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Evergreen Actress of Bollywood -Rekha (1 Viewer)
As Rekha rose to commercial fame and success, she became bankable enough to carry films on her own. Khubsoorat (1980), Umrao Jaan (1981) and Khoon Bhari Maang (1988) aren’t just ready examples of this, but also exhibit Rekha’s versatility. She could play the effervescent girl next door, the coquettish courtesan dripping with tehzeeb and saleeka and the scorned woman out for revenge with equal aplomb.
She could pull off family dramas (Agar Tum Na Hote, 1983) and feminist stories (Phool Bane Angaray, 1991) with equal dexterity. She was the very embodiment of femme fatale, wooing audiences with generous doses of her thumkaas (‘Salaam-e-ishq meri jaan’) and her bewitching eyes (‘Inn aankhon ki masti ke’). Be it as a lead actor or in small character roles (Zubeidaa, 2001 or Lajja, 2001), she left a mark no matter what the size of her acting canvas.
She was very much in demand with filmmakers from outside the commercial mainstream too. Be it Shyam Benegal’s Kalyug (1981), or Govind Nihalani’s Vijeta (1982), or Gulzar’s Ijaazat (1987), Rekha put in a number of convincing performance while playing different characters – wife, mother, spurned lover.
Between these films, there was Girish Karnad’s Utsav (1984). Rekha played the rather erotic courtesan character of Vasantsena here, a continuation of her roles in Muqaddar Ka Sikandar and Umrao Jaan to some extent, but where she flaunted her skin and sexuality like-never-before. Utsav didn’t do well at the box office, but one suspects that Rekha made her place as a pin-up star solely on the strength of that sizzling role. Not bad for a woman whose dark complexion and rotund shape were the subject of ridicule in her early years.
The 1990s saw producers and filmmakers milk Rekha’s sensuality quotient, casting her in films like Khiladiyon Ka Khiladi (1996) and Aastha (1997). Both films went against convention in that Rekha played a negative character in the Akshay Kumar-starrer and a married woman turning to prostitution in the Basu Bhattacharya film. More importantly, these roles came to Rekha when she was way past her heyday. Yet, she was pulling in audiences solely on account of her ‘oomph’ factor while being well into her forties. She was a trailblazer in this regard.
The last phase of Rekha’s career saw her play character roles such as the Kama Sutra teacher in Mira Nair’s film by the same name (1996) and mother to Hrithik Roshan in Koi… Mil Gaya (2003). It wasn’t exactly the kind of swansong that was expected from an actor of her caliber, but she had done enough before that to carve her own unique niche in Hindi cinema.
She could pull off family dramas (Agar Tum Na Hote, 1983) and feminist stories (Phool Bane Angaray, 1991) with equal dexterity. She was the very embodiment of femme fatale, wooing audiences with generous doses of her thumkaas (‘Salaam-e-ishq meri jaan’) and her bewitching eyes (‘Inn aankhon ki masti ke’). Be it as a lead actor or in small character roles (Zubeidaa, 2001 or Lajja, 2001), she left a mark no matter what the size of her acting canvas.
She was very much in demand with filmmakers from outside the commercial mainstream too. Be it Shyam Benegal’s Kalyug (1981), or Govind Nihalani’s Vijeta (1982), or Gulzar’s Ijaazat (1987), Rekha put in a number of convincing performance while playing different characters – wife, mother, spurned lover.
Between these films, there was Girish Karnad’s Utsav (1984). Rekha played the rather erotic courtesan character of Vasantsena here, a continuation of her roles in Muqaddar Ka Sikandar and Umrao Jaan to some extent, but where she flaunted her skin and sexuality like-never-before. Utsav didn’t do well at the box office, but one suspects that Rekha made her place as a pin-up star solely on the strength of that sizzling role. Not bad for a woman whose dark complexion and rotund shape were the subject of ridicule in her early years.
The 1990s saw producers and filmmakers milk Rekha’s sensuality quotient, casting her in films like Khiladiyon Ka Khiladi (1996) and Aastha (1997). Both films went against convention in that Rekha played a negative character in the Akshay Kumar-starrer and a married woman turning to prostitution in the Basu Bhattacharya film. More importantly, these roles came to Rekha when she was way past her heyday. Yet, she was pulling in audiences solely on account of her ‘oomph’ factor while being well into her forties. She was a trailblazer in this regard.
The last phase of Rekha’s career saw her play character roles such as the Kama Sutra teacher in Mira Nair’s film by the same name (1996) and mother to Hrithik Roshan in Koi… Mil Gaya (2003). It wasn’t exactly the kind of swansong that was expected from an actor of her caliber, but she had done enough before that to carve her own unique niche in Hindi cinema.
Pannu khan
Experienced Member
ছেলেবেলায় কত বার রেখার ছবির উপর ফেলসি তার হিসাব নেই
amiyaroy300
Member
তার মতো নায়িকা অনেক কম এসেছে।
kalidas123
Member
মাইয়াটা পুরাতন হইলেও মারাত্মক সুন্দরী
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