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The romantic male lead (Nasir Khan) picturizes 3 songs that are also extremely well-wrought I wish I knew who the singer was. Both numbers also feature the fat comic relief male neighbor.
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The second number with this group features an all-girl band dressed in sailor suits. The first one especially shows Western influence in the music and dancing, like big band boogie-woogie. A couple of musical numbers, including the initial one, feature a female singer ("picturized" I suppose) with a chorus of women dancers, all in Western dress. The music by Shanker & Jaikishen is typically great: for me, this if nothing else makes the film worth watching. It proved once again there will never be another Sridevi.Nutan shows much promise (if not the depth and nuance of her later roles) and of course exceptional beauty in one of her earliest films. * “English Vinglish” (2012): Her comeback film. The way she lifts the most mundane of scenes has to be seen to be believed. It features Sridevi at her absolute best. “Judaai” is a crass melodrama directed by the late Raj Kanwar. * “Judaai” (1997): Her last hurrah before she bowed out to play wife and mother. As it often happened, Sri was far superior to the material offered to her. Sridevi played a gender-reversed Amjad Khan’s role in “Sholay” of a woman, who hires mercenaries to avenge the villain Danny Denzongpa. The way she goes from giggling dismissal to shock and finally a breakdown in that sequence, is a textbook of pitch-perfect acting. All through the film Shah Rukh plays ‘I-am-dead’ pranks on Sridevi, so she presumes this is also one of those sick jokes. In this film, there is a sequence where Shah Rukh, playing an army jawaan, is brought home dead. * “Army” (1996): It is the only film that brought Sridevi face-to-face with Shah Rukh Khan. Sridevi played both the mother and the daughter with such distinctive flair that we wondered, could the same actress do so many different spectrums of emotion in the same film? After “Chandni”, Yash Chopra brought her back to the screen in this bold love story of a girl who dares to love a man old enough to be her father. * “Lamhe” (1991): Sridevi, as we all know, is addictive. Pankaj Parashar let the actress have all the fun that she wanted. Though Dilip Kumar and Hema Malini had done the same double role before, Sridevi brought an added zest to the role.
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* “ChaalBaaz” (1989): The same year as “Chandni”, Sridevi wowed movie buffs with her double role as the docile Anju and the tomboyish Manju. Seldom has any Yash Chopra heroine made such sumptuous use of the camera space. The film was an extended showreel of her talent as she danced, sang, giggled and wept for the love of a tragically wheelchair-bound Rishi Kapoor. Thinned down to a chiselled charmer, and sharpening her subtle emotive skills, Sridevi delivered a knockout performance, which straightway propelled her to the top position. * “Chandni” (1989): With this film, Sridevi became a Yash Chopra heroine. If Sridevi’s comic timing in the Charlie Chaplin impersonation sequence was impeccable, she oozed sensuality in that iconic blue chiffon sari in the song “Kate nahin katt te”. Shekhar Kapur made her do everything we always wanted her to. Playing the perky journalist, who hates kids, the actress was just amazing. India” (1987): A turning point in Sridevi’s everlasting romance with the camera. But her presence in the glowing orange chiffon sari dancing to the sound of “Har kisiko nahin milta”, lingers. In Feroz Khan’s “Janbaaz”, she had a brief role as Feroz’s beloved. * “Janbaaz” (1986): It is strange how Sridevi’s legendary reputation is built on songs and dances as much as her breathtaking performances. Does anyone remember anything else about this hideous Harmesh Malhotra creation? * “Nagina” (1986): An awful film, but what an impact! Sridevi as a snake-woman slithering on the floor dancing to Amrish Puri’s music as Lata Mangeshkar sang the chartbuster “Main teri dushman, dushman tu mera”.