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If you've only seen one Bollywood movie, it's likely he was in it. If you've never seen one, pick one up at the store and he's probably in it. With over 50 films to his name, Shah Rukh Khan has dominated the world of Bollywood for the past 15 years.
Anupama Chopra's new novel, "King of Bollywood," traces Shah Rukh's transformation from a young boy living on the edge of poverty into a superstar. Her storytelling is exciting and smart, yet honest, revealing both the successes and failures of the actor.
Chopra makes her living as a film critic and journalist. Her past works include a few novels about Bollywood films, such as "Sholay: The Making of a Classic" (2003). She has also written for numerous American publications about the Indian film industry.
"King of Bollywood" is her first attempt at something broader. Through Shah Rukh's fairy-tale story, Chopra is also able to give the reader a closer look at the industry of Indian film.
Chopra seamlessly blends the metamorphosis of Shah Rukh into a star with the similar change of Bollywood and of India itself.
This is a story about much more than an overly confident and always energetic actor. It is about the culture of Bollywood. As Chopra artfully makes clear, Bollywood is about more than just movies. It's about connecting people, preserving traditions and the importance of being honorable. Essentially, it tells people how to live.
Nonetheless, a literary work of genius it is not: The language is simple, at times bordering on juvenile, but this simplicity keeps it fast-paced and accessible to readers. It's clear from her writing style that most of Chopra's experience is in journalism.
The style works in "King of Bollywood," however, because Chopra's high-speed writing matches the high-speed way of Indian cinema. She flits between describing various actors, films or directors in the same way that actors move from set to set, often working on three or four films in one day.
Chopra's detailed description of the Hindi film industry is bound to be of interest to any lover of cinema, but her energetic style makes her novel something that could be interesting to anyone. The book is written for an American audience, and is further directed toward those who have minimal knowledge of the industry.
Those who don't know much about Indian cinema may get confused among the plethora of actors, directors and producers discussed. To counteract this, Chopra has kindly provided a "Cast of Characters," explaining who each person is and their importance in the business. She has clearly catered this book to the average American with little outside knowledge. Moreover, the novel itself goes into such depth about each person and movie discussed that the reader will never feel lost.
What is so refreshing about Chopra's novel is its honesty. She does not gloss over the harshness and ugliness of the business of Bollywood. Business is business. Bollywood is corrupt. It is a world where family connection is the only way you'll ever get anywhere, and Chopra is not afraid to reveal this to the reader. One entire chapter is devoted to the Mumbai mafia's involvement in the industry. In the not too distant past, mobsters easily controlled actors and directors.
Just as Chopra refuses to skim the darker side of Bollywood, she also refuses to present Shah Rukh in a light of perfection. He is wildly successful as well as kind to others, but he is confident almost to a fault. His arrogance is clear to everyone, yet Chopra makes it clear that it was likely also a key factor in his success.
However, Shah Rukh was also, at times, a failure. The novel divulges his flops, his failed production company and his inability to break from the romantic hero character that audiences loved so much. Nonetheless, this rags-to-riches tale has a feel-good quality that will keep the reader wanting to turn page after page.
This novel will change the way you think about Bollywood films. Beneath the breathtaking colors and lighthearted songs, the world of Bollywood can be harsh. Chopra rightfully refers to it as the "seductive world of Indian cinema," for it can bring both pleasure and pain.
Michelle Fredette can be reached at mfredett@student.umass.edu.
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