Shah Rukh Khan at 60: The Re-Release Mania Brought Back Bollywood’s Lost Magic, But What’s Next?

On November 2 this year, Shah Rukh Khan turned 60, and as usual, it was a celebration all over. On October 31, several of his iconic films were re-released across theatres. For fans all over the country, it became less about revisiting old hits and more about reliving what his cinema has meant through the years. Watching these films back-to-back offered something larger than nostalgia. It revealed how every generation connects to SRK differently, yet with the same warmth.

The films that were re-released in theatres are Om Shanti Om, Chennai Express, Devdas, Dil Se, Kabhi Haan Kabhi Naa, Jawan, and Main Hoon Na. Out of these 7, I rewatched 5 movies on screen, and the experience with each of them was quite wild and memorable. Even though I have an idea of Shah Rukh Khan’s stardom and the love he gets from people worldwide, in theatres, the aura was entirely different. It genuinely felt like a festival.

Om Shanti Om: A Celebration of Cinema Itself

I saw Om Shanti Om in a completely packed theatre (twice), and it felt more like a carnival than a movie hall. The audience mostly consisted of young people, next to entire families. It was evident that everyone knew what the Farah Khan film was all about because, along with what’s happening on screen, I was delighted to see the way people sang, danced, and shouted the dialogues in perfect rhythm. The energy was infectious.

It wasn’t just about Shah Rukh’s stardom; it was about what the film represents. Om Shanti Om depicts Bollywood in its purest form: dramatic, colourful, musical, and self-aware. The film serves as a tribute to cinema, a fusion of fantasy and fandom. In that theatre, the crowd weren’t merely watching a movie; they were celebrating it.

Chennai Express: Pure Entertainment, No Questions Asked

When Chennai Express played, the mood shifted, but the enthusiasm didn’t. The hall was packed again, but this time with an older crowd (people likely in their fifties or older), who’ve grown up with SRK since his early romantic years. What stood out was their pure enjoyment. The exaggerated accents, the over-the-top humour, and the slapstick moments – none of it bothered them. They laughed freely, cheered at every punchline, and danced to “Lungi Dance”. For them, the film wasn’t to be dissected for what is right and what is wrong; it was to be enjoyed. They came not for nuances, but for lightness. Watching them, it felt like Rohit Shetty’s Chennai Express was doing exactly what cinema is meant to do: making people forget everything else for two and a half hours.

Devdas: The Grandeur, The Tragedy, The Awe

With Devdas, the audience was visibly younger. Maybe it was their curiosity to see why this film is still considered one of SRK’s best performances or to experience the legendary pairing of Aishwarya Rai Bachchan and Madhuri Dixit on the big screen.

From the first frame, there was quiet admiration. The lavishness, the haunting music, the layered emotions, every detail pulled people in. The tragedy unfolded slowly, but everyone seemed spellbound by the magic on screen. Sanjay Leela Bhansali’s world of Devdas is one of excess and emotion, love that can’t heal, and beauty that can’t save. Watching it in a theatre again, it felt like stepping into a timeless dream. The film may belong to another era, but the heartbreak still feels raw.

Dil Se: Intensity and Unease on the Big Screen

For Dil Se, I chose a theatre, which is not large. The film demands silence and attention more than cheers (yes, despite Chaiyya Chaiyya). Sitting among a handful of viewers, the experience felt intimate, almost personal. Next to me was a mother-daughter duo. The daughter, clearly watching it for the first time, whispered in shock during the scene where Amar forcefully kisses Meghna: “How can he do that?” That moment said everything about how the film still provokes questions. Dil Se is not an easy watch; it’s poetic, political, and obsessive. SRK’s Amar represents love as control, obsession and confusion, while Manisha Koirala’s Meghna is a haunting mix of strength and pain.

 

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Preity Zinta’s brief appearance as Preeti brings a sudden breath of tenderness to a story otherwise charged with intensity. Of course, witnessing Shah Rukh Khan dance atop a moving train in Chaiyya Chaiyya was an unforgettable experience. Videos of audiences dancing to it have gone viral for a reason!

Main Hoon Na: Laut Aao, Farah Khan (Come Back, Farah Khan)

It was during Main Hoon Na that I witnessed the audience forgetting they were strangers and dancing to every song together as if it were a celebration. I saw this movie on November 2. So, as soon as Major Ram’s voice was heard, the audience sang ‘Happy Birthday, Shah Rukh Khan’. At that moment, I knew I was about to have the best theatrical experience of my life. There were loud cheers for every character, whether they were the lead, supporting, or cameo. Satish Shah, who recently died, received thunderous applause every time he appeared on screen. Even the dramatic scenes were greeted with whistles and claps.

As the fun end credit scene song began to scroll on screen, I heard a group say, ‘Laut Aao, Farah Khan.’ The director has been on a sabbatical since 2014, following Happy New Year. But, after OSO and MHN, every Hindi film fan knows that the world desperately needs and longs for a Farah Khan film starring SRK!

The experiences were magical, more because I saw these movies in theatres for the first time. I never imagined I’d be able to watch them, a sentiment I’m sure many others share.

The Re-Release Mania & What To Take From It

But it also made me wonder: what has Bollywood done wrong in recent years that this kind of madness is missing from theatres? This is our target audience. This is how much people enjoy cinema. Yes, the love for Shah Rukh Khan heightened the atmosphere inside the cinemas. But this was how Hindi films were frequently celebrated prior to the pandemic. How long will the industry rely on nostalgia to remind people about its existence?

I spoke to Producer and Film Business Expert Girish Johar on the trend of re-releases and how they are successful. Is this trend showing the filmmakers where they are going wrong? Is it working because of nostalgia or because people want such movies more? Girish Johar answered, “I believe it’s a mix of a little bit of everything, but strongly bending on nostalgia. Furthermore, you want to stay relevant. The stars want to stay relevant to the new generation of audiences also and for trade. If the film performs well at the box office, the investments required for its release are minimal this time, but they still exist. If the film performs well, it will definitely contribute to profitability. And third, I believe what happens is the current set of filmmakers. Once filmmakers observe that the new generation is enjoying older films, they will certainly want to recreate those same memorable moments. Those same expressions so that the audiences can come. And while they are watching the new films, they can experience the same set of feelings. So in a way, filmmakers are also learning what probably is missing and learning from their mistakes. So it’s a three-way advantage. Actually.

Do you believe it also serves as a reminder that this is what the audience is craving today? They just want to be entertained? Cinema serves as a means of escape. Do you think that emotional connection is missing in today’s cinema? Johar responded, “To be very honest, we are witnessing a generational change.” From the earlier audience section. We now have millennials and Gen Z watching and coming to two cinemas. And for the earlier audiences, cinema was the only option; now for Gen Z, they have OTT. They have, like, laptops and mobiles, and they have global options available like Netflix, Amazon, Apple TV, etc.”

Girish Johar added, “So a plethora of options are there. But to answer your question, at the core of the heart, it is emotion with a message that connects with the audience worldwide that will work for the audience.”

In a few days, these films will be out of theatres. Will such a large crowd flock to the cinemas for the upcoming Hindi films? This is something to think about. Perhaps the Hindi film audience simply wants films that entertain them and make them believe in their dreams, without being preachy or intense. I’m not saying we need another Om Shanti Om or Main Hoon Na, but the essence and core of what made these films iconic is sorely lacking in most films today. Furthermore, stars felt like stars back then, rather than PR puppets.