Rekha

2.1. Birth and Family

Bhanurekha Ganesan, known mononymously as Rekha, was born on October 10, 1954, in Madras (now Chennai), Madras State, India. Her parents were the renowned South Indian actors Gemini Ganesan and Pushpavalli, who were not married to each other. This unmarried relationship, along with Ganesan's other family ties, contributed to a complex family dynamic for Rekha.

Her father, Gemini Ganesan, had multiple marriages and children. He was previously married to T. R. "Bobjima" Alamelu, with whom he had four daughters: Revathi Swaminathan (a radiation oncologist), Kamala Selvaraj (a gynecologist), Narayani Ganesan (a journalist for The Times of India), and Jaya Shreedhar (a medical doctor). Ganesan also had two children with actress Savitri-Vijaya Chamundeswari (a fitness expert) and Sathish Kumaar-having secretly married Savitri around the time of Rekha's birth. Pushpavalli, Rekha's mother, had two children, Babuji and Rama, from her earlier marriage to lawyer I. V. Rangachari. Rekha also has a younger half-sister, Radha, born to Gemini Ganesan and Pushpavalli in 1955. Her cousins include Nagaprasad and actress Shubha, while Vedantam Raghavayya and his wife Suryaprabha were her uncle and aunt.

Born to a Tamil father and a Telugu mother, Rekha's mother tongue is Telugu, and she is a fluent speaker of Telugu, Tamil, and Hindi. Despite her fluency in Telugu, she has stated that English was predominantly spoken at home, and she often thinks in English.

2.2. Childhood and Education

Rekha's childhood was marked by instability and financial hardship. Her relationship with her father, Gemini Ganesan, was strained; he rarely met her or her sister Radha and did not provide for them. Rekha believed he was not even aware of her existence for a long time, though her mother often spoke of him. The absence of her father and her mother's demanding acting schedule meant Rekha often stayed with her grandmother. This period of her life was financially difficult for Pushpavalli, who had to act as both father and mother.

Rekha described herself as an "awkward and lonely girl" during her childhood, struggling with childhood obesity. In a 1990 interview, she recalled being "the fattest girl in the school" and was bullied by schoolmates, who called her lotta (லோட்டா_{meaning "bastard"}^Tamil). Despite her love for dances and sports, she never participated due to her weight. A "firm believer" in God and destiny, she frequently spent time in the school's chapel.

Rekha's first screen appearance was a small role at the age of one in the Telugu-language drama Inti Guttu (1958), directed by Vedantam Raghavayya, which was a commercial success. She was enrolled in kindergarten at age three and later attended Presentation Convent School in Madras during her adolescence, where she met her half-sister Narayani. Another brief screen role came in the political satire Rangula Ratnam (1966), co-starring her mother Pushpavalli and sister Radha, where Rekha sang a devotional song under the name "Baby Bhanurekha." This film was commercially successful and received a National Film Award for Best Feature Film in Telugu.

2.3. Start of Acting Career

In 1968, facing severe financial troubles, Rekha's mother Pushpavalli urged her to pursue an acting career, believing it would alleviate their financial strain. Although Rekha initially aspired to be a flight attendant and had no interest in acting, she obeyed her mother's wishes. At the age of 12 or 13, while in ninth grade, she dropped out of school to embark on a full-time acting career, a decision she later regretted due to not completing her education. She, however, insisted that her younger sister Radha complete her schooling.

Her entry into Hindi cinema began in late 1968 when Kuljeet Pal, a Nairobi-based businessman, discovered her at Gemini Studios while seeking a newcomer for his project Anjana Safar, an adaptation of King Solomon's Mines. Impressed by her "uniqueness" and ability to quickly memorize and pronounce Hindi dialogues like a native speaker during a screen test, Pal cast her as the second female lead and offered her a five-year contract for eight films.

