After he made his debut on 01 1988, it has happened for the first time that Aamir Khan has dropped his hair down and celebrated completion of 25 years of QAYAMAT SE QAYAMAT TAK, and indeed as the lines of the song that he sang- Papa Kehte hain Bada Naam karega emphasizing on the lines- Dil ki duniya mein apna naam karega, indeed, Aamir Khan has ruled over the heart of his fans since 01 May 1988.
The occasion of completion of 25 years association with cinema indeed presents a perfect opportunity to find out 25 nuggets from his performing career that have made Aamir Khan what he is today.
To coincide with the occasion the feature would be split in two parts to try to unravel the enigma called Aamir Khan. Presenting the first 12 nuggets from Aamir Khan's career span!
DEBUT FILM QAYAMAT SE QAYAMAT TAK: Film on debut in which the hero and heroine die would not be a cup of tea for most of the actors who aspire to launch a career in the film world, but Aamir changed the paradigm of debuts as also paradigms of romantic cinema having happy ending when he died along with Juhi Chawla in the climax.
RAAKH: According to Aditya Bhattacharya who had directed Aamir Khan in this film, RAAKH was the most truthful film in which Aamir had acted. May be the occasion of 25 years completion in cinema warrants that the film be released again.
It is more imperative, as when it was released cinema halls had a capacity of 1000 persons, and in such a scenario the film was not able to garner houseful board, but in the era of multiplexes RAAKH would give any cinema of present times a run for its money.
KISSING STAR: Emraan Hashmi may be the serial kisser, but right from the time when Aamir Khan made his debut in QSQT, he has been doing on-screen kisses with impunity, and was involved in the longest kisses ever filmed on the silver screen in RAJA HINDUSTANI before Ayushman Khurrana overhauled the record in NAUTANKI SAALA. But his record may have been overhauled; the passion that he brought in kissing scenes continues to be his USP.
MASTER OF CHANGING LOOKS: In the world of cinema where the stars never change the appearances to sort of maintain a continuity with the audience Aamir Khan is one actor who has constantly experimented with his looks, the reference point being the character that he was enacting. It all started with MANGAL PANDEY-THE RISING in a big way where Aamir Khan grew his hair and also grew handlebar mustaches as well, then he followed it up with a bald and scarred pate in GHAJINI, to a grown hair in RANG DE BASANTI and closely cropped hair in 3 IDIOTS to get into the skin of the character and to create synergy with the audience.
WHAT'S IN A NAME: Indeed, Aamir Khan is also one of those stars who never bothered about the name of the character that he enacted in a film, so he was a Raghu Jaitley in DIL HAI KI MANTA NAHI, to Ranchod Das Shyamal Das Jhanjhad or Rancho in 3 IDIOTS, two P.K. in PK.
ATTIRES THAT HE SPORTED BECAME A RAGE: Aamir Khan was also instrumental in creating his own fashion paradigm in film after film, as it was his famous cap in DIL HAI KI MANTA NAHI as also the purple corduroy trousers, the cap that he wore in RANGEELA and he would be taking the contours of fashion to new heights in Raj Kumar Hirani's PK where he is seen sporting a golden colored tie and dye skirt. Which other film star would have the guts to experiment with his looks to such an extent. In fact one always wonders whether the number of rings that Sharman Joshi wore in 3 IDIOTS was a take-off from the number of rings that Aamir wore in GHULAM; the difference obviously being in the fact that he made them a fashion statement.
ACTING WITHOUT A FEMALE CO-STAR: Aamir Khan created a new paradigm with his film TAARE ZAMEEN PAR underlining the fact that it is the content and not the conventional norm of packaging a film with a hero, a heroine and a villain that defines filmmaking.
DEATH DEFYING STUNTS: The death defying stunts that Aamir had done in GHULAM was the highlight of the film, and so much was he engrossed in providing perfection to the scene of running towards the speeding local train that he missed death by a whisker enacting the scene, but the scene indeed became a highlight of GHULAM.
ACT OF TAPORI: No one has been able to play the role of a tapori or a street smart kid with conviction and panache that Aamir has displayed in his acting career. Ram Gopal Verma has been profuse in his praise about the role that Aamir Khan enacted in RANGEELA and he took it to new heights with GHULAM and RANG DE BASANTI, in RANG DE BASANTI in particular introducing the sense of Punjabi chutzpah with rare panache.
DRAG ACT: It was Aamir Khan who took the challenge of appearing in drag and took it to the heights of perfection as he did more than a decade and a half ago in BAAZI, where he did an item number in the drag act. There have been scores of more such drag acts by other actors, but the kind of preparation that Aamir Khan undergoes, in enacting the drag act is still a feat to be matched by his other contemporaries, and with new ads where he appears as a female, Aamir has driven home the point that indeed he is a perfectionist when etching a character is concerned.
GIVING A SENSE OF SERIOUSNESS TO INDIAN CINEMA: Being a son of a producer, Tahir Hussain, he had unofficially been producer for HUM HAIN RAHI PYAAR KE and JO JEETA WOHI SIKANDER, but he really came into his own with his film LAGAAN. He did not leave any stone unturned to see to it that LAGAAN makes a mark at the Oscars. It was with LAGAAN that Aamir Khan as a producer emerged who started making films in which he believed. Aamir believes in the maxim as a producer to tell a story from the heart and do it honestly and the audience would lap it up. Indeed, Aamir has been telling those stories since LAGAAN with great passion.
AAMIR AS CHOREOGRAPHER: How many of us would be aware about the fact that Aamir Khan had picturised the title song of DIL HAI KI MANTA NAHI, without a choreographer? Indeed, he did it all on his own, and one always aspires to see a Broadway kind of musical being choreographed by Aamir Khan in the years to come.