabh Bachchan (including Bade Miyan Chhote Miyan, Hindustan Ki Kasam and Kabhi Khushi Kabhie Gham). 



6. Shahrukh Khan (1995-2017), (2023-2024*)
Shahrukh Khan had made an entry with Deewana which was a huge HIT.

Shahrukh Khan does not have many huge disasters as he became a box office force very early in his career. 

Darr had the advantage of the biggest stars of the time with Sunny Deol ruling the roost and Shahrukh Khan closing in on the top spot at the time.

Padmaavat is not a Darr scenario like it was with Shahrukh Khan as the public was with Shahrukh Khan's character in these films and the sympathy went to him which made him a major star. Here the public is not with the character of Ranveer Singh as he is the villian. The last one to do extraordinary business all over was actually a Shahrukh Khan film Darr in 1993. This is probably the most successful thriller genre film in India ever.

Even Shahrukh Khan played second fiddle to Madhuri Dixit in Anjaam but Shahrukh Khan was on a crest of a wave at the time and the audience could not accept him as an outright villain and the film was rejected.

Guddu and Oh Darling Yeh Hai India were taken on before he became a major star with Baazigar and Darr.

In 1995 Dilwale Dulhania Le Jayenge came and created another huge box office Megastar. Action has dominated the box office since the release of Mera Gaon Mera Desh in June 1971 till today and in those 50 years only Shahrukh Khan managed to create a huge fan following without an action image. 

The mega stardom will never come from a biopic though as the actor is unable to leave his stamp on the character like a Shahrukh Khan did in DDLJ or Salman Khan in Dabangg.

Veer Zaara became a super hit due to its medium budget, but it had the projection of a Diwali blockbuster, probably because of the presence of Shahrukh Khan and the huge initial in India and overseas. Record Initial Worldwide without much commercial elements.

Rajesh Khanna and Shahrukh Khan are probably the biggest romantic stars in history and its this genre.

Basically the bigger the star, the bigger the risk with this genre. The more popular you are then the higher the expectations go which just can't be met with the genre especially the sort of number that is expected of a Shahrukh Khan or a Salman Khan starrer. Its difficult to meet expectations anyway and if a few circuits reject the film then the gap between expectation and final result can look huge which is the case with Fan.


The downside of mega stardom is that you can't really go out of the drama, action genre today as box office numbers are reported everywhere and outside these genres you need some outstanding film to put up a megastar number. Even the legendary megastars of prior generations with great box office records are likely to have filmographies devoid of thrillers.


Pathaan will take initials like very few films have before across the world because it is that traditional ALL INDIA MASS FILM for Hindi audiences across the globe and these are a rarity today. On top it has one of the biggest superstar ever of Hindi cinema coming back after a few years.

The admissions were around 23k which is no joke for a film which has already been so widely watched for the last 27 years. The main reason of the response is Shahrukh Khan and shows the superstardom is at was before and now the wait for Pathaan which will see Shahrukh Khan in this type of action zone which has not been seen for years if ever seen.


Pathaan saw Shahrukh Khan in the action genre which should have happened 10-15 years ago as a lot of his non performers were down to genre not being correct at the time of release for such a big star. The superstar works in films more often were superstardom meets genre rather than just depending on superstardom.

Shahrukh Khan is the biggest Indian film star ever seen in overseas and this is pretty much indisputable and he has had sub par movies over the last few years but they have still recorded HIT numbers and now here comes a much better product so there is a good chance that the overseas market can be pushed to another level.

Shahrukh Khan leads as he has not really seen a down period since the early 90's while Aamir Khan and Salman Khan have seen down periods. Even non performers of Shahrukh Khan are not Commercial Zone Event films. Failures came mainly in limited appealing Genres.

It will be called the comeback of Shahrukh Khan and as its a release after fours year it can be called a comeback from that angle but not as a star because the clout was there in 2003, 2013 and now 2023, all Pathaan does is confirm the clout and if not Pathaan something else would have done it.Years of megastardom does not die with 3 or 4 films not performing.

All in all another great day for the film industry as business jumps again in leaps and bounds and this has come with music that has not worked but Shahrukh Khan coming off Pathan with another huge ACTION film was always opening huge and its was just about whether it tops Pathaan opening. The action factor is highlighted in capitals as its of utmost importance as a lot of Hindi films in the last twenty years had gone towards thriller zone and only Salman Khan was doing actions films. Even Shahrukh Khan so called actions films like Don franchise were more towards thriller. Pathan, Gadar 2 and now Jawan are outright action films and opening results are all there for to see.

