Hema Malini stood statuesque in a lovely sari as Shah Rukh Khan in dapper formals spoke of how he could never say "No" to the Dream Girl. She had directed him in Dil Aashna Hai, the first film he signed in Mumbai.
The swan-like neck, the chiselled face and the toned body didn't scream that this actress was pushing 70. As Hema pulled off Synergy, the Indo-Georgian dance and music evening that she put together for Jaya Smriti, the annual tribute she pays to her late mother, it was clear that she was in command over how she presents herself. She still dances, by the way.
One has to rewind to the short purple dress she romped in in Kitna mazaa aa raha hai (Raja Jani, 1972) to realise that the lean look came only with age. Watch Hema in Sharafat chhod di maine (Sharafat, 1970) or in the soulful Mere naina sawan bhadon (Mehbooba, 1976), and you'll see the gay abandon of a heroine at the very top.
In her prime, Hema was quite satisfied to sport no clear jawline, plump upper arms and a trace of prosperity around her waistline. She was successful, much-in-demand and too beautiful to lose sleep over a few extra inches or pounds. But most importantly, she was young.
It changed once she became a mother and the offers to play heroine began to dwindle. The need for a surgical strike was now strong and out went the unwanted ounces.
Let's treat ourselves to a few choice song picturisations to check out the contrast.
Sholay happened at her peak, in 1975, and dancing in the vibrant Holi ke din dil khil jaate hain was the lovely heroine who could carry off extra weight with the arrogance of youth. It gave way to anxiety of age by the time Baghban rolled 28 years later. In the same festive ambience of Holi khele Raghuveera, it was a Hema who knew she had to work at it, that she couldn't take her appeal for granted any longer.
Like Sridevi. Can you associate the almost-gaunt Mom of 2017 with the famous 1983 thunder thighs of Himmatwala ? YouTube and all those music channels on television are a great reminder of how Sridevi struck Hindi cinema in black tights and gold top as Jeetendra hopped around her in Ladki nahin tu lakdi ka khamba hai. The round face and lethal thighs were in evidence whether she danced amidst pots in Tohfa, tohfa, tohfa (1984) or did a Menaka around Rajesh Khanna in Aankhen to kholo Swami in Masterji (1985).
But again, "mommydom" dictated that graceful stardom could be maintained only if the thighs turned shapely. The Sridevi of today is a slim version of the 80s' seductress.
The instances are many. A bit of a tummy danced with Madhuri Dixit in Chane ke khet mein (Anjaam, 1994), Dil dene ki ruth aayi (Prem Granth, 1996) or Dekhe tujhe toh (Koyla, 1997).
A few snide media lines on age showing and Madhuri took herself in hand to compete with the younger and more petite Karisma in Dil Toh Pagal Hai , which came after Koyla. Remaining shipshape has been a priority ever since.
And Neetu and Rekha. Maine tujhe maanga (Deewaar, 1975), Tere phoolon jaisa rang (Kabhi Kabhie, 1976), Aayiye shauk se kahiye (Parvarish, 1977) and several other numbers feature a top-heavy and hip-hefty Neetu Singh. Quite a contrast to today's calorie-conscious Mrs Kapoor.
The long-necked Rekha at age 63 has little in common with the Kaan mein jhumka heroine of Sawan Bhadon, the plump flavour of early 70s.
Perhaps the biggest example of age forcing an actress to abandon her carefree, calorie-"unconscious" days is Kajol. Manish Malhotra and Karan Johar couldn't stifle their chuckles when she flaunted her tummy in Kuch Kuch Hota Hai (1998) But Baazigar (1993), Karan Arjun (1995), in fact, all her films were proof she couldn't care less. It changed once age became a concern.
Hindi screen goddesses have destroyed the middle-age spread.
Bharathi S. Pradhan is a senior journalist and author
