The prospect of Aamir Khan and Rajkumar Hirani reuniting on the cinematic stage had already sent waves of anticipation rippling through Bollywood and beyond. After all, the two maestros have previously collaborated on films that have become cultural touchstones, such as 3 Idiots (2009) and PK (2014). Both movies not only achieved commercial success but also established a unique cinematic signature—a delicate equilibrium of humour, poignant emotion, and thoughtful social commentary. Naturally, any announcement regarding their next venture would ignite fervour among cinephiles, journalists, and industry insiders alike.
This time, the project in question is a biopic centred on the life and legacy of Dadasaheb Phalke, often hailed as the father of Indian cinema. The narrative promises to celebrate the visionary filmmaker whose passion and perseverance laid the foundations of an industry that today constitutes one of the largest film ecosystems in the world. For fans of Aamir Khan, known for his meticulous approach to roles and projects, and Rajkumar Hirani, celebrated for his uncanny ability to blend entertainment with existential inquiry, this biopic represented an extraordinary convergence of talent and vision.
However, the excitement has now encountered a significant, albeit temporary, hiccup. Sources close to the project have revealed that the film, which was originally scheduled to commence shooting in October 2025, has been postponed indefinitely. The reason? Creative differences regarding the script, which Aamir Khan reportedly felt required substantial refinement before he could commit to the project.
According to insider reports, the script, co-written by Hirani and his long-time collaborator Abhijat Joshi, initially failed to capture what Aamir considers the quintessential Hirani touch. Aamir is known for his discerning eye and exacting standards. Having established a reputation for championing stories that combine entertainment with depth, he reportedly felt that the script did not possess enough compelling elements to warrant a theatrical experience. Specifically, the feedback indicates that Aamir found the draft lacking in humour—a core hallmark of Hirani’s storytelling style—and that the narrative leaned too heavily into melodrama without offering moments of levity or comic relief.
“It was a shock to Raju and Abhijat,” a source disclosed. “They were expecting a positive response, given the calibre of the team involved. But Aamir’s meticulous nature means he scrutinises every element of a script, and he felt that the current draft would not resonate with audiences in the way he envisioned. As a result, he requested a rewrite.”
This revelation is significant for several reasons. Firstly, it underscores the uncompromising standards that Aamir Khan brings to the table. Unlike many actors in the industry who may prioritise schedules, remuneration, or the commercial viability of a project, Aamir has consistently demonstrated a commitment to quality and authenticity. From Lagaan (2001) to Dangal (2016), his career has been marked by a willingness to invest time, energy, and resources to ensure that the final product meets both his expectations and those of the audience.
Secondly, the postponement sheds light on the collaborative dynamics between Aamir and Hirani. Both are celebrated for their meticulous approach, yet their working styles differ subtly. Hirani’s films often balance humour, emotion, and social commentary seamlessly, creating stories that are simultaneously entertaining and thought-provoking. Aamir, on the other hand, approaches projects with a near-scientific rigour, often immersing himself in research, workshops, and extensive rehearsals. While both share a vision of crafting impactful cinema, the difference in their immediate creative instincts may have prompted the decision to pause and recalibrate.
The implications of this pause are far-reaching. For one, the original timeline for filming, set to begin in October 2025, is no longer feasible. The biopic, which had already generated buzz and speculation in media circles, will now experience a delay that could affect its eventual release date. While such postponements are not uncommon in the industry, particularly for projects of this magnitude, the public and industry expectations were already heightened, given the pedigree of the team involved.
Meanwhile, Aamir Khan has reportedly resumed his search for alternative projects. Sources suggest that he is listening to scripts from a wide array of filmmakers across the Indian film industry. This proactive approach is consistent with Aamir’s pattern of exploring diverse roles and narratives, ranging from biographical dramas to socially relevant stories, each chosen with painstaking deliberation.
Interestingly, the temporary halt also sheds light on the pressures of filmmaking in contemporary Bollywood. Unlike previous decades, today’s cinema must cater to a highly discerning and digitally connected audience. With access to global content and ever-evolving tastes, viewers expect narratives that are fresh, emotionally resonant, and thoughtfully executed. For filmmakers of Hirani and Khan’s stature, this translates into a high-stakes environment where even minor deviations from a story’s potential can prompt reassessment and rewrites.
The Dadasaheb Phalke biopic itself is an inherently ambitious undertaking. Biographical films are notoriously challenging, requiring a balance between factual accuracy and compelling storytelling. In the case of Phalke, the narrative is particularly complex: it spans a period when Indian cinema was in its infancy, marked by technological limitations, financial uncertainty, and cultural conservatism. Capturing the essence of Phalke’s vision while making it accessible and engaging for modern audiences is a delicate task, and the script must therefore reflect both historical fidelity and contemporary sensibilities.
Hirani, known for his deft handling of emotional narratives, will likely approach this rewrite with his signature style. Past successes like Munna Bhai M.B.B.S. (2003) and Sanju (2018) demonstrate his ability to imbue characters with relatability, humour, and warmth, even within the constraints of real-life events. Joshi’s involvement ensures that the dialogue and structure maintain narrative integrity, but the need to incorporate Aamir’s insights suggests a more collaborative approach than initially anticipated.
Industry observers also note that Aamir’s decision to pause the project reflects a broader trend in Indian cinema: the growing emphasis on script-driven films over star-driven spectacles. While star power remains influential, the modern audience increasingly rewards well-crafted narratives, nuanced performances, and innovative storytelling techniques. By insisting on a script rewrite, Aamir reinforces the notion that content quality is paramount, signalling a commitment to storytelling that goes beyond mere commercial calculations.
The delay may also impact other potential collaborations. Reports indicate that a project with Lokesh Kanagaraj, another filmmaker celebrated for his distinct narrative style, is also on the back burner. While there is no indication of conflict or creative friction in that collaboration, the timing of Aamir’s commitments appears to have necessitated a pause. Fans will thus need to exercise patience, awaiting further announcements regarding both projects.
For audiences, the news may be disappointing, but it also offers a glimpse into the rigorous creative process that underpins high-profile cinematic ventures. Film production, especially of this scale, involves multiple stakeholders, including actors, directors, writers, producers, and technical crews. The alignment of vision, timing, and execution is critical, and any deviation from this equilibrium can result in delays, rewrites, or even shelving of projects. In this context, the postponement is less a setback and more an illustration of the meticulous care with which Aamir and Hirani approach their craft.
Moreover, the industry’s response to the news has been largely supportive. Colleagues and commentators have praised Aamir’s insistence on quality, recognising that such decisions, while inconvenient in the short term, ultimately serve the long-term interests of audiences and cinema itself. Similarly, Hirani’s track record suggests that the rewrite will likely produce a script that honours both the legacy of Dadasaheb Phalke and the creative expectations of the team.
In conclusion, the postponement of Aamir Khan and Rajkumar Hirani’s Dadasaheb Phalke biopic is a multifaceted story—one that combines creative deliberation, industry pressures, and the high standards of two of Bollywood’s most revered figures. While the project will take longer to reach audiences than initially expected, the delay underscores a commitment to excellence, authenticity, and cinematic integrity. Fans can rest assured that when the biopic does eventually hit the screens, it will reflect the painstaking care and creative rigor that both Aamir and Hirani are renowned for.
For now, audiences must exercise patience, knowing that the wait promises a film worthy of the immense legacy it seeks to portray. Meanwhile, Aamir Khan’s hunt for new stories continues, and the coming months may bring exciting new announcements from the actor who has consistently redefined the boundaries of Indian cinema.
