In a surprising development, Indian cinema is witnessing an unusual biopic competition, as two significant films about Dadasaheb Phalke—the Father of Indian Cinema—are in the works. One film features Aamir Khan, while the other is said to include Jr. NTR. Aamir Khan has formally collaborated with Rajkumar Hirani for a biographical film that captures the essence of Dadasaheb Phalke’s life.
Aamir Khan and Rajkumar Hirani are collaborating on a profoundly emotional, slice-of-life biopic that is expected to be both grounded and artistically rich, with support from Phalke’s grandson and a Hollywood VFX company. Production is set to commence in October 2025, providing them with a significant advantage.
Meanwhile, Jr. NTR and SS Rajamouli are working on a pan-India film titled Made in India, which is still under development but gaining traction. If it reflects Rajamouli’s previous successes such as RRR and Baahubali, audiences can anticipate grand scale, mythic narratives, and widespread appeal.
Hirani’s film focuses on intimate character development, whereas Rajamouli’s work is characterized by its epic and dramatized nature, allowing them to appeal to distinct audience demographics. Provided they are not released in close proximity—preferably 6 to 12 months apart, each film can thrive independently.
The global growth of Indian cinema, particularly in the realm of historical and cultural narratives, suggests that both films could find their niche, especially with the influence of streaming services. However, period dramas come with high production costs, and if one film begins to falter in terms of production or public interest, producers may become reluctant to continue. Should both films follow a similar narrative trajectory without offering a unique perspective, there is a risk of audience fatigue.
The competition between Aamir and Hirani against NTR and Rajamouli represents a significant clash; however, the box office typically does not favor two major biopics centered on the same individual unless they are distinctly differentiated.
It is evident that Dadasaheb Phalke’s legacy, which has long awaited a significant acknowledgment, is finally receiving the recognition and respect for its merits. Regardless of whether both films succeed or only one prevails, the revitalized public interest in the origins of Indian cinema is a positive outcome.
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