Sridevi in 1984 : At the launch of the Hindi film Govinda: Produced by Boney Kapoor!

Sridevi, 20, at the mahurat/launch of Govinda - a film produced by Boney Kapoor, with co-star Anil Kapoor. The movie went nowhere beyond launch... the team instead went on to make a little film called... Mr.India.

 

Hindi: पारिवारिक फिल्म साप्ताहिक मायापुरी 

Transliteration: Pārivārik Film Sāptāhik Māyāpurī

English Translation: Family Film Weekly Mayapuri

The pull quote from the cover, "I don't sign films based on who the hero is..." 

Filmfare: Unquestionably No: 1 Sridevi Reaches the Top: July 1984 :

 

UNQUESTIONABLY No. 1 

Every five years or so, an elaborate ritual takes place in Hindi moviedom. The reigning glamour queen abdicates her title in favour of a younger tinsel goddess. Such a transition took place recently. When Rekha was replaced by another actress from the South - Sridevi. 

The sensuous bombshell has grabbed the limelight. 

Profiled by Nikhil Lakshman. 

SRIDEVI," says Rekha, "is number one. Give her six months more and she will redefine the rules of the industry." The erstwhile glamour queen is not the only one. From movie moguls to top screenplay writers, from directors to superstars, the view is unanimous. A Greek chorus. In less than eighteen months, this captivating gamine from NTR territory has clearly demonstrated her unbelievable box-office potential. 

And the price is Rs. 12 lakhs. No actress has ever shot up so swiftly. It took Hema Malini nearly four years to make the ascent. Rekha even with Mr B's help took an identical period. And neither faced the cut-throat competition that Sridevi faces. 

Today, there are so many actresses in the race: Rati Agnihotri, Jaya Prada, Padmini Kolhapure, Dimple Kapadia, Meenakshi Seshadri, Moon Moon Sen. So what makes Sridevi run? And number one? 

The present power and glory is a far cry from the humiliation five years ago, when "Solva Sawan" was released. Though it was a good re-make of that fine Tamil film "16 Vayathinile", the movie flopped. As for Sridevi, despite a... 

...tantalising show of thigh- immortalised in that enchanting freeze when she wades across a river - and an on-par performance, the film's failure instantly banished her from the Hindi movie scene. 

At about the same time, another actress from Andhra Pradesh was delighting audiences with her performance in "Sargam". Ironically, that superhit had little impact then on Jaya Prada's career which, thanks to her refusal to learn Hindi and badly-conceived projects like "Lok Parlok" and "Biwi", went into limbo. 

Meanwhile, deeply hurt at the "Solva Sawan" episode, Sridevi worked hard at her craft in Hyderabad and Madras. As a child actress she had her debut at 4. As an adult she zoomed to the top in the South. She could hold her own both in corny song 'n dance extravaganzas like "Bubbulipuli" and "Premabhishekam" as well as serious well-made films like Balu Mahendra's "Moondram Pirai". 

A. Raghavendra Rao, the Telugu Croesus who is widely given credit for 'creating' Sridevi, recalls the sensation that Bobbili Puli was: "Whenever NTR - you must remember she was 16 and he was nearing 60- and Sridevi came together on screen, a strange electricity passed through the audience. And they began to show their appreciation by throwing coins, clapping enthusiastically. No Telugu film has had such a response. 

Then, in late 1980, Padmalaya Films, controlled by the Telugu actor Krishna, approached her with a proposal. They were going to make a Hindi film and would she be interested in acting in it? Sridevi wasn't too sure. Nor were her parents who vet every script, pass judgement on the role she is to accept. More out of loyalty to that banner and mentor Raghavendra Rao, she agreed. And thus, “Himmatwala” was born. 

On the sets, Sridevi discovered that her eyes-always-on-the-box-office co-star Jeetendra had vociferously approved her selection. However, financiers and distributors were not so enthusiastic. Raghavendra Rao recalls the long hours spent in convincing them that Sridevi was the right choice. One important factor in their favour was distributor Ramesh Sippy's support. Sippy, Jeetendra's brother-in-law, is known as a shrewd businessman. He decided to hard-sell Sridevi. Huge hoardings of her appeared overnight in Bombay. “This is Sridevi,” they proclaimed, “Watch out for her in ‘Himmatwala'”. 