Animal probably put him behind only Shahrukh Khan as far as box office pegging order goes But these sort of things are not just about one film but time and its also the genre making a big difference be it SRK or Ranbir now as Pathaan, Jawan and Animal is very different from the cinema they had been doing pre pandemic and long may it continue.



7. Salman Khan (2010-2019)
Saajan had Sanjay Dutt and Salman Khan while Beta had Anil Kapoor but generally it was Madhuri Dixit leading the way in these films. Then came the peak with Hum Aapke Hain Kaun and Raja and it could be that no heroine had ever reached this level.

“The other side of the industry will believe its difficult to make good female driven films but thats not the case either as a Mother India and Hum Aapke Hain Kaun stand with the male testosterone driven Sholay and Gadar as historic blockbusters in Hindi cinema.” 

“Gone are the days of Rajhshris when these sort of stories without the stars reached out to the wider audience and that too when there were only single screens.”

The film (Judwaa 1997) was also the film which gave the career of Salman Khan a major lift as although he had much bigger Hits than Judwaa before they were either two hero films like Saajan, Karan Arjun and Jeet or ensemble cast ones like Hum Aapke Hain Kaun and Sanam Bewafa where the supporting artistes have major roles.

In 2009 came Wanted which was not a huge hit but created this action star image for Salman Khan who until then was more of a romantic hero. He consolidated this image with films like Dabangg and Bodyguard and there was no looking back. These film were not the biggest blockbusters of the career of Salman Khan but created an image where the huge openings materialized which was not the case with some of the earlier bigger hits. 

A male star has to do something in a film where the audience takes to him in the big way and for Salman Khan it happened with Dabangg and not Hum Aapke Hain Kaun. It was not only Dabangg as one film cant lead to such super stardom but others like Bodyguard and Ek Tha Tiger which helped cement the audience.

Even a Salman Khan starrer London Dreams comes up on the list but it was before his superstar days which started with Dabangg(2010) and the way things are going it won't be there forever as there will be some 50 crore plus budget film which will do less than 25 crore nett over the next few years.

The mega stardom will never come from a biopic though as the actor is unable to leave his stamp on the character like a Shahrukh Khan did in DDLJ or Salman Khan in Dabangg.

There are many stars in the industry, but that does not mean box office super stardom, as this happens to very few. It’s not only box office numbers because, as you pointed out, there was Hum Aapke Hain Koun, which is a far bigger hit than Dabangg and the biggest hit in a generation. A male star has to do something in a film where the audience takes to him in a big way, and for Salman Khan, it happened with Dabangg and not Hum Aapke Hain Kaun. It was not only Dabangg as one film that could lead to such super stardom but others like Bodyguard and Ek Tha Tiger, which helped cement the audience from where there was no looking back. A similar scenario took place with Shahrukh Khan in Dilwale Dulhania Le Jayenge and Sunny Deol in Ghayal. You can have the biggest hits, but what you do in the film has to be a craze, and that makes a big difference, as many actors have given huge hits over the last 100 years, but only seven actors are really big box office stars.

One crore footfalls also means reaching an audience although some films need to reach a bigger audience due to the size of the films and most Salman Khan films come into this category. The one miss was Veer (2010) which was his first release of the decade and became before Dabangg (2010) which established his image of a mass action superstar across India and then films like Bodyguard, Ready and Ek Tha Tiger rubber stamped this image. Veer actually scored in Rajasthan and Bihar but Salman Khan was not the same star at the time of this release as he was a year or two later. 

 

Basically just one film under 1 crore footfalls through the whole decade means most of his films got an audience irrelevent of content. If we compare then Aamir Khan had one film which fell under 1 crore footfalls in the 2000-2009 decade but there were just nine releases and Manoj Kumar had one miss in the 1970-1979 decade but only ten films. Limited films had a hand in not missing the 1 crore mark for Aamir Khan and Manoj Kumar. 




The 100 year plus history of cinema in India has seen around seven genuine superstars or megastars. We say genuine as regional superstars are called superstars today while stars and mini stars also get called superstars so the word superstar looses value. 

When historians right about Indian cinema then it may well be that the names of Dilip Kumar, Amitabh Bachchan and Shahrukh Khan are top of the pile due to various reasons.

Tiger Shroff Changes The Star Equation

Baaghi 2 released over a few weeks back has changed the equations as far as the star pecking order is considered. Tiger Shroff has come out of the blue with this film to stand on the tails of the big five (Khans, Akshay Kumar and Hrithik Roshan). In fact it could even be said that it will be Tiger Shroff that will be the driver of the untitled Hrithik Roshan / Tiger Shroff film to be released next October.

