Kajol

Simran Singh does not find Raj Malhotra nearly as amusing as he finds himself in Dilwale Dulhania Le Jayenge (1995). Kajol lets the irritation register, even as attraction begins to complicate it. Shah Rukh Khan keeps supplying the charm, but she makes us wait for Simran to decide how much of it she wants. She is a persuasive romantic lead because she lets us see that decision being made.

That pairing was already taking shape in Baazigar (1993), an early success before Simran made her a star. Kuch Kuch Hota Hai (1998) gave her the spirited Anjali Sharma and another substantial part opposite Khan. Such young women became a recurring role, with changes of feeling that gave her more to do than simply be lively. The risk is that their energy becomes something a film expects her to provide regardless of what else is happening.

With Simran, the change happens gradually enough to be believed. We were moved by her growing affection because Kajol never made us feel that she had been instructed to stop being annoyed. Khan is better when he quietens down and gives her response time to register. The film's prolonged family negotiations and indulgence of Raj's jokes remain drawbacks, but their pauses together make the evening worth giving over to it.

She can also push the energy too hard. In the ensemble family drama Kabhi Khushi Kabhie Gham (2001), her timing can be precise, yet the effort to be outgoing sometimes feels forced. More selective work followed, including Fanaa (2006) and My Name Is Khan (2010). In the latter, she reunited with director Karan Johar and Khan for a performance whose emotional directness is worth seeking out.

Start with Dilwale Dulhania Le Jayenge, provided there is patience for the songs and family quarrels. Watch how often Kajol lets affection and annoyance remain visible at the same time. The leading man may be pleased with himself; she is under no obligation to agree.