The intention was obviously to re-introduce her to Hindi audiences and it worked. “Himmatwala” is a garish, inane exercise on celluloid. But, somehow it clicked. 

In the age of video, it earned over one crore, making it one of the biggest block-busters last year. With oomph oozing from every pore, the actress was an instant hit. 

In the meantime, producer Ramesh Sippy had struck a deal with director Balu Mahendra to re-make “Moondram Pirai”. “Himmatwala” had not yet been released, so Sippy was lukewarm about having Sridevi in “Sadma”. Dimple was his first choice. But when the other Sippy - G. P. and son Ramesh—grabbed her for “Saagar”, Sridevi was signed for “Sadma”. 

The film remains one of the high points of 1983, an otherwise dull year of movie-making. Neither Silk Smitha's lascivious gesticulations nor Kamal Haasan's fine performance could match Sridevi's pyrotechnics in “Sadma”. As for her acting the transformation from city slicker to infantilism and back was effortless. 

Unfortunately, “Sadma” flopped. And Sridevi was back to making movies like “Maqsad” and “Tohfa”.

Sridevi had to jettison her 'respectable' image down South, grabbing skimpy outfits and going into postures straight out of Vatsayana (one Southern director shudders recollecting those seducing scenes in 'Inquilaab').   

Today, after a year of shuttling between Madras and Bombay, Sridevi is entrenched in Hindi films. Not even flops like "Kalakaar" or damp squids like "Inquilaab" have erased that reputation. Of course, she was fortunate in making a comeback just when there was room at the top. 

Hema Malini was no longer in the very young brigade. Rekha was more busy with her mind-and-body affair. And none of the younger actresses like Rati Agnihotri or Padmini Kolhapure had really managed to bulldoze the audience. Sridevi had to jettison her 'respectable' image down South, grabbing skimpy outfits and going into postures straight out of Vatsayana (one Southern director shudders recollecting those ugh! seducing scenes in "Inquilaab"). 

It might not have earned her a place in the critics' note-books, but it delighted audiences. 

Sex is emblazoned on her every gesture.   Sridevi has had her share of "Justice Choudhury", "Mawaali", "Tohfa", "Akalmand", "Maqsad". Routine re-makes have been transformed into record-breakers by her sheer presence. 

"Else why should films without a semblance of a story-line and with Jeetendra co-starring be such big hits? I tell you people want to see Sridevi, not anyone else," says one movie-maker.   Apparently, her parents make all the decisions for Sridevi. It is a well-oiled, carefully-constructed exercise. According to some sources, Sridevi rarely compromises where the price and her roles are concerned. The rule of thumb is simple: Market price and roles that play her up considerably. 

"Though she maintains excellent public relations, Sridevi is perfectly capable of saying no even to producers who have funded her height up," says one Southern source.   Unlike many local actresses, Sridevi is an absolute professional. No tantrums. No late-coming. No truancy because of mishaps in love. She is on the sets well ahead of time and raring to go. 

"She does not disobey the director  ever," says Raghavendra Rao, "in fact you can mould her whatever way you want".   

In fact, that is exactly what worries Sridevi watchers. The success of movies like "Tohfa" and "Himmatwala" have forced her into an erotic slot that confines her to lewd dances and little else; just forget acting. 

Now that she is on the top of the world, surely she can select her roles more carefully. They say, Rekha rushes to her defence. She says, "Sure, these films are crap. But don't forget they run. And that is very important. If you want to do something in the future, something lasting, you must be prepared to work with junk in the early years. We all did."   

Most of the films Sridevi has on hand are the typical Madras masala movies. One reason for this nonchalance towards performances could be that both films in which she had concentrated on histrionics - "Solva Sawan" and "Sadma" - flopped. So she openly states her determination to woo commercial success. 

"If these films run, why not?"   

How long will the Sridevi phenomenon go on? One movie pundit insists that Sridevi is just a stop-gap number one. The moment a more viable alternative comes along, she will be forced to return to Madras. 

Echoing a similar viewpoint another trade source says: "With video around, you have to continuously come up with newer things all the time if your film has to run. Though she has an extremely mobile face and is a good actress, people will tire of her and want something new. 

Yet Amitabh Bachchan places his bet on Sridevi. He is believed to have said that no actress - not Jaya Prada nor any of the others - can touch Sridevi "for the next five years".   

