Aishwarya Rai and Somy Ali

If you know.. you know! 

Bollywood icon and legandary beauty Aishwarya Rai. 

Somy Ali. 

Aishwarya Rai Bachchan's underrated gem: Sarbjit

Released on May 20, 2016, I saw Sarbjit in a near-empty cinema years ago - and on my birthday! Left the theatre in tears, was just deeply moved by the film  - particularly as I went to the screening with my sister. 

A powerful biographical drama directed by Omung Kumar, chronicling the real-life tragedy of Sarabjit Singh, an Indian farmer from Bhikhiwind, Punjab. Mistakenly arrested in 1990 after straying across the border while drunk, he was convicted by Pakistan as a spy and terrorist for 1990 Lahore and Faisalabad bombings that killed 14 people. He spent 22 harrowing years in Lahore’s Kot Lakhpat Jail on death row. His sister Dalbir Kaur’s tireless campaign for justice defined the story until his brutal prison attack in April 2013 led to his death days later.

Randeep Hooda delivered a transformative performance as Sarabjit, a title role and tour-de-force performance that deserved more accolades, awards, recognition, honour.... and yet, it all got eclipsed by the superstar and supreme beauty of his co-star, 'the' Aishwarya Rai. Note how Rai dominates all the publicity posters and stills of the movie - the makers knew they could lean on Rai to bring in audiences, far more than Hooda can - even though, it was 'his' movie. He delivers a shattering performance, but we walked away thinking, even in the shots of Rai serving, cleaning, washing at the Golden Temple, she looked so staggeringly beautiful.  

Aishwarya Rai Bachchan’s portrayal of Dalbir Kaur stands as one of her most underrated acts. The makers made a genuine effort to de-glamorize the global icon - dressing her in simple salwar kameez, minimal makeup, and village-appropriate looks to embody a resilient, ordinary Punjabi woman fighting systemic injustice. Yet, Rai’s staggering beauty and razor-sharp bone structure shone through irresistibly. Even in raw, stripped-down scenes with the makeup toned down, her luminous features and screen presence proved it takes real effort to de-glamorise 'the' Aishwarya Rai. 

She brought sincerity, quiet strength, and emotional depth, shining her luminescent light on this ordinary family’s decades-long pain, suffering, and unyielding hope.

Despite its importance as a true story highlighting cross-border human tragedy, the film received lukewarm reviews and modest reception. It earned around ₹43.8 crore worldwide against a ₹15 crore budget - turning a profit but failing to become a major hit or blockbuster. However, any sensible producer would have known that this wouldn't make 'Dhoom' money, hence it was modestly budgeted - yet packed a powerful punch. 

Many believe audiences stayed away because it lacked a typical Bollywood redemption arc or happy ending. In a country where life is already hard, viewers often seek escapist narratives that reassure them good triumphs and justice prevails. Sarbjit offered no such comfort - mirroring reality’s harshness.

Rai deserved far more accolades for lending her immense star power to this touching tale. Her committed performance got somewhat lost in the haze, though she won Best Actress at events like the BIG ZEE Entertainment Awards and IFFAA. At a time when it was trending to take potshots at the actress, the media seemed wildly reluctant to give her, her flowers } to pilfer the parlance of today. Rai's staggering beauty has always eclipsed her all other skillsets. No matter how hard she works as a dancer, actor, orator, fashionista, her God-given, genetically blessed pulchritude supersedes all. 

An important, well-intentioned film that deserved a wider audience. Hopefully, new gen will find it online and or on OTT. 

Madhuri Dixit Nene with Aishwarya Rai Bachchan

Niranjan Iyengar crashing a pic featuring the two most photogenic women in Bollywood; Madhuri Dixit and Aishwarya Rai.

Beauties and the... um.. East?! 

Aishwarya Rai and Shahrukh Khan in Shakti

Though it was a guest appearance in just the song, Aishwarya Rai and Shahurkh Khan's superhit number Ishq Kamina is all we remember from the Karisma Kapoor-led film Shakti. 

WIth the heavy eye-makeup and saucy stunning looks, its staggering how stunning Ash looked in the song. 

Blonde Ambition: when bad wigs happen to Bollywood babes: Madhuri Dixit, Manisha Koirala and Urmila

 

Blonde Ambition: when bad wigs happen to Bollywood babes: Madhuri Dixit, Manisha Koirala and Urmila 

So many... nos! 

Janhvi Kapoor poses at home

 ....and yes, all we see is the portrait of Sridevi with Boney Kapoor on the mantle. 

Madhuri Dixit by Gautam Rajadhyaksha

Madhuri Dixit by Gautam Rajadhyaksha. 

Much has been written about the symbiotic relationship between dancer Madhuri Dixit and choreographer Saroj Khan, her frequent collaborations with actors like Anil Kapoor and Shahrukh Khan... but the most fruitful, flawless friendship and working relationship she shared was with the gentle giant of photography, the late great Gautam Rajadhyaksha. 

