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Nobody could have expected that an actor’s untimely death would spark such an outpouring of emotion throughout the nation. Despite this, the importance of celebrity-fan relationships in India, a nation obsessed with cinema as well as cricket and politics, cannot be overstated.

The unusual narrative of a male admirer and a female superstar is told in Om Shanti Om, a 2007 film directed by Farah Khan and starring Shah Rukh Khan and Deepika Padukone (who made her debut with this film).

 

Omprakash Makhija a.k.a. Omprakash Makhija a.k.a. Omprakash Makhija Shah Rukh Khan’s character, Omprakash Makhija Om, is a cinema fanatic. He lives with his elderly mother and works as a ‘junior artist’ or extra in commercial films.

Shreyas Talpade’s closest friend, Pappu, is a firm believer in his goals to one day become a “star.” Om’s equally extravagant aspiration for Shantipriya, portrayed by Deepika Padukone, a debutante at the time, goes hand in hand with this “impossible” ideal.

Om Shanti Om | Trailer | Now in HD | Shah Rukh Khan, Deepika Padukone | A film by Farah Khan

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The film is a visually spectacular and very entertaining metatextual take on the Bollywood industry. It reveals a number of weaknesses and leaks in the industry’s structure, which have sparked heated disputes years after the film’s release. Aside from that, it focuses on the complexities of a celebrity’s relationship with a fan (this was subsequently tackled in Maneesh Sharma’s Fan in 2016).

 

The dual perspective it takes on its characters’ relationship — the tie between a fan and a celebrity, as well as the socioeconomic class divide between a junior artist and a famous — sets Om Shanti Om apart from Fan.

 

Donald Horton and R. Richard Wohl invented the phrase “parasocial connection” in 1956 to describe the bond between a celebrity and their fans. It’s “an illusion of a face-to-face engagement with the performance” that’s “comparable to those in the main group,” they said. (Horton and Wohl, 1956, p. 215)

The bond is close even if the person or performer on television is someone the fan has never met and is solely present in his or her life as an optical illusion.

 

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Om’s Shantipriya is both a delusion and something more. He’s only ever seen her from afar and has never had any interaction with her. So, as her dupatta tangles with the dhaga on his wrist at the premiere of her film, these songs play in the background:

 

“Aayi aisi raat hai,” the character adds, “jo bohot khushnaseeb hai, chaahe jise door se duniya woh mere kareeb hai.”

 

Om’s psychological complexity– his one-of-a-kind love for a movie star– seems to be diminished by the plot of a traditional heterosexual Bollywood relationship with a parasocial connection as a subtext.

 

Shantipriya is married to a producer and the mother of his kid, so it looks that he will never be able to have a romantic relationship with her.

 

Then there’s the fact that they’re both burned to death. A closer look reveals that Om is only a fan of Shantipriya’s on-screen imaginary persona, similar to a fan in a parasocial relationship.

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His personal contact with her is limited, and they aren’t even close enough for her to tell him about her hidden marriage. He once took her out on a date, similar to the meet-and-greet opportunities that people encounter.

 

We almost laugh at his childish thoughts of dancing with Shantipriya in movies, speaking with Shantipriya’s poster, and making a fictitious Filmfare Awards speech, until we discover he isn’t just any crazy fan from the outside; he works in the industry!

 

As a consequence, his feverish desire to alter his surname, prompted by Pappu’s idea that it is impossible to become a top star without having an upper-class surname (such as “Kapoor”), nearly comes off as a joke.

 

That is, until it isn’t any longer. Om isn’t exactly an outcast since both of his parents were young artists, but he lacks social capital. When he dies, the person who was supposed to inform Om’s family (a Rajesh Kapoor employee) fails to do so.

 

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This is disclosed later in a discussion between Om Kapoor and Pappu, in which Pappu tells him that they had no idea what had happened to Om Makhija. Om Makhija is forgotten, and no one cares about his mother, since no one remembers or cares about a social misfit, a junior artist.

 

Rajesh Kapoor, Om Kapoor’s pedigree-son, on the other hand, has all it takes to be a top star. While Om Makhija’s mother has been looking for her son for years, scores of strangers have come to wish Om Kapoor a ‘Happy Birthday.’

 

Tejaswini Ganti’s book Producing Bollywood: Inside the Contemporary Hindi Film Industry (2012) examines the film industry’s dynastic nature, which seems to be “literally repeating itself in all spheres:

 

The phrases “creation,” “distribution,” and “display” are all used to describe the process of making, disseminating, and exhibiting artwork. Between the mid-1990s and 2008, she reveals that a substantial percentage of top actors (almost 60%) originate from film families, showing that the “hereditary tendency,” as she defines it, seems to be stronger with time.

 

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(Ganti, 2012, p. 198) So, Shantipriya, a top celebrity, can never be a colleague for Om Makhija and the general public since his parents were not in high positions in the business, and plainly, that tragedy has something to do with the surname. Om’s frantic actions of love result in his death, but not in a romantic union with his ideal lady.

 

Ganti underlines the film industry’s strict hierarchy, highlighting how stars are given much more privileges and comforts from the start than the rest of the cast and crew, underlining their “status discrepancies.” (Ganti, 2012, pp. 205-6.)

 

Om Makhija, a young artist, so plays just the function of a fan in Shantipriya’s life. Although his reactions to her death resemble those of a bereft lover grieving the loss of his beloved, there is still an undertone of grief in a parasocial relationship.

 

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In actuality, the film’s portrayal of a parasocial relationship resembles a foolish melodrama, sometimes overshadowing the more important matter at hand. Societal prejudices, such as Om Makhija’s, damage people’s lives and dreams.

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According to studies on parasocial relationships and grief, the death of a celebrity may generate mourning among fans, which can have a major influence on their cognitive abilities, similar to the loss of a close family.

 

As was the case with Om Makhija, followers’ personal identities are tied to celebrities. (Courbet and Fourquet-Courbet, 2014, pp. 277–277; Courbet and Fourquet-Courbet, 2014, pp. 277–277) His whole life revolved on Shantipriya, as if he were an obsessed lover. As a consequence of reliving his old life, Om Kapoor has no choice but to seek vengeance for Shantipriya’s murder.

 

Om, on the other hand, is impractical in his pursuit of Shantipriya’s justice. He decides to direct and feature in a film on Om Makhija’s viewpoint on Shantipriya, as well as his rebirth and vengeance plans.

 

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In a contemporary version of Shakespeare’s famous play-within-a-play cliché, he plays this scenario in front of the murderer at the music launch in order to bring him to consciousness and compel him to confess his crime.

 

If Mukesh Mehra’s death at the hands of Shantipriya’s spirit is to be considered justice for Om Makhija’s murder, it must also be considered a payback for Om Makhija’s death–the death of his dreams and of himself.

 

The sequence at the end when Om Kapoor sarcastically introduces Om Makhija to Mukesh Mehra (Arjun Rampal) is essential in this regard: Prakash states, “Tumhari bari bari filmon mein chhote chhote part karne wala ek junior artist.”

 

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The irony in Shahrukh Khan’s comment (which he brilliantly expresses via his voice intonations) is in how a social outcast working for a top producer–who he didn’t even know–rebels to bring about his destruction.

 

Unfortunately, since the approach is fictitious, mounting such a revolt is difficult. The junior artist had to die and be reborn into luxury in order to get the clout to bring the producer down.

 

While the rebirth metaphor has a special position in Bollywood movie history, and it works quite well in Om Shanti Om, it also becomes counterproductive in the portrayal of a hierarchy in Bollywood, where not only are some aspirations disregarded, but also certain lives are thought expendable.


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