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GLAMOROUS DIVA OF YESTERYEAR: REKHA

8. To drive her blues, Rekha loves watching the classic Kishore Kumar-Sunil Dutt-Mehmood comic caper Padosan.

9. Laura Branigan, Barbara Streisand, Bryan Adams, Whitney Houston and Sting are some western singers she enjoys listening to, besides of course, good old Hindi music.

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GLAMOROUS DIVA OF YESTERYEAR: REKHA

10. Her late dog Pisti, got as much press mileage as its mistress. The little pomeranian was supposedly treated like Rekha's very own baby and given VIP treatment. Now, she pets a cat called Bhaiyyu.

11. Rekha intrigues everyone. But she herself finds the likes of Late Indira Gandhi and Oprah Winfrey commendable.

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GLAMOROUS DIVA OF YESTERYEAR: REKHA

26. The versatile actress has been honoured time and again with prestigious awards like Filmfare award of best actress for Khubsoorat, National Award for film Umrao Jaan, Filmfare award for best actress for Khoon Bhari Maang, Filmfare award for best supporting actress for Khiladiyon Ka Khiladi. She was also awarded the UP award for the best kathak dancer in Hindi films by the King of Kathak, Pandit Lachchu Maharaj.

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GLAMOROUS DIVA OF YESTERYEAR: REKHA



1) UMRAO JAAN: 1981 An all time classic, featuring in most of the International Movie festivals showcasing Indian cinema, Umrao Jaan was Rekha and Rekha was Umrao Jaan. The pain and pathos of the life of the 19th century poetess was brought alive by what is arguably Rekha’s best performance till date, and the one that got her the much deserved National Award. The range of emotions displayed in her portrayal were ably helped by another career best performance – Asha Bhosle’s sensual vocals.

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GLAMOROUS DIVA OF YESTERYEAR: REKHA



2.KHUBSOORAT(1980): Rekha’s flair for comedy was never properly exploited except for Khubsoorat. Director Hrishikesh Mukherjee cast Rekha as the impish girl in a middle class family who takes on her sister’s in-laws. The performance was remarkable for the natural sense of timing, especially in the scenes with Ashok Kumar and Dina Pathak. The movie got her the Filmfare award.

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GLAMOROUS DIVA OF YESTERYEAR: REKHA



3.GHAR(1977): Much beforeTabu, Rekha was the only glamourous mainstream commercial actress who who could morph into a middleclass housewife with as much of effort as changing clothes. Ghar was her first fine-tuned performance where she was paired with then hubby (?) Vinod Mehra, as a housewife undergoing mental turmoil after being gangraped. Rekha handled the role with amazing sensitivity and the scenes with Vinod Mehra are amongst the most believable couple scenes I have seen on screen.

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GLAMOROUS DIVA OF YESTERYEAR: REKHA



4.MUKADDAR KA SIKANDAR(1979): A role prototypical of the roles that directors loved to cast her in, Rekha’s role as the sacrificing courtesan was supposed to be a cameo, but the blazing intensity of her scenes with paramour Amitabh, coupled with the ever popular mujra ‘Salam-e-Ishq’ helped her upstage Rakhee who was the main heroine of the movie. Many of her scenes of unrequited love in this movie find an echo in last year’s Chanramukhi portrayal by Maduri in Devdas.

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GLAMOROUS DIVA OF YESTERYEAR: REKHA



5.KHOON BHARI MAANG(1988): One of the numerous comebacks in her career (her four decade long career is chequered with lulls followed by phoenix-like comebacks), Khoon Bhari Maang saw Rekha portray the role of a plain-jane housewife whose husband tries to kill her and how she takes revenge. A remake of ‘Return to Eden’, this movie offered her the chance to contrast her acting and appearance before and after a supposed plastic surgery which helps her alter her appearance. The powerful author backed role helped her win her second filmfare award against nominations by gen-next stars like Madhuri and Juhi.

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GLAMOROUS DIVA OF YESTERYEAR: REKHA



6.IJAAZAT(1986): Though relationships were her forte, eyebrows were raised when Gulzar cast her as the wife as opposed to her usual other woman roles, in this brilliant movie. Pitted against the incredible Naseerudin Shah and the elfin Anooradha Patel, this was a performance remarkably restrained and underplayed by Rekha. The drama and undercurrents were as effectively conveyed in the silences as in the dialogues.

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