50 Heroines: Filmfare cover: Rekha dominates the 1980s

 50 Heroines: Filmfare cover: Rekha dominates the 1980s

Rekha: Filmfare's Most Frequent Cover Girl

Not sure Filmfare itself has an archive of all her covers. 

Rekhaon Filmfare cover. 

Bollywood's favourite celebrity photographer: Rakesh Shreshta

The only reason I know of Rakesh Shrestha is because of magazine credits in the late 1980s and early 90s of Bollywood based film magazines-- somehow, all my favourite images (particularly those of Sridevi, Manisha Koirala, on occasion Rekha) were by this mysterious man who seemed to have access, a deep friendship with ALL the tops stars of their time. Very little is known about him publicly... which might be his wish, but we wanted to secure his status as one of the greats that percolated Mumbai film industry and the juggernaut that is Bollywood.  

So here's a mini dive. The once prominent Indian still photographer is best known for his extensive work in Bollywood, where he captured publicity stills and special photography for over 600 films, making him a prominent part of not just film journalism, but films itself.

Born on October 5, 1956, in Bombay (now Mumbai) to a family of Nepali origin, he was raised in the city which would be synonymous with the film capital of the world. A commerce graduate, he initially worked in a colour lab handling accounts before transitioning to photography. Without formal training or assisting others, he started in the early 1980s with a modest camera, initially doing urgent passport photos and building confidence through persistence and self-taught skills.

His breakthrough came after persistently approaching actress Neetu Singh on film sets, eventually shooting her for a magazine cover that launched his career. This led to long-term collaborations with major stars, including Rekha (with whom he worked extensively starting around 1981 and praised for her professionalism, creativity, and technical knowledge of lighting/makeup), Aishwarya Rai Bachchan (whom he called one of the most beautiful actresses he photographed), Sridevi, Jackie Shroff, Sanjay Dutt, and many others.

Notable film credits include still photography for Chandni (1989), Lamhe (1991), 1942: A Love Story (1994), Vaastav: The Reality (1999), and others, often for major productions like Yash Raj Films.

He built a successful career through charm, persistence, and creating comfortable environments for stars. After the death of his first wife, Jean, in 2009, he significantly slowed down and largely stepped back from active work to support his son Rohan Shrestha’s photography career (avoiding competition for assignments) and focus on family. He has a second son, Rihaan, from his later marriage.

Shrestha is remembered as a self-made industry veteran who documented key eras of Hindi cinema through his lens. 

In the west, most photographers recap their portfolio in mighty coffee table books and so far, Shreshta has resisted the temptation to publish his incredible work over the past 40 years. One imagines the sheer volume of negatives and series of images of stars to be monumental, a herculean task awaits. We all live in hope he'll publish a book that's not only a retrospective of his personal musings and muses, but an archive of some of the greatest stars that came and went in the transient space that is Bollywood. Stars shine and fade, supernovas are forever-- Rakesh Shreshta in capturing many celebrities is at risk of being one himself. 

Aishwarya Rai in Kandukondain Kandukondain (2000)

Released on 5 May 2000, Aishwarya Rai's most flawless performance in Tamil cinema is in the much-loved Kandukondain Kandukondain (2000).

An almost flawless film, the movie is entertaining and a clever Indianised adaptation of a classic novel. Ash, 26, looks and acts so well in this Tamil language re-telling of Sense and Sensibility. 

Taal 2 without the original cast? No thanks. No Aishwarya Rai. No Anil Kapoor. No Akshay Khanna and No AR Rehman? Oh no!

Earlier this week, news filtered through that Taal 2's sequel is in the works. A collective groan rippled through the net - esp by those who know of the industry. 

At age 81, once a prominent film maker (both as producer and director), Subhash Ghai (born January 24, 1945) hasn't had a hit film since...Taal (1999), so a late sequel is unsurprising, if not unwarranted. 

A big commercial success in India and overseas, after that, Ghai has been behind one mega flop after another, including, Yaadein (2001), Kisna (2005), Black & White (2008), the painful Yuvvraaj (2008), Kaanchi (2014), and Hero (2015), all were mostly flops or disasters at the box office. Some might say otherwise about Hero - but really, no.  