Rekha moved to Bombay (now Mumbai) in 1969, renting a room at Hotel Ajanta, with Pal covering the expenses. She was paid 25.00 K INR for her role as Sunita in Anjana Safar, a woman on a treasure hunt in Africa. The filming, which began in August at Mehboob Studio, was challenging as her mother was ill, and her aunt accompanied her. A controversy arose during the filming of a kissing scene with male lead Biswajit Chatterjee, as Rekha was not informed beforehand, a deliberate choice by director Raja Nawathe to capture her natural reaction. This scene, though censored, made the cover of the Asian edition of Life magazine in April 1970. Anjana Safar, later retitled Do Shikaari, was delayed until 1979 and underperformed at the box office.

Her official Hindi debut came with Mohan Sehgal's Sawan Bhadon, filmed starting October 11, 1969. Cast as Chanda, a village girl, Rekha was forced to wear a wig, which required her hairdressers to shave her hair almost bald. She faced mockery from the crew for her South Indian background and lack of Hindi fluency, but Sehgal provided assistance with her diction. Released in September 1970, Sawan Bhadon became a commercial success, despite critics scorning her looks while praising her confidence and comic timing. The Telugu drama Amma Kosam (1970) was her final release that year, dedicated to her mother. In 1969, her first lead role was in the successful Kannada film Operation Jackpot Nalli C.I.D 999 alongside Dr. Rajkumar.

3.1. Early Career and Fluctuations (1969-1977)

Following the success of Sawan Bhadon (1970), Rekha received numerous film offers, but most were for superficial "glamour girl" roles, failing to provide her with substantial opportunities. She was highly prolific during this decade, often appearing in an average of ten films per year, many of which were formulaic and did not advance her career in terms of critical acclaim. Despite starring in commercially successful films like Raampur Ka Lakshman (1972), Kahani Kismat Ki (1973), and Pran Jaye Par Vachan Na Jaye (1974), she was not recognized for her acting abilities. Critics often commented on her "dark complexion, plump figure, and garish clothing," which contradicted the prevailing beauty standards in the film industry.

Her early films often struggled critically; for instance, her role in the 1975 war film Aakraman was deemed cliché and she was labeled a "clothes-horse." Similarly, her part in Randhir Kapoor's Dharam Karam was noted as "pathetic." Dharmatma (1975), a mafia film directed by and starring Feroz Khan, was her only financial success that year, though her appearance as Anu, Khan's childhood sweetheart, was criticized for her "too plump" body. The production of Dharmatma was complicated by Rekha's personal life, as she intentionally missed shooting days to meet her then-boyfriend, Kiran Kumar, causing frustration for the producers.

Motivated by the harsh criticism of her appearance and limited roles, Rekha embarked on a significant physical transformation in the mid-1970s. She dedicated herself to improving her make-up, dress sense, and acting technique, and spent three months perfecting her Hindi skills. To lose weight, she adopted a nutritious diet, maintained a disciplined lifestyle, and practiced yoga, even recording albums to promote physical fitness. This led to a dramatic change in her screen personality and acting style, which "floored" audiences. She began selecting her film roles with greater care, seeking more challenging and substantive characters to avoid typecasting.

Her first performance-oriented role came in 1976 with Do Anjaane, where she played Amitabh Bachchan's ambitious and greedy wife. This film, an adaptation of Nihar Ranjan Gupta's novel Ratrir Yatri, marked the first of her many collaborations with Bachchan. Filmed in Calcutta (now Kolkata) within a month, the movie was popular with both audiences and critics. Film World recognized her performance as a breakthrough, establishing her as a leading actress in Hindi cinema. Rekha admitted feeling "paranoid" acting opposite Bachchan, acknowledging his significant influence on her life and personal growth.

In 1977, Rekha achieved another commercial success with the action crime film Khoon Pasina, which became the sixth-highest-grossing Indian film of the year. The same year, she starred in the comedy-drama Aap Ki Khatir opposite Vinod Khanna and Nadira. Her portrayal of a poor girl earned her awards from several film journalists' associations. Critics praised her challenging role and her chemistry with Khanna. Her work in Immaan Dharam, an action film where she played Durga, a Tamilian laborer, also earned her a Best Actress trophy from Film World, with Cine Blitz commending her acting talent.

