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Sadhna: the queen of mystique

Enkayaar, Bollywood Trade News Network
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It indeed is ironic that while sixty years of cinema is being celebrated, one genre of films, which owe its success to Sadhna, has not been talked about at all. She was indeed the queen who wrote new chapters in the genre of mysterious movies, and the kind of mysterious net that she could weave around her films by her nuances, has been a feat that still remains unparalleled in the realm of Hindi cinema. Unfortunately enough, though her birthday also falls in the same time frame when 60 years of celebration of cinema is underway, she has not been remembered at all.

It was her face, which had a mysterious look to it that could create the ambience of the unknown with panache. When she shifted the gears, and started her new innings with WHO KAUN THI she wrote a new chapter in the Indian cinema, the era of murder mysteries. The encore was followed by GUMNAM, MERA SAAYA etc., and she emerged as a heroine who excelled in double roles, enacting the character of good and bad in the same film with a finesse, which has not been repeated. Manoj Kumar also got a new lease of life to his career when he starred with Sadhna in WHO KAUN THI, GUMNAM, etc.

From a rather insignificant career in HUM DONO, she emerged as the lady who carved out a unique niche for herself, and nobody has been able to fill up the place. She was the first stylist who developed her own hairstyle, of the fringe dancing playfully on the forehead, which became a rage and was copied by all the ladies of the times. Interestingly enough, this stylization was just an improvisation to cover a rash on the forehead, which came to be known as ‘Sadhna Cut’, and it is a pity that she did not patent the same. During the coloured film era Sadhna had one of the longest pairing with Rajendra Kumar, which surprisingly is not considered as a hit pair, though this pair gave one of the most successful hits that Hindi films ever recorded, be it in AARZOO, MERE MAHBOOB or AAP AAYE BAHAAR AAYEE, etc.

Starting her career in an average film, LOVE IN SHIMLA along with Joy Mukerjee, Sadhna was a star who has been there in the films which are talked as epochal films of the Hindi cinema and most prominent amongst them is WAQT, along with EK PHOOL DO MAALI. She could also be credited as being the heroine who worked in the films ahead of the times, as in AAP AAYE BAHAR AAYEE, which was a film dealing with trauma associated with rape, or EK PHOOL DO MAALI about a mother who brings a child from his previous love along with his married husband.

She was a regular fixture in all the films which were social drama, and that is the reason, why inspite of having done less number of films she is remembered as the style icon who was a queen of mystique. There are n-number of films that are being made having horror and the supernatural as the theme, but the dead pan manner in which Sadhna executed her roles, is still unsurpassed.



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