This book is the best window into Shah Rukh Khan s inner world and soul. Mushtaq, being a friend of the family, is the best artist for this family portrait portrayal. If Shah Rukh Khan has been known for his non-stop talk then writer Mushtaq Sheikh too doesn't appear far behind when it comes to translating his thoughts into words. He writes, and writes and then further writes about Shah Rukh, something that makes one feel that more than a friend and a colleague, Mushtaq looks at Shah Rukh as a hero. Someone who is not just his hero but also an entire country's - correction, entire world's hero! It is this very 'fan factor' that makes 'Shah Rukh Can' a read that seems to be coming straight from an admirer's heart. What makes this book special is that a lot of the material (words and pictures) is stuff that we haven't seen before. There are some things even Google's search algorithms cannot find. But Mushtaq Shiekh can. From a book that claims to talk about 'The Life and Times of Shah Rukh Khan', the least you expect is some trivia from the actor's life, both personal and professional, about which not much has been written about in the past. The kind which makes you wonder if something like that had really happened in the actor's life. Thankfully, Mushtaq extracts quite some trivia out of the actor's life. So you get to know how Shah Rukh was offered the role of Anil Kapoor's car driver in 1942 - A Love Story, which he rejected (of course!). Eventually Raghuvir Yadav did that role. Or how Shah Rukh completely surrendered to the director's vision and withdrew himself when he couldn't follow the trajectory of Subhash Ghai's Pardes. It's a different matter though that Shah Rukh was appreciated for his performance in the film but so was he in Karan Arjun too, which by the way he dared not watch over the years because he didn't connect with the role. There are number of such little instances that make 'Shah Rukh Can' an interesting read. But is it just about the actor and the trivia around his life? Not at all. One of the unexplored facets of Shah Rukh that is covered in the book in extensive detail is his views around acting v/s performances. This book is the best window into Shah Rukh Khan's inner world and soul. Mushtaq, being a friend of the family, is the best artist for this family portrait. It's almost like having Shah Rukh Khan over for coffee. - Karan JoharCompelling. A story you need to read if you feel the need to be inspired. - TabuThis book catches Shah Rukh Khan in his personal and professional space with versatile ease. - Subhash GhaiA book that I could not keep down. Worthy of many reads - Farah KhanIt's not a book it unfolds like a movie. - Ashutosh GowarikarIt's a beautifully crafted book. It's very difficult to catch the radiance of a man and star like Shah Rukh Khan. Mushtaq Shiekh not only manages it but also shocks you by adding further value. - Santosh SivanWhen a writer of the calibre of Mushtaq is writing a book about me, then I presume the book I am writing can wait. - Shah Rukh Khan

Shah Rukh Khan, 1965, Hindi film actor.

Here is the astonishing true story of Bollywood, a sweeping portrait about a country finding its identity, a movie industry that changed the face of India, and one man's struggle to become a star. Shah Rukh Khan's larger than life tale takes us through the colorful and idiosyncratic Bollywood movie industry, where fantastic dreams and outrageous obsessions share the spotlight with extortion, murder, and corruption. Shah Rukh Khan broke into this $1.5 billion business despite the fact that it has always been controlled by a handful of legendary film families and sometimes funded by black market money. As a Muslim in a Hindu majority nation, exulting in classic Indian cultural values, Shah Rukh Khan has come to embody the aspirations and contradictions of a complicated culture tumbling headlong into American style capitalism. His story is the mirror to view the greater Indian story and the underbelly of the culture of Bollywood. "A bounty for cinema lovers everywhere." --Mira Nair, Director, The Namesake and Monsoon Wedding "King of Bollywood is the all-singing, all-dancing back stage pass to Bollywood. Anupama Chopra chronicles the political and cultural story of India with finesse and insight, through fly-on-wall access to one of its biggest, most charming and charismatic stars." -- Gurinder Chadha, director of Bend it Like Beckham "The "Easy Rider Raging Bull" of the Bollywood industry and essential reading for any Shah Rukh Khan fan." --Emma Thompson, actress "Anu Chopra infuses the pivotal moments of Shah Rukh Khan's life with an edge-of-your-seat tension worthy of the best Bollywood blockbusters." --Kirkus

This book offers new ways of constellating the literary and cinematic delineations of Indian and Pakistani Muslim diasporic and migrant trajectories narrated in the two decades after the 9/11 attacks. Focusing on four Pakistani English novels and four Indian Hindi films, it examines the aesthetic complexities of staging the historical nexus of global conflicts and unravels the multiple layers of discourses underlying the notions of diaspora, citizenship, nation and home. It scrutinises the “flirtatious” nature of transnational desires and their role in building glocal safety valves for inclusion and archiving a planetary vision of trauma. It also provides a fresh perspective on the role of Pakistani English novels and mainstream Hindi films in tracing the multiple origins and shifts in national xenophobic practices, and negotiating multiple modalities of political and cultural belonging. It discusses various books and films including The Reluctant Fundamentalist, Burnt Shadows, My Name is Khan, New York, Exit West, Home Fire, AirLift and Tiger Zinda Hai. In light of the twentieth anniversary of 9/11 attacks, current debates on terror, war, paranoid national imaginaries and the suspicion towards migratory movements of refugees, this book makes a significant contribution to the interdisciplinary debates on border controls and human precarity. A crucial work in transnational and diaspora criticism, it will be of great interest to researchers of literature and culture studies, media studies, politics, film studies, and South Asian studies.

This collection offers new approaches to theorizing Asian film in relation to the history, culture, geopolitics and economics of the continent. Bringing together original essays written by established and emerging scholars, this anthology transcends the limitations of national borders to do justice to the diverse ways in which the cinema shapes Asia geographically and imaginatively in the world today. From the revival of the Silk Road as the “belt and road” of a rising China to historical ruminations on the legacy of colonialism across the continent, the authors argue that the category of “Asian cinema” from Turkey to the edges of the Pacific continues to play a vital role in cutting-edge film research. This handbook will serve as an essential guide for committed scholars, students, and all those interested in the past, present, and possible future of Asian cinema in the 21st century.

Contributed articles presented at the conference, Shah Rukh Khan and Global Bollywood, held on September 30, 2010, at Vienna, Austria.

In this pathbreaking work, Shrayana Bhattacharya maps the economic and personal trajectories--the jobs, desires, prayers, love affairs and rivalries--of a diverse group of women. Divided by class but united in fandom, they remain steadfast in their search for intimacy, independence and fun. Embracing Hindi film idol Shah Rukh Khan allows them a small respite from an oppressive culture, a fillip to their fantasies of a friendlier masculinity in Indian men. Most struggle to find the freedom-or income-to follow their favourite actor. Bobbing along in this stream of multiple lives for more than a decade-from Manju's boredom in 'rurban' Rampur and Gold's anger at having to compete with Western women for male attention in Delhi's nightclubs, to Zahira's break from domestic abuse in Ahmedabad-Bhattacharya gleans the details on what Indian women think about men, money, movies, beauty, helplessness, agency and love. A most unusual and compelling book on the female gaze, this is the story of how women have experienced post-liberalization India.