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The evolution of king of romance called Shahrukh Khan



November 2, 2012 03:24:36 PM IST
By Enkayaar, Glamsham Editorial
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DILWALE DULHANIA LE JAAYENGE and DIL TOH PAGAL HAI
DILWALE DULHANIA LE JAAYENGE and DIL TOH PAGAL HAI


DILWAALE DULHANIYA LE JAYENGE: Sepia toned romance with overtones of conventional nuances of love, DDLJ was the film that made literally catapulted him as King of Romance, here was a lover who did not have an iota of doubt that once he has fallen in love with a girl he can go across seven seas to get married to her. Today on the eve of Karva Chauth it also is instructive to underline that it was through DDLJ that Shah Rukh Khan initiated the tradition of men fasting for the women they loved, married or not they have been, and since then the idea has really caught on in the country.

RAAM JAANE: Streaks of an obsessive lover that he showed in DARR was taken to a new level through RAAM JAANE where he played the role of a street boy madly in love and leaving no plugs unpulled to see to it that he gets the girl. It was a typical road side Romeo performance and Shah Rukh Khan excelled in it.

PARDES: A lover who silently loves the girl, but is not able to express it as he is under the moral obligation of the family for having given him a shelter and brought him up, ultimately rebels and fights it out for his love with the guardian whom he hero worships.

DIL TO PAGAL HAI: Shah Rukh Khan as a lover boy who felt he was in love with Karisma Kapoor came to realize that he indeed loved Madhuri Dixit and did not have the gumption to tell it clearly to Karisma Kapoor that he indeed loved Madhuri Dixit.






 
  

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