3.2. Turning Point and Stardom (1978-1984)

Rekha's career reached a pivotal turning point in 1978. Her portrayal of Aarti, a gang-rape victim, in the social drama Ghar, was widely acclaimed by critics and audiences alike, marking her first significant milestone as a mature actress. This performance earned her her first nomination for the Filmfare Award for Best Actress. In the same year, she appeared in Muqaddar Ka Sikandar, which became the biggest hit of the year and one of the decade's largest successes. Her brief but impactful role as Zohrabai, a tawaif (طوائف_courtesan^Urdu), garnered her a Filmfare Award for Best Supporting Actress nomination, with critics noting her "smouldering intensity." Rekha later described this period as a phase of profound self-discovery.

Following Do Anjaane, widespread speculation about a romantic relationship between Rekha and Amitabh Bachchan began to circulate. Filmmakers capitalized on these rumors, integrating them into their films to boost publicity. This was evident in Mr. Natwarlal and Suhaag, both 1979 releases that were highly popular with audiences. In Mr. Natwarlal, an action romance, Rekha's portrayal of the simple village woman Shanoo received positive reviews. Suhaag, where she again played a courtesan, became the highest-grossing film of the year.

The years 1980 and 1981 proved to be even more successful for Rekha, with Box Office India ranking her as the top actress of 1980. Her first release of 1980, the action film Ram Balram, was well-received, as was Maang Bharo Sajana, a remake of a Telugu film. However, it was her starring role in Hrishikesh Mukherjee's comedy Khubsoorat that garnered the most attention. In a role specifically written for her, she played Manju Dayal, a vivacious and mischievous young woman. Rekha found the character's bubbly nature relatable, calling Manju "quite a bit me." The film, made on a small budget, required her to wear 25 different outfits, with her simple dress and two braids becoming a popular fashion trend. Khubsoorat was a commercial success and received rave critical reviews, earning the Filmfare Award for Best Film and Rekha her first Filmfare Award for Best Actress. Critics lauded her "spunky performance" for infusing the film with "natural zing." Other films like Judaai and Saajan Ki Saheli also brought her critical attention.

The speculation surrounding Rekha's alleged affair with Amitabh Bachchan culminated in their final collaboration, Yash Chopra's romantic drama Silsila. The film controversially mirrored the real-life rumors, with Rekha playing Bachchan's lover and his real-life wife, Jaya Bachchan, playing his wife. Filmed secretly between 1980 and 1981 to avoid media scrutiny, Silsila was considered a "casting coup." However, upon its release in July 1981, it faced critical and commercial failure, with Chopra attributing this to the audience's focus on the real-life speculation rather than the plot. Despite the film's mixed reception, it remains one of the most talked-about films in Indian cinema history. Other successful films for Rekha that year included Ramesh Talwar's Baseraa and T. Rama Rao's Ek Hi Bhool, both box-office hits. She also received a Filmfare Best Actress nomination for Jeevan Dhaara (1982), where she played a young unmarried woman supporting her extended family.

During this period, Rekha actively expanded her range by venturing into parallel cinema, a movement of Indian neo-realist art films. These included Kalyug (1981), Umrao Jaan (1981), Vijeta (1982), Utsav (1984), and Ijaazat (1987). Her portrayal of the poet and courtesan Umrao Jaan in Umrao Jaan, an adaptation of Mirza Hadi Ruswa's Urdu novel, is considered one of her finest performances. In preparation, Rekha, who initially struggled with Hindi, diligently learned the nuances of the Urdu language and used her mother's Banarasi sari for her costumes. Despite being a commercial failure, her performance earned her the National Film Award for Best Actress and another Filmfare Award nomination. Rekha herself considered Umrao Jaan a turning point in her career.