Of course, there are a bevy of heroines all dying to have a shot at Sridevi's title: Jaya Prada, of course, was running neck-to-neck till early this year and has old scores to settle with her Telugu compatriot. Rati Agnihotri has the largest number of films on hand. Mahesh Bhatt is backing Padmini Kolhapure. Meenakshi Seshadri has some good films ahead. And there are those dark horses - Dimple and Moon Moon Sen. Moon Moon could be the actress giving Sridevi nightmares.   

The last word on the subject comes from Rekha: "Of all the other actresses, Jaya Prada is being promoted as Sridevi's only rival. Sure she is terrific-looking, but can she act? What wouldn't I do for a face like Sridevi's! Why call me a sex symbol? My God, that girl is miles ahead of me!"   

-- FILMFARE JULY 16—31, 1984 

Cine Blitz: July 1984: Interview with young newcomer to Bollywood Sridevi

 SRIDEVI''S INTERVIEW WITH CINE BLITZ MAGAZINE

An interview with the shy superstar - and she's not on the cover?! You know this was early days. In fact, at the time of the interview, Sridevi had only done a handful of Hindi films, she was 20, and was known as the "sexy" actress from the South! 

A look back at young Sridevi making her hesitant steps in Bollywood - before she raced to the very top! 

SRIDEVI GRILLED

Following her around for nearly five weeks across Guntur, Amravati, Hyderabad and Rajahmundry, CINE BLITZ caught Sridevi in candid moments one rarely sees of this reserved introvert, known for giving monosyllabic interviews. 

She is a current rage, but with fame and popularity start the tricks of the trade. And Sridevi seems to be playing them with the ease of a professional...   

Q. You've been in films for the past 11 years and should be around 26-27. And yet you claim that you are younger than our 'kid' actor, Kunaal Goswami.   

Sridevi: I cannot keep my age a secret even if I wished to. Everyone in films has seen me grow up. I was just five when I started acting. But it's true that I've been playing a leading lady for the last 11 years. My first adult role was in the Telugu film, Anuraagalu, a remake of the Hindi film, Anuraag. I had to wear padded clothes because I was just 11 at the time. So that makes me 22. Besides, I don't lie about my age... 

....Akkineni Nageswara Rao (Telugu's second biggest star after N.T.R.) ... even says that, 'Sridevi is like a grand-daughter to me'. Yet, we have given superhits together like Prema Bhishekam. If I can team successfully with actors much senior to me, surely I can also be a success with actors who are more my age.   

Q. But in Hindi films too, you have been consistently pairing with senior actors like Amitabh, Jeetendra, Rajesh Khanna.  

Sridevi: If I've done more films with these actors it's because they are very popular with the South based units. I personally feel Kamal Haasan and I are good together and we've given quite a few hits in Tamil. But unfortunately Sadma didn't do well. Currently, I'm doing Joshilaay with Sunny Deol and I'm sure we'll be a success. Boney Kapoor is starting his film in August with Anil and me. And I've already done Jaag Utha Insaan with Mithun and Raakesh Roshan. I feel I'll be better off with younger actors.   

"It's a fact that we're signing lesser films than before!" 

Q: Directors (in the South) are angry because you are now ignoring the very people who created you. Besides, you refused to wear a bikini for their films, yet you wear one in every Hindi movie?

Sridevi: Yes, I know that some Telugu directors are unhappy with me because I couldn't act in their films. But why should they be envious of my success in Hindi films? I have so much work right now that I can't even give dates for my next Hindi film. How can I act in Telugu? There are only a few people, like ANR, for whom I would willingly adjust my dates.

The other allegation is also fair. Although I was always considered a glamorous actress, I refused to wear a bikini in Telugu films. I wasn’t sure how my fans would react to it. But in Hindi films, it’s different. I wore a swimsuit in my second film Himmatwala, so I see nothing wrong with wearing it in subsequent films as well. Every actress reveals skin here. However, top actresses in Telugu films do not wear revealing clothes.

Question: Dasari Narayana Rao made the bikini allegation. It seems he doesn't like you very much.

Sridevi: Yes, he prefers Jayasudha. Dasari and I worked on successful films like Bobbili Puli (1982) and Premabhishekam (1981), but the fact is that Jayasudha is his favorite. Most directors have their favorites. K. Viswanath, with whom I worked on Jaag Utha Insan (1984), prefers newcomers, but among stars, he favors Jaya Prada. Similarly, K. Raghavendra Rao prefers me. Except for the film Nishana (1980), I have acted in every Hindi film he has directed so far. Even now, I am under contract with him until the end of 1985.