Ghai has largely stepped back from directing big theatrical films since then, regaling others on recent podcasts and interviews of his glory days in the 1980s and 90s.  The magical Midas touch, the showman tag he earned... all but gone, as he lives of the faded glory of being once the most powerful producer in India. Famously ill-tempered, who spoke in a rather unique manner with his broken English. It didn't matter because he was fluent with the idiom of Hindi cinema, particularly commercial cinema. Great music, great show-piece song and dance routines, aesthetics, and even choreographed violence. He knew what mattered; mothers, mother India, and music!  Throw in some sensuality, iconic characters with catch phrases and a pacing that glossed over any errors or logic. 

His more recent involvement has been as a writer/producer, notably with 36 Farmhouse (2022), which sort of succeeded on OTT (described as a "silver jubilee hit" in terms of viewership)... but really, who can tell? Those numbers are not open to public or accounting scrutiny! Anyone at an online platform can state a film or show got more views than Superbowl - how can one corroborate it?! The film was almost universally panned (apart from the performances of the underpaid Sanjay Mishra and Vijay Raaz!) but the PR insistence that it was a ratings bonanzas makes one... suspicious. 

Ghai always had a great sense of music. Now he's gone the SLB way! 

Ghai relying on the IP and leaning heavily on the memories of his last blockbuster, by announcing a sequel to Taal is... a shoulder shrug. Sure, its making a few headlines now, but as a director, Ghai has had a string of theatrical flops in the 2000s–2010s (roughly 4–6 consecutive underperformers in big releases from Yaadein onward, depending on how you count producer-only credits or smaller films). 

He has not had a major theatrical directorial success in over 25 years. Ghai remains active in the industry as a producer, mentor, and occasional writer, and he is still respected for his earlier blockbuster era (e.g., Karz, Hero, Ram Lakhan, Khalnayak, Pardes)... but he is so out of touch now, and his constant denial of his fiascos when the writing is on the wall... is pitiable. 

We celebrate the man for his vast achievements of days long gone. He needs to pass the mantle on, perhaps as mentor and let new gen write, direct (a physically taxing job and Ghai has been looking all of his eight decades). Even Rakesh Roshan hung up his boots - and he hasn't had a flop in eons! 

Ghai is stepping on the ignoble footsteps of Dev Anand (who famously had only flops the last four decades of his life, who made films that got progressively or should we state regressively worse)... that might all but eclipse his legacy.

Taal worked for the magic of its music, Aishwarya Rai's epic beauty, the casting, writing and direction of Subash Ghai. Did I mention music? But he was 54 then, is the octogenarian willing to take on this new gen? Not only the new gen of audiences but new gen cast and crew who are no longer willing to work unethically long hours for nominal pay?! We're about to find out!

Aishwarya Rai Bachchan

Rumours have it that Aishwarya Rai Bachchan will attend her first Met Gala this year. Lord in heaven, let her not wear something insane... 
 

The fake AI pic of Aishwarya Rai Bachchan and Abhishek Bachchan

 

Fake AI Aishwarya Rai pic

As she seems to make one dreadful misstep after another when it comes to sartorial selects, makeup and hair, self-proclaimed stylists with the aid of AI have repackaged Aishwarya Rai Bachchan in more elegant ways that the red carpet monstrocities she has worn in recent times. 

Ah the eye rests at last. Just a simple black ensemble for the preternaturally precious one. 
 

Aishwarya Rai Bachchan in Sabyasachi

Aishwarya Rai in icy blue: The face, the eyes, the icon

Only the first picture is real, the other are AI manipulated hallucinogens of what Aishwarya Rai would look like in different poses. The fakes are getting better and better with each passing day. Tragically. 

 

Deepike Padukone at the TIME 100 Red Carpet

 

Aishwarya Rai on the sets of Dhai Akshay Prem Ke

 

Young Aishwarya Rai in denim shorts: Supermodel in Mumbai

Young Aishwarya Rai during her modeling days. 