In Shyam Benegal's Kalyug, a modern adaptation of the epic Mahabharata, Rekha played Supriya, a character based on Draupadi. Benegal cast her after being impressed by her work in Khubsoorat, noting her seriousness about her profession. Critics lauded her "masterful interpretation" of the modern Draupadi. The 1982 coming-of-age story Vijeta featured her as Neelima, a woman supporting her son's decision to join the Indian Air Force, a role she described as one of her favorites. In Girish Karnad's erotic drama Utsav, based on a Sanskrit play, Rekha portrayed the courtesan Vasantasena. The film gained significant attention for its sensuality and Rekha's intimate scenes, which she saw as a way to compete with new actresses. Despite polarizing critics and audiences, her performance and costumes were well-received, earning her the Bengal Film Journalists' Association Award for Best Actress (Hindi). In Gulzar's drama Ijaazat, Rekha and Naseeruddin Shah starred as a divorced couple, a performance that received warm reviews.

3.3. Peak Years and Parallel Cinema (1985-1989)

Beyond parallel cinema, Rekha continued to embrace increasingly adventurous roles. She became one of the pioneering actresses to take on lead roles in heroine-oriented revenge films, a trend that began with Khoon Bhari Maang in 1988. Directed by Rakesh Roshan specifically for her, the film cast Rekha as Aarti Saxena, a wealthy, unassuming widow who narrowly survives an attempted murder by her scheming second husband. Presumed dead, she returns under a new identity to seek revenge. For this powerful performance, she won her second Filmfare Award for Best Actress. Rekha later described Khoon Bhari Maang as "the first and only film I concentrated and understood all throughout." M.L. Dhawan of The Tribune hailed it as "a crowning glory for Rekha, who rose like a phoenix... and bedazzled the audience with her daredevilry." Encyclopædia Britannica's Encyclopædia of Hindi Cinema listed her role as one of Hindi cinema's most memorable female characters, noting its impact in transforming the perception of the "ever-forgiving wife" into an "avenging angel." Screen magazine also included the role in its list of "ten memorable roles that made the Hindi film heroine proud."

Rekha later stated that receiving the Filmfare Award for this role was a surprise and a crucial turning point, providing reassurance and validation after a brief hiatus during which she felt eclipsed by younger stars. She felt "even more charged to give [her] best" and realized that acting was her true calling.

However, the late 1980s also saw a decline in her commercial success. All of her films released in 1989-Kasam Suhaag Ki, Clerk, Souten Ki Beti, Ladaai, Bhrashtachar, and Bahurani-were commercial failures. This downturn was attributed by biographer Yasser Usman to Rekha being in her mid-thirties, leading to stiff competition from a new wave of younger, popular actresses such as Sridevi, Meenakshi Seshadri, and Juhi Chawla, who began to dominate the industry.

3.4. Career Changes and Revival (1990s)

The 1990s marked a period of fluctuating success for Rekha. While many of her films during this decade failed commercially and received lukewarm reviews, critics noted that, unlike most actresses of her generation who transitioned to character roles (typically mothers or aunts), Rekha continued to play leading parts despite the rise of younger female stars.

The early 1990s saw several unnoticed releases, including Mera Pati Sirf Mera Hai and Amiri Garibi (both 1990). Still grappling with the recent suicide of her husband and the ensuing media antagonism, Rekha found significant success with her starring role as Namrata Singh in K. C. Bokadia's Phool Bane Angaray (1991). In this action drama, set in Udaipur, she played a young woman who joins the police force to avenge her husband's death. The film was a box-office hit and earned Rekha a Best Actress nomination at Filmfare. Critics praised her portrayal, with Subhash K. Jha remarking, "Khaki never seemed sexier," and The Indian Express noting how she "rides horses, wields swords and does justice to the title in being phool (फूल_{meaning "flower"}^Hindi) and becoming angaarey (अंगारे_{meaning "burning coal"}^Hindi)."

