Two fathers, two lovers, and of course, a train. This is the ending to Dilwale Dulhania Le Jayenge (DDLJ) (1995), a ‘seminal text about diasporic representation and consumption of Indian popular culture’ (Mishra, 2002: 250). The choice of setting, a train station, is critical though, and so is the train that arrives to carry away … Continue reading Genre, Iconography & Ideology: Imaginings of the Train in Indian Cinema – Part 6: Stardom and the Train – Shahrukh Khan