Tiger Shroff is at that point where a film has created an image and its up to him to either consolidate this over the next 2-3 years to become that big popular box office star or let the opportunity go and remain the normal star or even fade. If we look back over the last 30 years then these moments have arrived six times and three times they have been taken, twice missed and this one remains to be seen. The difference between Tiger Shroff and his contempories after Baaghi 2 is that he has become a man from a boy but the real battle starts now for him as its the consolidation that is harder than that one big opener which gives the chance to be a huge box office draw.

In 1990 Ghayal hit the screens and gave Sunny Deol that huge action image which he consolidated through the 90's with many super hits and if it was action and the film was poor it still opened to full houses. Ghayal released with Dil which was actually a bigger hit in the first six months of the their respective runs but the business of Ghayal went ahead within the next year as repeat runs did huge business as the image got stronger and stronger with time.

In 1995 Dilwale Dulhania Le Jayenge came and created another huge box office star. Actually it was not Dilwale Dulhania Le Jayenge that made Shahrukh Khan the big box office star as he became already big after Baazigar & Darr. After DDLJ release Romantic image was created busting the box office. Action has dominated the box office since the release of Mera Gaon Mera Desh in June 1971 till today and in those 47 years only Shahrukh Khan managed to create a huge fan following without an action image.

Then came the turn of Hrithik Roshan in 2006 as Krrish and Dhoom 2 hit screens within six months and the industry was on a verge of a huge action / dancing star but there was no consolidation. The next five years saw Jodhaa Akbar, Kites, Guzaarish and Zindagi Na Milegi Dobara, not one film was in the Krrish and Dhoom 2 zone which had created a potential megastar and although films like Krrish 3 and Bang Bang came later, the star draw was not the same as 2006 due to the likes of Zindagi Na Milegi Dobara and Guzaarish pushing the potential superstar down.

In 2009 came Wanted which was not a huge blockbuster but created this action star image for Salman Khan who until then was more of a romantic hero. He consolidated this image with films like Dabangg and Bodyguard and there was no looking back. These film were not the biggest blockbusters of the career of Salman Khan but created an image where the huge openings materialized which was not the case with some of the earlier bigger hits. A hugely popular box office star was created who till today dominates the ticket windows eight years later.

In 2013 it was the turn of Ranbir Kapoor with Yeh Jawaani Hai Deewani putting him on a pedestal with the youth going crazy over and it was just a matter of time when another huge star with youth on his side dominates the box office. But the audience has never seen Ranbir Kapoor in that Yeh Jawaani Hai Deewani format again and its been five years and those sort of chances rarely come again. A Raj Kumar Hirani film may turn out to be a bigger hit but its a biopic and it will not be your personality on screen but someone else so the impact is nothing like a Yeh Jawaani Hai Deewani for the audience. The mega opening of a poor film like Besharam released five months after Yeh jawwani Hai Deewani was a sign of what could have been  but it was not to be.

Now its 2018 and Tiger Shroff is in the position where the guys above were and its about consolidating your image over the next 2-3 years if you can. There will be a lot of trashing by the media when you play to an image especially an action one, the films will not get not get stars and you will be told you are not a actor but you will have to rise above that and go by the facts and figures which never lie. All it takes is a mistake or two and you never get that time back again.


The audience will expect different films but with image intact and it remains to be seen if Tiger Shroff goes the Sunny Deol, Shahrukh Khan and Salman Khan way or misses the killer opportunity like Hrithik Roshan or Ranbir Kapoor. There will be stars in the younger generation that see image as a hindrance but it does not work that way as an image still allows you work in other genres as long as long as its in the commercial format. Yes the arty stuff is a risk but you cant have it both ways as stardom creates expectations and these expectations can only be matched or exceeded with popular cinema.

Naya Daur (1957) First Year Run Mumbai Circuit
















Naya Daur (1957) First Year Run Mumbai Circuit


Naya Daur was released in 1957 and featured the then reigning box office king Dilip Kumar along with
Vyjanthimala, Ajit and Jeeven in principal roles. The film was made under the B.R. Films banner
and was produced and directed by legendary filmmaker B.R. Chopra.

Naya Daur celebrated a sliver jubilee at two theatres and a 100 day run at three theatres in Mumbai circuit.
The film had an excellent run in Mumbai while business in the North was phenomenal and better than Mumbai circuit.

Below are the figures for the film of all the centres exploited in Mumbai circuit within a year of release including
the days run at each theatre.


