When the gorgeous diva of the 1980s and 1990s Madhuri Dixit was tempted into returning to the silver-screen — a space she once reigned over — post marriage and kids, a few years ago with a Yash Raj Films film title Aaja Nachle, expectations rocketed sky high. Alas, the film tanked, big time and Dixit fled to hearth and home in the United States with egg on her face, promising to return (if ever) only when she recovered properly from this bomb and got a role that was flop-proof!
Smart lady, when she finally returned with family last year and was once again besieged with offers — Bollywood and fans have super-short memories, remember — she got into preparation mode pronto by hiring a new manager and a team of super-sharp professionals who meticulously went about crafting her image as the new-age diva; A to-kill-for-seductively-gorgeous-older woman. Her scintillating item number (Ghagra)with Ranbir Kapoor in the recent super-duper hit Yeh Jawaani Hai Deewani and her glamorous presence in the hugely popular reality show, Jhalak Dikhla Jaa 6, are giant leaps in the right direction. Her hottest rival Sridevi, who also disappeared after marriage to raise two daughters and bask in blissful domesticity, also succumbed to the pull of the big screen, which she once dominated with her spectacular dancing skills, sexy presence and comic skills. Gauri Shinde’s 2012 English Vinglish showcased a totally de-glam Sri offering a powerhouse performance that zoomed the film up, up, up!
Dixie and Sri are not alone. Another very popular heroine of that time, Juhi Chawla is following their excellent example. The original Ms. Bubbly of Qayamat Se Qayamat Tak fame, the vivacious, spirited and chirpy Chawla too leapt into the orange blossoms — marriage and motherhood territory — returning to do ads that suited her image and station in life. She has recently signed on a film, Gulab Gang, where she plays a role a planet away from her cuti-pie image as a conniving politician.
Other leading ladies of the past too — Karishma Kapoor, Raveena Tandon, Sonali Bendre — are threatening to return, or have already done so, with varying degrees of failure. They haven’t been as smart … or lucky!
In the men’s space, the most spectacular surprise that has been sprung is by the once popular debonair chocolate-hero Rishi Kapoor. The romantic Romeo of the seventies and eighties forever pataoing babes in every conceivable hill station, his astonishing turn-around into challenging character roles began with Habib Faisal’s charming commentary of a middle class, value-driven, Delhi-based class teacher in Do Dooni Chaar. Pairing with wife Neetu Singh, he made big waves signaling an exciting and adventurous second innings. Thereafter, he moved from strength to strength, consciously playing roles that could never, ever be imagined to be associated with his la-di-la, sing-dance image. Be it the ruthless pimp Rauf Lala in Agneepath, Dawood Ibrahim in D-Day, a gay college dean in Student of the Year, the colorful Joseph Furtado, in Chashme Buddoor or the latest, satting-fitting shaadi planner and transport agent in Shudh Desi Romance, the roly-poly actor has really got into re-invention mode and is rocking!
Among the present lot, Akshay Kumar and John Abraham need watching. The original Khiladi seems to be smartly balancing off his action roles with off-beat stuff. Be it Oh My God!, Special 26 or Once Upon a Time, Akki has understood that there is both life — and an audience — beyond his slam-bang stuff.
Johnny boy (Mr. Jism, stud and hunk, with hot body and wooden acting) too seemed to have suddenly metamorphosed into something else. Be it Force, the recent Madras Café, he is really turning on the heat with fine performances. Alongside, what is truly commendable is his agenda of producing meaningful cross-over films; small budget projects chasing the big idea and giving audiences exciting alternative cinematic fare. His first production, the amazing Vicky Donor, cost Rs. 5 crores and raked in over Rs.70 crores and a National Award to boot. His latest, Madras Café too is doing very well critically and commercially. On the anvil is another project starring Ayushman Khurana, the entertaining, singing bindaas sperm donor, entitled Hamara Bajaj. May the force be with him …
While all this is interesting, one question remains: why do the oldies want to return after their successful first innings? Also, why do the present stars want to experiment when their image is intact?
Simple. The first is clearly — whether they admit it or not — fatal attraction, Limelight, stardom, arc lights, acting, creative satisfaction for a job well done and appreciated by audiences … these offer a high that is impossible to imagine or describe and can only be felt and experienced. Sure, there is a risk factor, but most oldies are not afraid to take that chance. What can happen? Worst case scenario, flop? However, suppose it works … like Farooque Sheikh’s charming cameo as Ranbir’s father in Yeh Jawaani Hai Deewani? The second reason is playing smart by not putting all your eggs in one basket. Both Akki and John are known for their well-toned bodies and action films. They realize that this has an expiry date and fatigue factor, so why not, (slowly) try and diversify in a fashion that offers creative satisfaction and longevity?
Whatever the reasons, re-invention or fatal attraction (or inspiration from the towering inferno Amitabh Bachchan, whose transition from angry old man to benign, wise anchor in Kaun Banega Crorepati and superbly crafted character roles in movie) more wind beneath the wings.