Sharmila Tagore gave sex appeal a modern definition, asks Zeenat Zafar
SHARMILA TAGORE, who has been awarded the Padma Bhushan this year for her contribution to the development and growth of Indian cinema, richly deserved this recognition. She performed roles that became a voice for women in the Indian society. Sharmila Tagore came to Hindi films after a brief brush with Bengali cinema. Her stint with Satyajit Ray in films like Apur Sansar and Devi got instant recognition.
Following this, Sharmila made a foray into Hindi cinema with Shakti Samanta’s Kashmir Ki Kali (1964) opposite Shammi Kapoor. While her performance in the debut film won her lukewarm response, her next film An Evening in Paris (1967) took Hindi cinema to an era of gloss and glamour. Prior to this, many heroines had worn a swimsuit but Sharmila gave sex appeal a modern definition. She exuded a stylised “come on” that dragged Hindi cinema into a new age.
Her bikini act in An Evening in Paris became one of the most talked about subject of the times. People thronged cinema halls in droves to see her bikini more than watching the film. However, after the film Sharmila wanted to change her image. This opportunity she got with Anupama (1967), which was the story of beautiful Uma, whose father hates her as her birth had caused the death of his wife.
When Hrishikesh Mukherjee cast Sharmila as the introvert Uma, it raised several eyebrows since at that time Sharmila was considered too glamorous for the role. Nutan was an obvious favourite but Hrishida insisted on Sharmila because of her expressive eyes. Hrishida’s Satyakam is Sharmila’s most ideal work but it was Aradhana that changed Sharmila’s career graph. In Aradhana if her Roop Tera Mastana song with Rajesh Khanna gave off a real erotic charge – as an unwed mother facing the trials and turmoil of destiny – Sharmila was quite convincing in her down-to-earth portrayal.
In the midst of the success of super hit Aradhana, Sharmila took off to give birth to her son Saif. She returned to the studios soon and expertly juggled her steam queen image with soul-in-the-eyes histrionics in Safar and Daag. Her twin turn as two variedly different prostitutes in Amar Prem and Mausam defined the transition in the portrayal of the fallen woman.
After easing out of films from the mid-1970s, Sharmila has done only the occasional character roles or come out to endorse products that reflect an elitist lifestyle. At an age when other actresses have requiems written for their career, Sharmila (67), who is a leading exponents of style, has directors writing author-backed roles for her. (INAV)
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