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Nobody could have predicted that the untimely death of an actor would cause such an uncontrolled outcry across the country. Despite this, the significance of celebrity-fan connections in India, a country fascinated with movies alongside cricket and politics, is undeniable.

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), tells the strange story of a male admirer and a female celebrity.

Omprakash Makhija a.k.a. Omprakash Makhija a.k.a. Omprakash Makhija Om, as played by Shah Rukh Khan, is a movie buff. He works as a ‘junior artist’ or an extra in commercial films and lives with his elderly mother.

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

Shreyas Talpade’s Pappu, his best buddy, is a staunch supporter of his ambitions to one day become a “star.” Om’s similarly fanciful ambition for a top female star Shantipriya, played by a debutante at the time, Deepika Padukone, goes hand in hand with this “impossible” ideal.

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The film is a stunning and, at the same time, extremely entertaining metatextual take on the Bollywood business. It exposes several flaws and leaks in the industry’s structure, which have become major debates years after the film’s premiere. Aside from that, it focuses on the intricacies of a fan’s connection with a celebrity (this was later addressed in Maneesh Sharma’s Fan in 2016).

What distinguishes Om Shanti Om from Fan is the dual viewpoint it takes on its protagonists’ connection — the bond between a fan and a celebrity, as well as the socioeconomic status gap between a junior artist and a famous.

The term “parasocial connection” was coined by Donald Horton and R. Richard Wohl in 1956 to characterize the tie between a superstar and their admirers. They characterized it as “an illusion of a face-to-face interaction with the performance” that is “similar to those in the main group.” (Horton and Wohl, p. 215, 1956)

Even if the person or performer on the television is someone the fan has never met and is only present in his/her life as an optical illusion, the relationship is intimate.

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Shantipriya is an illusion for Om and a little more than that. He’s only ever seen her in settings from afar and has never interacted with her. So, during the premiere of her film, when her dupatta tangles with the dhaga around his wrist, these songs play in the background:

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

Om’s psychological complexity– his unique passion for a film star– appears to be diluted by the trajectory of a conventional heterosexual Bollywood romance combined with the subtext of a parasocial connection.

On the surface, it appears that he would never be able to have a love connection with Shantipriya since she is married to a producer and the mother of his child.

Then there’s the fact that they both perish in the fire. However, a deeper examination indicates that Om is merely close to Shantipriya’s on-screen fictitious character, much like a fan in a parasocial relationship.

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His personal contact with her is quite brief, and they aren’t even close enough for her to reveal her secret marriage to him. He takes her out on a date once, similar to the meet-and-greet possibilities that individuals come across.

We nearly chuckle at his infantile fantasies of dancing with Shantipriya in movies, chatting to Shantipriya’s poster, and giving a make-believe Filmfare Awards speech, until we realize he is not an average obsessed fan from outside the film business; rather, he works there!

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As a result, one almost believes that his frantic desire to change his surname, motivated by Pappu’s theory that it is impossible to become a top celebrity without an upper-class surname (such as “Kapoor”), is a joke.

That is until it isn’t. Om isn’t quite an outsider because both of his parents worked as junior artists, but he lacks social capital. When he dies, the individual who was meant to tell Om’s family (an employee under Rajesh Kapoor) does not bother to do so.

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This is revealed later in a conversation between Om Kapoor and Pappu, in which Pappu informs him that they were unaware of Om Makhija’s fate. Nobody remembers Om Makhija, and no one cares about his mother, since no one knows or cares about a social outcast, a junior artist.

On the other side, Om Kapoor’s pedigree-son Rajesh Kapoor is everything it takes to be a top star. While Om Makhija’s mother has been searching for her son for years, dozens of people have flocked to the Kapoor home to wish Om Kapoor a ‘Happy Birthday.’

Producing Bollywood: Inside the Contemporary Hindi Film Industry (2012) by Tejaswini Ganti discusses the film industry’s dynastic character, which appears to be “physically replicating itself in all spheres:

creation, distribution, and exhibition” are all terms used to describe the process of creating, distributing, She confirms that a large number of top actors (almost 60%) come from cinema families between the mid-1990s and 2008, indicating that the “hereditary tendency,” as she describes it, appears to be strengthening with time.

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(P. 198 in Ganti, 2012) So, for Om Makhija and the general public, Shantipriya, a top star, will never be a colleague because his parents were not in top positions in the industry, and clearly, that misfortune has something to do with the surname. Om’s desperate acts of love lead to his death, but not to a romantic union with the woman of his dreams.

Ganti emphasizes the film industry’s tight hierarchy, in which stars are given much more advantages and comforts onset than the rest of the cast and crew, emphasizing their “status disparities.” (P. 205-6 in Ganti, 2012)

Om Makhija, a young artist, thus has no role in Shantipriya’s life other than that of a fan. His responses to her death may be seen as those of a devastated lover lamenting the loss of his beloved, but the undercurrent of mourning in a parasocial relationship is still present.

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In reality, the film’s representation of a parasocial relationship takes on the appearance of a silly melodrama, which occasionally overshadows the more essential subject at hand. Societal biases that destroy people’s lives and ambitions, such as Om Makhija’s.

According to research on parasocial connections and grieving, the death of a celebrity may cause bereavement in followers, which can have a significant impact on their cognitive capacities, much like the death of a close relative.

Personal identities of followers are linked to celebrities, as was the case with Om Makhija. (Courbet and Fourquet-Courbet, 2014, pp. 277–277) Like an obsessive lover, his entire existence centered around Shantipriya. As a result, after reliving his former life, Om Kapoor practically has no other motivation but to revenge Shantipriya’s death.

Om, on the other hand, lacks practicality in his efforts to pursue justice for Shantipriya. He chooses to make and star in a film based on Om Makhija’s perspective on Shantipriya, as well as his rebirth and plans to revenge her death.

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He performs this plot in front of the killer at the music launch in order to bring him to awareness and force him to confess his guilt– a modern version of Shakespeare’s classic play-within-a-play cliché.

Mukesh Mehra’s death at the hands of Shantipriya’s ghost, however, is also a retribution for Om Makhija’s death–the death of his dreams and of himself–if it is to be regarded as justice for her murder.

In this sense, the scene at the conclusion where Om Kapoor sarcastically presents Om Makhija to Mukesh Mehra (Arjun Rampal) is crucial: “Tumhari bari bari filmon mein chhote chhote role karne wala ek junior artist,” says Prakash.

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The irony in the remark (which Shahrukh Khan effectively conveys via his voice intonations) is in how a social underdog working for a top producer–someone he didn’t even know–rebels to bring about his demise.

Unfortunately, the method provided for staging such a rebellion is difficult because it is fictional. To earn the clout to bring the producer down, the junior artist had to die and be reborn into luxury.

While the rebirth motif has its own unique place in Bollywood cinema history, and it works fairly well in Om Shanti Om, it also becomes counterproductive in the representation of a hierarchy in Bollywood, where not only are certain dreams dismissed, but also some lives are deemed disposable.

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