They experimented with looks, style, lighting, poses, wardrobe, wigs... With the aid of the master of makeup, Mickey Contractor. So many of Gautam da's photo essays, books had Madhuri on the cover. In her, he found his perfect muse. In him, a mentor. Fate took him so suddenly - Madhuri was in the US and couldn't even attend his funeral or prayers in time. 

Alas. A rich, photogenic chapter ended so abruptly. 

Many have worked with Dixit since and before, but nothing quite like what the holy trinity of media pulled together; Madhuri, Mickey and Gautam. 

Pooja Bhatt

 

Pooja Bhatt was a petite actress of the 90s - and decked up to the hilt here wearing Xerxes Bhathena's designer desi-wear... it looks like a child wearing grown up clothes. Like Pooja invaded Dimple Kapadia's wardrobe and tried it on for fun. The fit just isn't right. The make up is too much and the hair is... 80s big. 

Put her in summer casuals without a hint of makeup and the naturally pretty babe-next-door appears. 

She was such an icon of the care-free youth movement. 

Aishwarya Rai

90s Aishwarya Rai was unbeatable...

Juhi Chawla's quote that cost her films opposite Salman Khan

 

This quote from Juhi Chawla - said in jest - cost her many films opposite sensitive and touchy Salman Khan, who did not appreciate the humour. Khan went on to refuse any film opposite Juhi Chawla for a decade. And even then, his brief cameo in Deewana Mastana was more for David Dhawan than Juhi - who famously said in Koffee iwth Karan that Salman Khan has never spoken to her in her life! 

Needs to be noted however that no films with Salman Khan didn't cost her anything really - she had a terrific run in Bollywood and remains one of the wealthiest women in Bollywood. 

No harm, no foul! 

Aishwarya Rai and Abhishek Bachchan in Dhai Akshar Prem Ke

 

Aishwarya Rai at a press conference

 

Rekha in Silsila: Perfection

When Yash Chopra’s Silsila arrived in theaters on August 14, 1981, it didn’t just captivate audiences with its intense romantic narrative—it fundamentally altered the visual landscape of Hindi cinema. At the center of this aesthetic revolution was Rekha, whose ethereal, soft-focus look instantly captivated a nation.

Crafted by costume designer Leena Daru, with significant input from Rekha’s own penchant for understated glamour (which change dramatically by the excess of the late 80s - more on that later), the wardrobe for Rekha’s character, Chandni, broke away from the loud, heavy prints of the late 1970s. In their place came a masterclass in minimalist luxury: fluid chiffon sarees in muted pastel shades of ivory, peach, and sky blue, paired with sleeveless silk blouses. Complementing these were long, flowing kurtas matched with light dupattas draped loosely across the arms—a look designed to catch the wind and heighten the film's romantic intensity.

The year 1981 marked a transitional high point for Bollywood fashion icons. While Zeenat Aman and Parveen Babi championed Western disco-era glamour, and Tina Munim brought vibrant, youth-centric college style to screen, Rekha redefined traditional Indian ethnic wear. Alongside Dimple Kapadia’s effortless bohemian chic, Rekha established a mature, aspirational elegance that set the tone for the decade.

The "Silsila effect" sparked trends that defined 1981 and beyond. It popularized color-coordinated couple styling—matching Amitabh Bachchan’s classic trench coats and turtlenecks with Rekha’s pastel palette—and pushed Bollywood toward a softer beauty aesthetic. Out went exaggerated 1970s winged eyeliner and teased bouffants; in came dewy, natural makeup, deep lip shades, and sleek, middle-parted straight hair. Over four decades later, the aesthetic remains the ultimate benchmark for Hindi cinematic romance.

I've said this before and I say it repeatedly, Rekha in Silsila was the apotheosis of aspirational aesthetics. Not a hair out of place. We've archived her 63 looks in the film, but a personal favourite is this white and gold glittering sari. 

Aishwaya Rai with Abhishek Bachchan: When Chemistry Couldn’t Save the Box Office: The Legacy of Dhaai Akshar Prem Ke

In the autumn of 2000, Bollywood anticipated a cinematic match made in heaven. Released on September 29, 2000, Raj Kanwar’s Dhaai Akshar Prem Ke brought together two of Indian cinema’s rising stars: a 24-year-old Abhishek Bachchan, fresh off his critically acclaimed debut in Refugee, and a 26-year-old Aishwarya Rai, already an established superstar and famed global beauty.

Despite the palpable real-life spark between its leads, the romantic drama ultimately fell flat at the box office, settling into the category of a commercial flop. Its predictable storyline failed to capture audiences, yet the film remains a fascinating time capsule of turn-of-the-millennium Bollywood aesthetics. Great visuals, choreography, outfits, and the staggeringly beautiful leading lady, where the tall Bachchchan Jnr had to match steps with. 