The public's positive reception of Phool Bane Angaray and Khoon Bhari Maang led to a series of similar offers for Rekha, where she played "avenging angel" roles. However, these subsequent films, such as Insaaf Ki Devi (1992), Ab Insaf Hoga (1995), and Udaan (1997), largely underperformed at the box office. She also took on a dual role of twin sisters in Shakti Samanta's Geetanjali (1993) and the title role in the box-office disaster Madam X (1994), where she impersonated a female underworld don.

Mid-decade, Rekha managed to reverse her career decline by accepting several highly controversial films, including Kama Sutra: A Tale of Love and Khiladiyon Ka Khiladi (both 1996). Kama Sutra, an erotic historical drama directed by Mira Nair, featured Rekha as a Kama Sutra teacher. Despite concerns that the role would damage her career due to its explicit content, Rekha remained undeterred. While the film was banned in India, it was screened internationally, and Todd McCarthy of Variety described her performance as "exquisitely composed."

Khiladiyon Ka Khiladi, an action film directed by Umesh Mehra, proved to be a major financial success and one of the highest-grossing Indian films of 1996. Rekha played her first negative role as Madam Maya, a vicious gangster running illegal wrestling matches in the US, who also romances the much younger Akshay Kumar. The film generated controversy due to intimate scenes, including a mud-wrestling sequence, which fueled media rumors about a real-life relationship between Rekha and Kumar. Despite her personal dislike for her performance, she won the Filmfare Award for Best Supporting Actress and the Star Screen Award for Best Villain for this role.

Another controversial film was Aastha: In the Prison of Spring (1997), the final film directed by Basu Bhattacharya. Rekha portrayed Mansi, a housewife who becomes a prostitute to support her family. This role, with its explicit love scenes and unconventional subject matter, again drew scrutiny from parts of the press and audience. However, Rekha defended her choice, stating, "I don't have problems playing anything. I've reached a stage where I could do justice to any role that came my way." Her performance earned positive reviews, with India Today calling it "her finest performance in years," and a Star Screen Award nomination. She concluded the decade with roles in Qila (1998) and Mother (1999), though both were box-office failures despite her performance in Mother being better received.

3.5. Character Roles and Occasional Work (2000s-Present)

In the 2000s, Rekha significantly reduced her film appearances, transitioning to fewer, more selective roles, often in supporting or guest capacities. She started the decade with Bulandi (2000) and appeared in Khalid Mohamed's Zubeidaa (2001), where she played Maharani Mandira Devi, the first wife of a king.

In 2001, Rekha starred in Rajkumar Santoshi's feminist drama Lajja, an ensemble film inspired by a true incident of a woman being raped. Rekha played Ramdulari, an oppressed Dalit village woman and social activist who becomes a victim of gangrape, a role she deeply connected with, stating, "I am Lajja and Lajja is me." Her portrayal was highly praised by critics, earning her nominations for the Filmfare Award for Best Supporting Actress and the IIFA Award for Best Supporting Actress. Taran Adarsh hailed it as "one of the finest performances the Indian screen has seen in recent times." She also appeared alongside Preity Zinta in Kundan Shah's Dil Hai Tumhaara (2002), playing Sarita, a woman who takes custody of her late husband's illegitimate daughter.

In 2003, Rekha played Sonia Mehra, a single mother to a developmentally disabled young man, in Rakesh Roshan's science-fiction film Koi... Mil Gaya. The film was a major financial and critical success, becoming the most popular film of the year and winning the Filmfare Award for Best Film. Rekha received another Best Supporting Actress nomination for her "astutely restrained" performance.

In 2005, she made a guest appearance in the item number "Kaisi Paheli Zindagani" in Pradeep Sarkar's Parineeta. However, her role as a con woman in Bachke Rehna Re Baba (2005) was met with major critical failure, with critics questioning her choice of film and noting her "bad dialogue, terrible cakey makeup and tawdry styling." This was followed by the poorly received sex comedy Kudiyon Ka Hai Zamana (2006), where a critic remarked that "Rekha hams like she was never going to do another film."