Aishwarya Rai in Gladrags: 90s sizzling cover girl

Jeans: Shankar’s Ambitious 1998 Tamil Blockbuster with Stunning Aishwarya Rai: A Hit in Tamil, Flop in Hindi

 

In the spring of 1998, Tamil cinema witnessed one of its most extravagant productions to date with the release of Jeans, a Tamil-language romantic comedy written and directed by the visionary S. Shankar. 

Premiering on April 24, 1998, the film arrived as a high-stakes gamble, boasting a then-record budget of approximately ₹20 crore. Produced by Ashok Amritraj and Dr. Murali Manohar (with Sunanda Murali Manohar), it aimed to blend family drama, romance, and globe-trotting spectacle in a story centered on identical twins and the complications of arranged marriages. 

The cast featured Prashanth in a dual role as the brothers Viswanathan and Ramamoorthy (also referred to as Vishu and Ramu in some contexts), with Aishwarya Rai essaying the dual parts of Madhumitha and Vaishnavi. Supporting players included legendary Malayalam actress Lakshmi, Radhika Sarathkumar, Nassar, Senthil, and Raju Sundaram. A.R. Rahman composed the memorable soundtrack, while Ashok Kumar’s cinematography captured lavish sequences, including one extravagant song reportedly filmed with visuals evoking the seven wonders of the world—a technical feat that underscored Shankar’s reputation for pushing cinematic boundaries in Tamil cinema. 

At the time of release, Aishwarya Rai, was 24 turning 25—a fresh face transitioning from modeling and her 1994 Miss World crown into acting. This marked one of her earliest major screen roles following her debut in critically acclaimed, Iruvar (1997), which met a lukewarm response by the audiences. Her co-star Prashanth, was also around 24-25 during filming; he reportedly cleared his schedule for the project, committing exclusively despite forgoing other offers. 

The chemistry (or lack there of!) between the leads did not work for the Hindi belt audiences - the two never worked together again after the film's release. 

Jeans proved a significant commercial success in its original Tamil version, particularly in Tamil Nadu, where it enjoyed extended theatrical runs, completing 100 days in multiple centers. It performed robustly in overseas markets like Malaysia [with its massive Tamil-speaking diaspora] as well, benefiting from strong anti-piracy measures at the time. The film’s scale, Rahman’s music, and the novelty of its international filming locations helped it recover its hefty investment through theatrical earnings, satellite rights, and ancillary revenue, cementing its status as a blockbuster in the South Indian market. 

However, the Hindi-dubbed version, released the same year under the same title, met with a markedly different fate. It underperformed at the Mumbai box office and failed to replicate the Tamil success nationally, drawing limited interest from Hindi-speaking audiences despite the considerable star power of a young Aishwarya Rai, fresh off the fame of her Miss World crown. 

This regional disparity highlighted the challenges of cross-language dubbing and audience preferences in 1990s Indian cinema, where cultural and linguistic nuances often determined a film’s pan-Indian reach. For Aishwarya Rai, Jeans served as a pivotal launchpad in the South. Though her performance drew mixed early reviews in some quarters, the film’s Tamil triumph boosted her visibility, paving the way for subsequent successes in both South and Hindi industries. 

More than 25 years later, Jeans remains a nostalgic touchstone for its audacious production values and the emergence of one of Indian cinema’s most enduring international stars. It exemplified Shankar’s knack for marrying commercial entertainment with technical innovation, even as it illustrated the uneven terrain of dubbed releases across India’s diverse markets. Before widespread digital streaming, the film’s theatrical journey underscored both the strengths of regional cinema and the hurdles of broader linguistic crossover. 

Aishwarya Rai and Prashant in the Tamil hit Jeans (1998)

28 years ago today, the Tamil film Jeans was released. 

An entertaining but essentially superficial film, it was rather shocking that Jeans went to the Oscars as an entry from India for Best Foreign Picture nominee. A decision almost universally ridiculed by critics.  

Only the music, costumes and dances of Aishwarya Rai stand out. And the visual spectacle of a summer release meant for box-office success, not critical acclaim. The Tamil version was a smash hit, the poorly dubbed Hindi version tanked. 