Visually, the movie was a feast for fashion enthusiasts. Celebrity designer Neeta Lulla crafted Aishwarya’s wardrobe, dressing her in vibrant traditional wear and flowing, contemporary silhouettes that became a hallmark of early 2000s style. Every frame radiated elegance, elevated further by the signature touch of master choreographer Saroj Khan (assisted by Baba Yadav), who designed the film’s graceful dance numbers. The wedding song was wildly popular, and Ash really looked like a temple Goddess come to life. TBH its a bit frantic in parts - not as perfect as Nimbooda for example, but you can't take your eyes off Aishwarya... 

Musically, the soundtrack by duo Jatin–Lalit, paired with Sameer’s lyrics, fared somewhat better than the film itself. While not a runaway hit, tracks like the Do lafzon main, Mera Mahi Bada Sohna Hai"and the soulful title track enjoyed decent airplay and resonated with romance lovers.

Dhaai Akshar Prem Ke may not have conquered the box office, but it stands as an endearing chapter in Bollywood history—marking the early screen pairing of a duo that would later become one of the industry's most iconic couples on and off screen.

The fashion and styling of Bhagyashree in Maine Pyar Kiya

The fashion and styling of Bhagyashree in Maine Pyar Kiya needs to be studied. 

It's not all about gowns and sequins, unkind blouse cuts and figure-hugging bandana dresses that were once trending. 

Bhagyashree's salwaars from the late 1980s were such a healthy rage in contemporary Indian fashion. They were not feeble 'gandi copy' of Hollywood, but very native to the state they sprouted from. The colours, the patterns, the embroidery... everything seemed appropriate! 

Bhagyashree’s fashion in Maine Pyar Kiya (1989) perfectly embodied the essence of Suman, a conservative, graceful village girl navigating life in a wealthy urban household. Her wardrobe was deliberately modest and character-driven, avoiding glamour for its own sake.

The costumes featured conservative cuts - high necklines, long sleeves or three-quarter lengths, and full coverage that aligned with Suman’s traditional values. There were no sudden designer reveals or Western-style outfits out of context. Everything stayed within the “village girl in the city” vibe: simple yet elegant silhouettes that reflected her innocence, dignity, and rootedness. Bright Indian colours dominated — vibrant pinks, yellows, blues, greens, and maroons — paired with classic patterns like florals, checks, and subtle prints. Embroidery was delicate and traditional: chikankari, zari borders, mirror work, and threadwork on kurtas, salwar suits, and lehengas. She frequently wore traditional saris (often with matching blouses) and salwar kameez with dupattas draped modestly. These weren’t flashy or heavily embellished; the beauty lay in their authenticity and cultural warmth. Outfits like her iconic yellow sari or the white salwar kameez or simple printed kurtas felt lived-in and believable for a middle-class girl who values family and tradition over trends. Even in song sequences, her looks remained grounded — no abrupt shift to bold glamour. This restraint made her chemistry with Prem (Salman Khan) feel pure and heartfelt.

The costumes were designed by Madhav Agasti and Anna Singh (credited as costume designer - perhaps more for Salman Khan than Bhagyashree). The styling aligned with Sooraj Barjatya’s vision of wholesome, family-oriented cinema, ensuring every garment served the character rather than the star. Bhagyashree herself reportedly stood her ground on certain revealing outfits, reinforcing the conservative tone.

Her look in the film became a cultural benchmark for modest Indian fashion beauty - timeless, rooted, and full of character. It influenced generations of “girl-next-door” fashion, proving that simplicity, when done with cultural integrity, can be iconic. 

Aishwarya Rai in Taal

Aishwarya Rai in Taal... 

Exquisite. 

Now Taal 2 without Ash, AR Rehman, Anil, Akshay.... } the A-list. Ghai's got a flop in the making. Yep, as early as this, we are writing it off... The man lost his touch a long time ago and Ghai hasn't made a decent film, let alone a good film, in decades. Sorry Ghai. That deft hand ya had to feel the pulse of the audience, has gone soft.  

Aishwarya Rai in Dhai Akshar Prem Ke

 

Aishwarya Rai in Devdas

 Aishwarya Rai in Devdas 

Bhagyashree and Salman Khan's Maine Pyar Kiya pre-publicity shots

 

The musical romance Maine Pyar Kiya was released on December 29, 1989. It closed out the decade by becoming a massive blockbuster, launching Salman Khan into superstardom as "Prem" and making Bhagyashree a household name.

Everything about the film became an instant hit; the outfits, music, styling, dialogues, accessories... The poster above was 'the' best selling at Archies back in the day... 

Aishwarya Rai strikes a pose for Filmfare

 Aishwarya Rai's cover shot for Filmfare< Sept 1999. 

Dabboo Ratnani did the honours.