My Name is Khan, although narratively based mostly in the USA, has to be understood and theorized within and around the framework of Bollywood; the Urdu-Hindi film history and its transnational circuits of production, distribution, and consumption; Shahrukh Khan’s star narrative, and the determining context of the Indian political scene along with that in the US and its “War on/of Terror.” Even prior to the Indian Partition in 1947, most Muslim artists had what Sa’adat Hasan Manto (1912-1955) mockingly called “shuddified” or Hinduized names – Dilip Kumar for Yusuf Khan, Madhubala for Mumtaz Begum Jahan Dehlavi (1933-1969), Meena Kumari for Mahjabeen Bano (1932-1972), or the more ambivalent (non-halal) Johnny Walker for Badruddin Jamaluddin Qazi (1923-2003) and Nargis for Fatima Rashid (1929-1981). At the contemporary moment, the biggest stars of the Urdu-Hindi film industry in India are Khans: Shahrukh, Salman, Aamir, Saif Ali et al. It might therefore be tempting to conclude that the Bombay film industry is indeed a level playing field. The Khans are all Muslims, at least nominally. Cinematically, they enact, with a few notable exceptions, Hindu characters. Culturally, the vigorous fanzines of Bollywood idolize them as comfortably suave denizens of metropolitan Bombay[Mumbai] with understated or unexpressed Muslimness — their Hindu wives, girlfriends, or mothers facilitating this imagined assimilation or passing. Of course, for regular, non-filmi (“film-related” in Urdu-Hindi) Muslim men, this assimilation through marriage to Hindu women is generally frowned upon and can have potentially fatal consequences.
My ruminations on My Name is Khan, like a typical Urdu-Hindi film, lengthy and replete with intermissions, are an entryway into not just the film as cinematic text, but also its complex and rich transnational contexts that must be read in tandem. In a series of six thematic posts, with this as the first, I will expand on:
(i) The (B)Onus of Muslimness in Bollywood
(ii) Shahrukh Khan and the Pound of Flesh: the Cost of Stardom
(iii) Placating the gods of Citizenship: the Ritual Sacrifice
(iv) A Suitable Boy, “Decent” People, and Names that Pass
(v) The Price of Translating a Narrative and its Context
(vi) Outing the Muslimness, Finally: Some Viewing (and Hearing) Pleasures
Continue reading “The King is Out, His Name is Khan: Long Live the King (Part I)”