Despite these setbacks, Rekha reprised her role as Sonia Mehra in Krrish (2006), Rakesh Roshan's sequel to Koi... Mil Gaya. In this superhero film, she played the nurturing grandmother to her grandson Krishna, who develops supernatural powers. Krrish became the second-highest-grossing film of the year and a blockbuster, earning Rekha another Filmfare nomination for Best Supporting Actress. Ronnie Scheib from Variety praised her for bringing "depth to her role as the nurturing grandmother."

In 2007, she once again portrayed a courtesan in Goutam Ghose's Yatra, but unlike her earlier successes in such roles, the film underperformed. In 2010, Rekha was honored with the Padma Shri, India's fourth-highest civilian award. She also starred in the 2010 film Sadiyaan alongside Hema Malini and Rishi Kapoor, which marked the debut of Shatrughan Sinha's son Luv Sinha, but the film failed at the box office. In 2014, Rekha was initially cast in Abhishek Kapoor's Fitoor but left the project for unknown reasons and was replaced by Tabu. The same year, she appeared in Super Nani, a family drama where she played a grandmother who transforms into a glamorous model. Her most recent appearance was in R. Balki's Shamitabh (2015), where she played herself.

4.1. Marriage and Relationships

Rekha's personal relationships have been a consistent topic of public and media interest. She was rumored to have been married to actor Vinod Mehra in 1973, but she denied this in a 2004 television interview with Simi Garewal, referring to him only as a "well-wisher."

Her most famously speculated relationship was with actor Amitabh Bachchan, who was married. Rumors of their affair began after they first acted together in Do Anjaane (1976) and intensified during the production of Silsila (1981), where the film's plot mirrored their alleged real-life love triangle. This was their last collaboration on screen.

In 1990, Rekha married Mukesh Agarwal, a Delhi-based industrialist and owner of the kitchenware brand Hotline. Agarwal was introduced to Rekha by a mutual friend, fashion designer Bina Ramani, who described him as Rekha's "crazy fan." Their marriage took place on March 4, 1990, at a temple in Juhu, Mumbai, followed by a week-long honeymoon in London. It was during this time that Rekha reportedly discovered her husband's long-standing struggle with severe depression, for which he had been receiving psychotherapy for a decade. Agarwal's mental state deteriorated due to a financial crisis that impacted his business, leading to him becoming temperamental towards Rekha. Tragically, just seven months into their marriage, in October 1990, Mukesh Agarwal died by suicide by consuming pills, leaving a note stating, "Don't blame anyone."

His death sparked a massive media controversy, with many newspapers and magazines blaming Rekha for the incident, labeling her a "witch" or a "murderess." This period was described by one journalist as "the deepest trough in her life." However, Rekha eventually emerged from this public condemnation "unblemished." In a Filmfare interview two months after his death, she stated, "Divorce was not my idea... Mukesh brought it up first."

Rekha currently resides in her Bandra home in Mumbai. She has no children and is a self-proclaimed eggetarian.

4.2. Public Image and Persona

Rekha's public image has been inextricably linked to her perceived sex appeal and a carefully cultivated aura of mystery. Early in her career, she was criticized for her appearance, being called the "ugly duckling" of Hindi films due to her dark complexion and plump figure. This motivated her to undergo a significant physical transformation, which involved adopting a nutritious diet, a disciplined lifestyle, and practicing yoga. Her diet and yoga regimen were even published in a book titled "Rekha's Mind and Body Temple" in 1983. This metamorphosis from an "overweight, dark ordinary girl into a glamorous and beautiful enigma" is often cited as one of cinema's most dramatic transformations.

Critics and industry professionals have often referred to her as a "diva." Filmmaker Mira Nair likened Rekha to a "Jamini Roy painting" and stated, "Like Marilyn Monroe is shorthand for sex, Rekha is shorthand for charisma." Sanjay Leela Bhansali has called her the "last of the great stars."