Q: Did you drop your price and allocate filming dates for Jaag Utha Insan just to invade Jaya Prada's territory? Comment on this.

Sridevi: Yes, I did prioritise Rakesh Roshan for the opportunity to work with K. Viswanath, the director of Sankarabharanam. But I wasn't trying to steal the film from Jaya Prada. I was told that she couldn't provide them with the necessary dates. If Jaya had adjusted her schedule for Jaag Utha Insan, working with K. Viswanath might not have happened for me.

Q: Is it just a coincidence that you have been getting more films with Jeetendra's rival, Rajesh Khanna?

Sridevi: Today, directors like Raghavendra Rao, to whom I am loyal, are directing a larger number of films with Rajesh Khanna. Over the last two years, South Indian filmmakers have started working with actors other than Jeetendra as well.

Q: Do you really have grounds to demand such an astronomical fee, knowing that many prefer Jaya Prada over you?

Sridevi: I am not aware of who Amitabh and everyone else prefers. I do quote a high price, and it is justified. Producers are still signing contracts with me; otherwise, I would have stopped acting. Charging a high fee is good because then the producer will ensure that you don't waste time on his film, if only to justify that investment.

Q: Could your high price hurt you? So many overnight sensations have appeared, literally - Bhanupriya, Padmini Kolhapure.

Sridevi: That is not the case for me. The fee level I have reached is not the result of just one or two hits. I was the top actress in Telugu for nine years, which proves that I am not someone who achieves success only to fade away immediately.

Q: Jaya Prada and Jayasudha have won recognition and awards as actresses. What do you think of their success?

Sridevi: Everyone who seeks recognition and awards receives recognition and awards. I sought love and popularity, and I received love and popularity. I am also capable of giving good performances, like in Sadma. And I also periodically win awards for my work, such as for Meendum Kokila. But my father likes films like Himmatwala, and that is why I act in them.

Q: Doesn't this extremely fascinating world of cinema depress you? You don't do anything else, after all.

Sridevi: Apparently, the question is whether I am happy? Yes, I am very happy. There are so many people whose lives are unlike mine... but are they happy? Yes, every work day of mine looks like the previous one. On Sundays, I have a day off in Madras, and my only joy is sleeping in late. But towards the evening I wake up, and if I have two consecutive days off, I start getting on everyone's nerves at home.

-- Sridevi in CINE BLITZ, July 1984

Sridevi, 21, on the cover of a Bengali tabloid

 

Title: Anandalok (Name of the magazine) 

29 December 1984 | 4 Rupees 50 Paisa (Date & Price) 

Sridevi

Special feature on beauty care 

 "I'm not quitting films": Amitabh 

Above image is ai modified, edited picture of below original paper scan. Sridevi still looks like Sridevi - not some of the terrible edits that are floating around online. 

The photoshoot was done earlier than October 1984 - you can see images in the archive from this shoot here.

 

Mithun Chakraborty's rare quote on Sridevi; "Sridevi is a wonderful person, a terrific actress."

COINCIDENCES CAN BE ROMANTIC

"The last time I met Sridevi, was on the last day of the shooting. After that I have been out of town and out of the country very often. So where is the question of our meeting?"

The Mithun-Sridevi rumour is almost at its peak according to Mithun. "I'm not saying anything," he laughs, "because I've been this way before. In the gossip mags it starts off with attraction, then seeing each other, visiting one another's location, getting married, finally they have two children and then they split. It's all very very routine." He's now waiting for the rumours of his next child, (his wife Yogeeta delivered a son recently) after which it will all be over.

And yet he adds seriously, "What worried me is that I have met Sridevi's entire family. They are an orthodox, well-brought up sort of family and I wonder how they react to the talk that I have even bought a bungalow for her. It's okay for me, I'll survive all this but what about her?"

