The most comprehensive fan blog dedicated to India's most beautiful and greatest actress of all-time (in our humble opine!), Sridevi. Sridevi aka Sreedevi, ruled Indian cinema (with awesome performances in Tamil, Telugu, Malayalam and Hindi films) in a career spanning 50 incredible years featuring 266 films. Born in Sivakasi on August 13 1963, her untimely and tragic death on February 24, 2018 left a nation in mourning. In our hearts, she'll forever be, the eternal Queen of Bollywood.
"Showman" Subhash Ghai’s action-drama Karma, released on August 8, 1986, stood tall as the highest-grossing Indian film of the year. Unfolding as a sweeping, patriotic epic, the film pitted veteran Dilip Kumar against (relative newcomer!) Anupam Kher’s iconic villain Dr. Dang, supported by a star-studded ensemble featuring Anil Kapoor, Jackie Shroff, Naseeruddin Shah, and Sridevi, Poonam Dhilloon. To combat the rampant video cassette piracy of the 1980s, Ghai mounted the production in grand 70mm with six-track stereophonic sound, driving audiences into packed theaters to experience its massive cinematic scale. Ghai was a fine director, but perhaps an even more astute busienss man - they don't call it show'bizz' for nothing.
Central to the film’s immense draw was, in our opinion obviously, Sridevi, who by 1986 had achieved an unprecedented reign over Indian cinema. Commanding remuneration on par with her top male counterparts, she proved her supreme versatility across drama, comedy, and iconic dance numbers. Beyond Karma, 1986 was a career-defining year marked by four major Hindi blockbusters: the snake-fantasy Nagina, which established her solo box-office clout; the hit revenge-drama Aakhree Raasta alongside Amitabh Bachchan; and Feroz Khan’s Janbaaz, where her iconic extended appearance stole the entire show.
Despite Karma’s remarkable commercial victory, it remained the sole collaboration between Sridevi and Subhash Ghai. Ghai was a director who preferred total control over his productions, increasingly favouring younger proteges—like Madhuri Dixit in Ram Lakhan and Manisha Koirala in Saudagar—whom he could easily mold to his directorial vision. Sridevi, meanwhile, was riding a wave of solo stardom with female-centric classics like Mr. India, ChaalBaaz, and Chandni, leading her to strictly prioritise author-backed scripts.
When Ghai later approached her for a brief role in Yaadein (2001), she ultimately declined because the character lacked real substance. She was supposed to be paired with Jackie Shroff again, which would have been an interesting watch. BTW Yaadein currently is trending on social media, the film is being rehashed and discussed by new generation on Instagram and let me state, the movie is as hollow as the attempt to revive it. Great music, choreography - and innumerable cringe moments as Ghai slowly, but surely loses his deft hand in direction.
Rumours have it that Ghai couldn't communicate well with monosyllabic Sridevi on the sets of Karma, and Sridevi didn't like doing films where she had little to do in an ensemble film, so the two never really worked together again after Karma - thus it remains their first and final film together.
Manish Malhotra revolutionised Bollywood costume design by bridging high fashion and mainstream Indian cinema.
Manish Malhotra made his entry into film costume design in 1990 styling Juhi Chawla for the film Swarg.
Over three decades, Malhotra has styled generations of leading ladies. From Sridevi onwards, his most frequent collaborators and muses include:
Urmila Matondkar: Transformed her screen image in Rangeela (1995), establishing the concept of modern movie styling in Hindi cinema. The colour palette of saris is so mesmerising in Tu maange dil in Aflatoon [an otherwise terrible movie], note how differently he styled Sridevi and Urmila in Judaai.
Karisma Kapoor: Reimagined her sartorial identity in Raja Hindustani (1996) and Dil To Pagal Hai (1997).
Kajol: Designed her defining looks across classics like Dilwale Dulhania Le Jayenge (1995), Kuch Kuch Hota Hai (1998), and Fanaa (2006).
Kareena Kapoor Khan: One of his closest long-time muses, famously styled as "Poo" in Kabhi Khushi Kabhie Gham... (2001) and in Jab We Met (2007).
Rani Mukerji & Preity Zinta: Created signature late-90s and 2000s looks for them in films like Kal Ho Naa Ho (2003) and Kabhi Alvida Naa Kehna (2006). Perhaps we should state that his collaborations with Karan Johar ipso facto Johar's leading ladies, get the Malhotra makeover. In many cases he refines the looks, tones it down - competing with the maximalism of over-shimmering Bollywood.
Rekha: Since the unfortunate, untimely passing of Sridevi, Rekha has stepped in and stepped up as the icon in the Manish Malhotra repertoire. Embracing pure Indian aesthetics, traditional jewellery, he's eliminated Rekha's perchance for excess on more than one occasion. His collab with her for Vogue Arabia is one for the ages.
Newer Generation Muses: Continues to frequently style and mentor stars like Alia Bhatt, Janhvi Kapoor, Kiara Advani, and Katrina Kaif on screen, on red carpets, and as fashion showstoppers.
| Year | Film | Key Styling Highlights |
| 1995 | Rangeela | Earned him the first Filmfare Award for Costume Design; redefined contemporary Bollywood fashion. |
| 1995 | Dilwale Dulhania Le Jayenge | Iconic bridal and western ensembles for Kajol. |
| 1997 | Dil To Pagal Hai | Trendsetting athleisure and minimal monochrome ethnic wear. |
| 1998 | Kuch Kuch Hota Hai | Defined 90s pop-culture fashion with sportswear, bandanas, and sleek chiffons. |
| 2001 | Kabhi Khushi Kabhie Gham... | Opulent high-fashion wardrobe for Kareena Kapoor ("Poo") and traditional couture. |
| 2003 | Kal Ho Naa Ho | Elegant New York urban wear and the iconic "Maahi Ve" lehenga. |
| 2013 | Yeh Jawaani Hai Deewani | Popularized Deepika Padukone’s famous royal-blue saree look. |
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| Anil Kapoor and Sridevi in Lamhe |