Despite widespread appreciation for her professional achievements, Rekha's public image has been heavily influenced by speculations about her personal life. She has gained a reputation for being mysterious and reclusive, leading to comparisons with Greta Garbo. Hindustan Times noted that she has shrouded "her life in an intriguing Garbo-like mystery." Rekha rarely gives interviews and largely avoids public parties and events. She has consistently denied actively cultivating this mysterious image, asserting that it is a media creation. She describes herself as "basically shy by nature, an introvert and fiercely private." Journalist Anupama Chopra, who interviewed Rekha in 2003, challenged the tabloid portrayal of her as a "reclusive woman twisted bitter by lecherous men and loneliness," describing the actress as "chatty and curious, excited and energetic, cheerful and almost illegally optimistic."

In 2012, Rekha was honored with the "Outstanding Contribution to Indian Cinema (Female)" award, also known as the Lifetime Achievement Award, at the IIFA Awards in Singapore, where she was hailed as the reigning Queen of Indian Cinema. Her life has been the subject of two biographies: Eurekha!: The Intimate Life Story of Rekha (1999) by Mohan Deep and Rekha: The Untold Story (2016) by Yasser Usman.

4.3. Political Career

In 2012, Rekha was nominated as a Member of Parliament to the Rajya Sabha, the upper house of the bicameral Parliament of India. Her nomination was made by President Pratibha Patil on the recommendation of Prime Minister Manmohan Singh, in recognition of her significant contributions to the field of art. This nomination was in accordance with Article 80 of the Constitution of India, which allows the President to nominate 12 members to the House based on their expertise in specific fields.

Her six-year tenure as a Member of Parliament began on April 27, 2012, and concluded on the same date in 2018. During her term, Rekha served on the Consumer Affairs, Food and Public Distribution committee. However, her political involvement was met with criticism regarding her low attendance in the Rajya Sabha and minimal participation, including a lack of bills introduced or questions raised. This concern was raised multiple times during her incumbency, as well as for other nominated members. Despite the criticism, several elected members defended her and others, asserting that active physical presence was not the sole measure of contribution for nominated members, who could contribute in other ways through their position.

5.1. Physical Transformation and Style

Rekha's physical transformation is one of the most discussed aspects of her career. She transitioned from being perceived as a "giggling village belle" in her early films like Sawan Bhadon to becoming one of the country's "reigning actresses." Initially, she was often criticized for her "dark complexion" and "plump figure." However, in the mid-1970s, she embarked on a disciplined regimen of yoga, a nutritious diet, and meticulous attention to her make-up and dress sense. This led to a dramatic metamorphosis, turning her into a "glamorous and beautiful enigma."

This physical change was accompanied by a significant evolution in her style. Her fashion choices often set trends; for instance, the simple dress and two braids she wore in Khubsoorat (1980) became widely popular. Later, her elaborate costumes in films like Khoon Bhari Maang (1988) were noted for their influence on fashion, reflecting the opulent styles of contemporary television soaps. Rekha's ability to reinvent her appearance and maintain a glamorous image contributed significantly to her enduring status as a style icon.

5.2. Acting Prowess and Versatility

Rekha is widely regarded by critics as one of Hindi cinema's finest and most versatile actresses. Her acting style is often described as unparalleled in terms of "style, sexiness or sheer onscreen presence." She is recognized as "a fierce, raw, flinty performer with unbridled honesty," whose acting is devoid of gimmicks. Critics like Khalid Mohamed commend her technical control, noting that she "knows how to give and to what degree" and that "there is a kind of vulnerability in her control." Filmmaker Shyam Benegal, who directed her in two films, referred to her as a "director's actress."