According to Mithun the rumours started when he likened Sridevi to Vyjayanthimala and then added that he had a crush on the latter. "A lot was read into my statement," he complains. "Sridevi and I have worked together only in one film, 'Jaag Utha Insaan', and we became good friends on location in Guntur the way I am with everybody. We would all get together (he, Raakesh [Roshan], K. Vishwanath) and have fun. Sridevi often joined in. I think she's a wonderful person, a terrific actress and nothing, least of all rumours inking her with me, will make me change my opinion. The last time I met her, was on the last day of shooting of 'Jaag Utha Insaan'. After that I have been out of town and out of the country very often. So where's the question of our meeting?"

-- FILMFARE November 16–30, 1984 

Tohfa (1984): Sridevi and Jeetendra's blockbuster

Sridevi in Tohfa

Sridevi and Jeetendra in Tohfa (1984).

Personally, loved the song Gori tere, ang ang main... sung by the greats Kishore Kumar and Aasha Bhosle... a bit more than Nainon main sapna... 

The movie was the BIGGEST hit of 1984, putting the numbers of Himmatwala (also a blockbuster!) to shame! 

Shekhar Kapur with Sridevi on the sets of Joshilaay: "Sridevi was a gift to us"

The earliest pic I have of Sridevi and myself. Her face never changed. Her eyes flashed startlingly in this pic from the film ‘Joshilay’ as much as they did later in ‘Mr India’ .. and while the world remembers the Star .. Sridevi .. on her birth yesterday I was remembering Sri Devi as the Director’s best friend .. 

Mr India would not have been possible without the amazing collaboration between Sridevi and myself. I still remember my excitement and urge to get to the set when Sri Devi and I were doing Mr India .. .. because you never knew how Sri Devi would surprise you that day. .. and she never failed to do so .. when the camera was not in her .. she would be quietly sitting in her chair .. almost in denial of her stardom (unlike actors today she would not disappear into her trailer) .. but .. 

 When in front of the Camera it was as if magic happened .. it was a different Sridevi.. her energy not only radiated out of her for the camera .. everyone on the set felt it .. it was electric. So much that at times ( especially in a dance sequence) we would forget to switch off the camera ! For I would forget to say ‘Cut’ .. I doubt there’ll be another Sri Devi .. she was a gift to us .. 

So wherever you are Sri .. Happy Birthday .. 

#HappyBirthdaySridevi #Sridevi #MrIndia #filmDirecting #acting

 

 

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Gopi Krishna with Mithun and Sridevi: Birth anniversary of the Nritya Samrat

Gopi Krishna choreographs Sridevi and Mithun in Jaag Utha Insan back in 1984. 

Today, the birth anniversary of the Nritya Samrat. Born on 22 August 1935, he only taught Sridevi in one film. The prolific dancer was famed as the youngest choreographer in the history of Indian cinema. 

Born on August 22, 1935, into the illustrious Banaras gharana as the grandson of Kathak legend Sukhdev Maharaj, Gopi Krishna was just 49 years old when he directed Sridevi’s classical dance movements in K. Viswanath’s Jaag Utha Insan (1984). She was 20 and in awe of the lgend. 

By the time of his passing on February 18, 1994, he had secured an imperishable legacy as a virtuosic titan of Indian dance. His status as arguably the greatest classical dancer of mainstream Hindi cinema stemmed from an extraordinary, lightning-fast execution of Kathak, astonishing tatkar footwork, and a unmatched athletic fluidity - rendered all the more remarkable considering his lifelong battle with chronic asthma. 

Honoured with the title of Nataraj at fifteen and later awarded the Padma Shri in 1975, his range transcended traditional Kathak, integrating elements of Bharatanatyam and folk traditions into dynamic cinematic compositions. Married to Kathak exponent Savitri, Gopi Krishna spent decades elevating movie choreography into fine art. 

He achieved instant screen immortality starring in V. Shantaram’s classic Jhanak Jhanak Payal Baaje (1955), where his soaring performance set a benchmark for dance on celluloid. Beyond his starring debut, his landmark filmography and signature choreographed pieces include the rich Kathak numbers in Muzaffar Ali’s Umrao Jaan (1981), Saqi (1952 - where he became the industry’s youngest choreographer at seventeen - and grand scale productions like Mehbooba (1976), Dastaan (1972), and Gopi (1970). 

His ultimate legacy lies in bridge-building. He demystified classical dance for popular audiences without sacrificing its rigorous technical purity. Through his Nateshwar dance academies and a historic world-record continuous Kathak performance lasting over nine hours, Gopi Krishna permanently redefined how classical artistry is staged, filmed, and preserved in the cultural consciousness.