Released on 24 April 1998, Aishwarya Rai was 24 when she shot the film. Dazzling. Her tepid but trying performance was eclipsed by how staggeringly beautiful she looked in every costume in the film. 

Sanjay Dutt and Aishwarya Rai's first cover with Cine Blitz: November 1993

Sanjay Dutt and Aishwarya Rai's first cover with Cine Blitz: November 1993. shot by the late great Gautam Rajadhyaksa. 

Aishwarya Rai in Hamara Dil Aapke Paas Hai

 Aishwarya Rai in Hamara Dil Aapke Paas Hai

The simple salwaars, the monochrome saris, Aishwarya Rai looked so stunning in this hit film. The simpler the outfit, the more stunning she looks. The razzle dazzle of designer duds work against her natural, God-given beauty. All those heinous red-carpet gowns at Cannes and wild array of flak and criticism she got for it tapered down when she wore traditional Indian attire that enhanced her looks and didn't distract from 'the face' of Indian cinema. 

Note how much she was appreciated at her first Cannes appearance wearing the mustard-sari designed by Neeta Lulla, and her last appearance wearing a white Manish Malhotra. Note how much praise she got for her simplicity in the first part of Taal and her no-make up look in Chokher Bali... 

Aishwarya Rai at age 18!

 

Twitter says its Aishwarya Rai and Abhishek Bachchan's 19th anniversary!

On 20 April 2007, Bollywood's most photogenic couple got hitched after a decade of friendship, films and fulfilling the fantasies of a billion. 

It was the wedding of the decade - made all the more enticing as the press was not privy to most of the functions. Till date, only a handful of images have ever leaked online - including a notoriously fake pic that went viral - as tabloids could not go to print without a picture. 

The power couple seems to have stood the test of time, not letting gossip, rumours of breakups and patch ups galore, affect them in any way in public. Silence is indeed golden - as are these two! I mean just look at 'em! 

 

Mamta Kulkarni: A Legend in her own mind. No where else.

Question: Has the Indian actress and sex symbol of the 1990s in Bollywood, Mamta Kulkarni ever been nominated, let alone won a Best Actress award?

Answer: In a word; No! 

In recent public appearances on TV shows, the notorious Indian celebrity -- calling her an actress is a stretch -- Mamta Kulkarni has been hyping her own past and calling herself a 'legend'. Clearly, we have varying definition of the term. 

Mamta Kulkarni has never been nominated for a Best Actress award (such as Filmfare Award for Best Actress or similar major categories for lead performances). Reliable sources like her ardent fan pages, IMDb awards section, and Filmfare-related records consistently show her only recognized nomination and win was the Filmfare Award for Lux New Face of the Year (now known as Best Female Debut) in 1994 for her performance in her debut film, Aashik Aawara. This was a debut/new face award, not a Best Actress category, and is usually handed out to photogenic newbies and non-actors the likes of Twinkle Khanna, Ananya Panday and the infamous Ms Kuklarni.  

There are no records of nominations for Filmfare Best Actress (or equivalents like Screen Awards, IIFA, etc.) in her career, which spanned the early to mid-1990s with films like Karan Arjun, Sabse Bada Khiladi, and China Gate. She may have had box-office successes and danced with controversy with her bold interviews and semi-nude magazine covers, but the now-retired actress has never been a serious contender despite proclaiming to the media that she had a greater following than Madhuri Dixit. 

In another word; Delulu. 

Now aged 54, the infamous actor appears in front of the media having eschewed cinema for religion, but several critics have noted that she's using religion to mask some serious allegations. She can try to camoflage her crimes with saffron drapes, but the long arm of the law is eventually going to reach her.  

Aishwarya Rai in Taal

Subash Ghai thought he found the perfect muse in Madhuri Dixit - but really, it was the perfection of Aishwarya Rai in Taal. It's all been downhill after... 

 

Beauty Queens from India: Aishwarya Rai, Sushmita Sen, Diana Hayden and Yukta Mookhey

Sushmita Sen won the Miss Universe 1994, while Aishwarya Rai was Miss World, then in 1997 Diana Hayden (who also won multiple subtitles including Miss Photogenic) and then in 1999, the tallest of them all... Yukta Mookhey.