Her performances showcased a remarkable range, from the vivacious and bubbly Manju Dayal in Khubsoorat (1980) to the traumatized rape victim Aarti in Ghar. Her portrayal of the tragic courtesan in Umrao Jaan (1981) is particularly lauded for its "quality artistry," characterized by a "much-admired huskiness and despondency of tone" and the ability to communicate profound emotion with a "delicately raised eyebrow." This performance is frequently cited as one of her best and was included in Forbes India's list of "25 Greatest Acting Performances of Indian Cinema."

Rekha's willingness to take on challenging and unconventional roles further solidified her reputation for versatility. She ventured into parallel cinema with films like Kalyug (1981) and Ijaazat (1987), and was among the first actresses to lead heroine-oriented revenge films such as Khoon Bhari Maang (1988). Even in later character roles, such as the nurturing grandmother in Krrish (2006) or the complex social activist in Lajja (2001), she brought depth and nuance to her characters. Her ability to portray a wide array of roles, from glamorous to gritty, and from traditional to controversial, underscores her exceptional acting prowess.

6.1. Awards and Honors

Rekha has received numerous accolades throughout her illustrious career, recognizing her exceptional talent and contributions to Indian cinema. In 2010, the Government of India honored her with the Padma Shri, India's fourth-highest civilian honor, a testament to her significant cultural impact.

Her major film awards include:

• National Film Award for Best Actress**: For her iconic performance in Umrao Jaan (1981).
• Filmfare Awards**:
  • Best Actress**: For Khubsoorat (1980) and Khoon Bhari Maang (1988).
  • Best Supporting Actress**: For Khiladiyon Ka Khiladi (1996).
  • Lifetime Achievement Award**.
• Bengal Film Journalists' Association Award for Best Actress (Hindi)**: For Utsav (1984).
• Star Screen Award for Best Villain**: For Khiladiyon Ka Khiladi (1996).

She also received nominations for prestigious awards, including the Filmfare Award for Best Actress for Ghar (1978) and Jeevan Dhaara (1982), and the Filmfare Award for Best Supporting Actress for Muqaddar Ka Sikandar (1978) and Lajja (2001).

6.2. Critical and Public Acclaim

Rekha is widely acknowledged as one of the finest actresses in Indian cinema. Critics consistently praise her for her ability to portray strong, complicated female characters, whether fictional or literary, in both mainstream and independent films. Her career is noted for her remarkable capacity to reinvent herself multiple times and sustain her star status despite periods of decline.

Her transformation from an "ugly duckling" to a "swan" in the mid-1970s, through dedication to fitness and self-improvement, impressed audiences and critics alike. She was hailed for her "spunky performance" in Khubsoorat and her "smouldering intensity" in Muqaddar Ka Sikandar. Her role in Khoon Bhari Maang was particularly significant, recognized by Encyclopædia Britannica for changing the perception of the "ever-forgiving wife" into an "avenging angel," and listed by Screen as one of "ten memorable roles that made the Hindi film heroine proud."

Rekha's acting style is often described as "unparalleled" in terms of "style, sexiness or sheer onscreen presence," and she is admired for being a "fierce, raw, flinty performer with unbridled honesty." Filmmakers like Shyam Benegal lauded her as a "director's actress," emphasizing her technical control and vulnerability. Her performance in Umrao Jaan is frequently cited as a masterpiece, showcasing her ability to convey deep emotion with subtlety. Both Khubsoorat and Umrao Jaan were included in Filmfares list of "80 Iconic Performances," and the latter also made Forbes Indias list of "25 Greatest Acting Performances of Indian Cinema."

In 2011, Rediff.com ranked her as the ninth-greatest Indian actress of all time, highlighting her "longevity" and "ability to reinvent herself." Her enigmatic public image, characterized by reclusiveness and a reluctance to give interviews, has only added to her mystique, drawing comparisons to Greta Garbo. Despite this, journalists who have interacted with her describe her as "chatty and curious, excited and energetic, cheerful and almost illegally optimistic." Rekha's lasting impact is evident in her continued status as an icon, revered by both the public and industry professionals for her artistry, charisma, and enduring influence on Indian cinema.