Rekha in and as Umrao Jaan

Work with Rekha

Gopi Krishna was initially brought in to train and choreograph Rekha for Muzaffar Ali’s magnum opus Umrao Jaan (1981). He helped impart the fundamental nuances, stances, and expressions of Kathak required for her role as a 19th-century courtesan. However, after composing an initial dance number, the film's makers sought a more authentic, traditional Kathak flavor for the remaining tracks and brought in maestro Kumudini Lakhia, leaving Gopi Krishna credited alongside Lakhia for the film’s iconic dances.

Madhuri Dixit

Gopi Krishna never choreographed Madhuri Dixit. By the time Madhuri Dixit rose to superstardom in the late 1980s and early 1990s as Bollywood's premier dance icon, her signature film routines were primarily designed by Saroj Khan (and later, Birju Maharaj for classical compositions like Devdas).

Other Leading Screen Legends

Throughout his prolific career spanning hundreds of films, Gopi Krishna choreographed and trained many of Indian cinema’s legendary leading ladies, particularly in intricate classical and semi-classical routines:

• Madhubala: In Saqi (1952), marking his debut as the youngest choreographer in Hindi cinema at age seventeen. 

  
  
  

• Vyjayanthimala: In major dance-centric productions like Amrapali (1966), Suraj (1966), and Prince (1969).

• Sudha Chandran: In the classical dance biopic Nache Mayuri (1986).

• Waheeda Rehman & Asha Parekh: Across various classical, period, and drama sequences in 1960s and 1970s mainstream cinema.

• Sridevi: In K. Viswanath’s Jaag Utha Insan (1984)

Sridevi's tabloid cover from 1984

 

Sridevi, 21, strikes a sensuous pose for a cover shoot! Throwback to 1984!

Sridevi with Jeetendra in the biggest hit of 1984: Tohfa: A Gift that keeps on Giving!

Sridevi, 20, and Jeetendra, 41, from a still from Tohfa.

Released on February 3, 1984, director K. Raghavendra Rao’s Tohfa emerged as a towering box-office juggernaut. Made on a modest budget of approximately ₹2 to ₹4 crore, the melodrama went on to gross an unprecedented ₹9 crore, beating out heavy-weights starring Amitabh Bachchan, Dharmendra, and Rajesh Khanna to become the highest-grossing Indian film of 1984. Simply based on ROI - return on investment - few films beat this movie's records. 

Its runaway success surprised industry insiders because the early 1980s box office was dominated by gritty, male-dominated action thrillers and revenge sagas. Posters of rugged men holding guns with a background of the screen ablaze... Switch to the dancing shots of Jeetendra-Sridevi-Jaya Prada, it was quite a left turn! A hyper-melodramatic, South-style family tale centered around two self-sacrificing sisters wasn't expected to rule the year's commercial charts.

However, producer D. Ramanaidu had a battle-tested template. Tohfa was a direct remake of Rao's 1982 Telugu blockbuster Devatha. Both Sridevi and Jaya Prada reprised their original roles as sisters in love with the same man (played in Hindi by Jeetendra). Knowing the underlying story possessed proven dramatic heft, the production team spared no expense in translating that emotional core for Hindi audiences.

What truly set Tohfa apart before it even hit theaters was its revolutionary pre-publicity campaign. Ramanaidu flooded major cities with massive, larger-than-life cutouts and towering billboards—a marketing scale rarely seen for social melodramas at the time. Crucially, the publicity leveraged Bappi Lahiri’s electrifying soundtrack. Tracks like "Pyar Ka Tohfa Tera" and "Ek Aankh Maroon To" were aggressively plugged across radio channels and audio cassettes, generating massive pre-release hype. Coupled with the real-life media fascination surrounding the Sridevi–Jaya Prada screen rivalry, audiences flooded theaters. The blend of high-decibel marketing, chart-topping music, and relentless emotional drama turned Tohfa into an enduring pop-culture landmark.

Critically, it was in no danger of being confused as an art-house film, the serious film editors and reviewers hated the film and its flimsy plot - but not a single person in the cast or crew cared; they were laughing all the way to the bank as the movie made more money than any other in India! Nothing succeeds like... success. 