Naya Daur (1957) First Year Mumbai Circuit
Theatre
City
Run (Days)
Nett Gross
Distributor Share
Liberty
Mumbai
70
2,49,461
1,24,896
Broadway
Mumbai
140
1,74,238
66,124
Minerva
Mumbai
84
1,58,407
80,337
Neptune
Mumbai
63
73,113
33,074
Bharat Chitra Mandir
Mumbai
65
59,265
30,908
Palace
Mumbai
35
30,179
13,515
Alwyn
Mumbai
42
20,609
11,150
Kasturba
Mumbai
28
19,862
9,376
Prabhat
Mumbai
21
15,336
7,084
New Vyenkatesh
Mumbai
28
9,296
4,700
Paramount
Mumbai
15
7,732
4,409
Ganesh
Mumbai
21
7,528
4,213
Usha
Mumbai
7
7,321
2,819
Diamond
Mumbai
18
7,063
3,849
Goregaon
Mumbai
14
6,836
2,890
Lido
Mumbai
14
4,346
2,147
Uday
Mumbai
7
4,738
1,795
Vijay
Mumbai
7
4,519
1,717
Mumbai City and Suburbs Total
8,59,849
4,05,003
Krishna
Ahmedabad
217
2,50,752
1,24,897
Prince
Baroda
161
68,627
31,997
Super
Surat
91
59,447
26,660
Gisford
Rajkot
56
31,650
15,310
Roopam
Bhavnagar
49
30,370
16,270
Shatrushalya
Jamnagar
42
22,174
11,656
Globe
Nadiad
39
17,205
9,367
Diamond
Junagadh
36
13,636
7,624
Gopal
Anand
35
12,824
7,626
Harish
Porbandar
28
10,525
5,245
Vasant
Bharuch
24
10,468
4,986
Mahalaxmi
Surendranagar
42
10,159
5,725
Model
Bhuj
28
9,727
5,267
Vasant
Navsari
21
8,158
4,176
Usha
Adipur
13
8,033
4,447
Vijaya
Morvi
28
7,559
4,223
Liberty
Dhoraji
20
7,498
3,604
Victory
Gondal
16
6,019
3,294
Citylight
Palanpur
12
5,886
3,141
Krishna
Patan
21
5,748
2,746
Diamond
Veraval
21
5,259
2,815
Bharat
Dabhor
21
4,330
2,188
Navyug
Dhrangadhra
18
4,066
2,232
Laxmi
Mehsana
21
3,860
2,123
Natraj
Kapadwanj
21
3,718
1,847
Ashok
Amreli
17
3,449
1,870
Majestic
Viramgam
14
2,736
1,544
Laxmi
Mandvi
11
2,611
1,428
Diamond
Jetpur
7
2,218
1,014
Modern
Anjar
8
2,216
1,286
Gujarat Total
6,30,928
3,16,608
Globe
Pune
175
1,12,811
51,325
Capital
Pune
35
24,567
13,301
Madhukar
Nasik
77
29,044
14,583
Asha
Sholapur
92
33,822
16,979
Usha
Kohlapur
105
27,160
14,588
Central
Malegaon
79
24,184
12,360
Asha
Ahmednagar
42
17,906
9,404
Padma
Sangli
44
13,324
7,229
Shirin
Karad
42
9,004
4,125
Amar
Miraj
35
8,626
4,520
Anand Theatre
Satara
49
8,482
4,439
Asha
Barsi
28
7,803
3,286
A.C.
Khadki
27
7,722
4,074
Arun
Pandharpur
35
6,722
3,381
Radhakrishna
Ratnagiri
15
5,312
2,467
Bytco
Nasik Road
28
5,084
2,631
Adelphi
Deolali
14
4,706
2,637
Kishore
Shrirampur
13
4,415
2,458
Azad Chitra
Ichalkaranji
17
4,146
2,251
Prabhat
Bassein
12
3,939
1,790
Ratan
Panvel
13
3,249
2,043
Laxmi
Ambarnath
11
3,206
1,696
Chandra
Dahanu
14
2,191
1,207
Mohan
Islampur
21
2,106
1,179
Maharshtra Total
3,69,233
1,83,683
Chandrakala
Hubli
71
27,394
14,021
Ritz
Belgaum
84
26,275
13,234
Jayshri
Bijapur
35
10,437
5,349
Arun
Gadak
27
8,644
4,772
Shakti
Bagalkot
45
8,163
4,244
Laxmi
Dharwar
21
7,099
4,233
Shakti
Ranebennur
14
2,948
1,680
Prabhat
Nippani
18
2,613
1,293
Ram Chitra Mandir
Sankeshwar
22
2,181
1,137
Venus
Kumtha
10
1,908
1,097
Sagar
Sirsi
10
1,837
1,030
North Karnataka Total
99,499
52,090
GRAND TOTAL
19,59,509
9,57,384