Sridevi in Bollywood: 1984

 

Sridevi in costume in Joshilaay

Sridevi in costume in Joshilaay

 Half directed by Shekhar Kapur - parts of the film are wildly entertaining. The rest is cliche. Film started shooting in 1984 - released years later. Sridevi is ... every size in this film. Note the dance between the trained Meenakshi Seshadiri and Sridevi. Sri matches every step and her grace, expressions and smooth transitions makes her second to none. 

Mithun and Sridevi on the sets of Jaag Utha Insan

 

Sridevi

Gorgeous Sridevi, 21, in Jaag Utha Insan - back in the 1980s. 

Released on July 6, 1984. Its easily one of Sridevi's best Hindi films. 

Exquisite Sridevi in Jaag Utha Insan (1984)

Sridevi's temple scene in Jaag Utha Insan. 

Sridevi, then 21, gave such a phenomenal performance in this 1984 film. 

Directed by the acclaimed filmmaker K. Viswanath and produced by Rakesh Roshan under Filmkraft, Jaag Utha Insan (Awakened Man) is a powerful Hindi social drama that explores love, caste barriers, and spiritual awakening. 

A remake of Viswanath’s own 1981 Telugu film Saptapadi, it stars Mithun Chakraborty as Hari (a Dalit youth), Sridevi as Sandhya (a Brahmin dancer), and Rakesh Roshan as the enlightened Nandu. Supporting roles feature Deven Verma, J.V. Somayajulu, and Sujit Kumar. 

The story follows Sandhya, who falls in love with Hari despite deep caste divides. Sent to perform at her orthodox grandfather’s temple, she is pressured into marrying Nandu. On their wedding night, Nandu perceives her as a goddess devoted to another and releases her through profound wisdom: true caste stems from deeds, not birth, echoing Vedic ideals. Tragedy strikes as societal opposition leads to the lovers’ deaths, delivering a poignant message on humanity over hierarchy. 

his marked the first on-screen pairing of 1980s icons Sridevi and Mithun Chakraborty. Their chemistry sparked an alleged real-life romance during filming that lasted several years. 

  

Jaya Prada - K Vishwanath's favourite - was the original choice for Sandhya but was unavailable due to scheduling conflicts with Sharaabi; Sridevi stepped in. 

Cinematographer P.L. Raj won a Filmfare Award for his evocative work capturing temple rituals and rural landscapes. Music by Rajesh Roshan, with lyrics by Indeevar and standout tracks like Lata Mangeshkar’s “Tarpat Beete” and Asha Bhosle’s other numbers, enhanced Sridevi’s graceful performance. Dialogues came from Dr. Rahi Masoom Reza - who also wrote the dialogues of Lamhe!  

Released on July 6, 1984, the film earned praise for its sensitive direction and bold theme but underperformed commercially, running about 10 weeks in key theaters. It remains a cult classic for its progressive stance on caste and inter-caste love. 

Sridevi, age 21, at Jeetendra's party back in 1984

 

Sridevi with Mithun in their first film together: Jaag Utha Insan: TBT to 1984

Sridevi with her most-talked about co-star, Mithun. 

Their first film together - and the best in the list - Jaag Utha Insan. 1984. Sridevi was 21, Mithun was 34 and twice married already. Famously falling for his co-stars... 

This gen has no idea how big a superstar Disco Dancer Mithun was back then. Now age 76, he shines like the legendary actor he is in films like Guru (by Mani Rathnam), or OMG... unfortunately, he did too many B- C- films that are tagged with his legacy. But not man saw those films, but remember his best performances, not his weak box-office. 

So much has been written and said about Sridevi and Mithun... that we no longer wish to add further dialogue to the conversation. 

3/4ths of their films were superhits. Sad that their best film together, this gem by K Vishwanath, did the worst box-office out of the lot. 80s was a bane on Bollywood in many ways. Some fine films got swept under the rug. 

 

Sridevi at Jeetendra's party back in 1984

Sridevi in 1984. 

Photograph of Sridevi taken at Jeetendra's epic party back in 1984, when he invited all his costars - more in the archive here. 

 

Sridevi in 1984

Sridevi in 1984. A Filmfare cover shoot and interview written and photographed by the late great Gautam Rajadhyaksha, he captured the shy 21-year-old who was already crowned the Number One star of India. 

 

Sridevi at age 21

 

Sridevi, 21, on the cover of MOVIE magazine back in 1984