MOVIE magazine cover of August 1992: Who killed the woman in Sridevi? A look at the person behind the persona

MOVIE magazine cover girl 

August 1992. Cover photograph by Rakesh Shreshta.

Movie magazine cover story; 

"Who Killed the Woman in Sridevi?"

MOVIE, August 1992
By Nina Arora

I can envisage this huge mountain standing erect and a hundred evil gnomes dancing around it slowly. At first glance their slow rhythmic steps appear to be a part of some primitive ritual in worship of the mountain. But then the beating of their drums quickens in madder and madder frenzy until it reaches a frightening crescendo. And then begins the first faint rumblings warning of the avalanche to follow.

Sridevi is still the No.1 star, the reigning queen of the industry and will continue to be so for now. For there is no replacement on the scene for certain roles that she alone can do justice to. Her talent cannot be denied. There is no contesting the fact that her position is well-earned, well-deserved. The fire as yet un-doused. The prowess, unmatched. then what am I talking about? 

It is not so simple to answer this question except for making it clear that is not Sridevi the actress who is the focus of this article. It is the person or rather, the lack of it within the glittering persona of the star. Therefore, how does one define ambiguity? Or explain the existence of nothingness, or the presence of... absence? 

To a certain extent, this happens to most stars. The self gets obscured. In fact, the brighter the star, the dimmer the person. But even there, a few glimpses, a few traces, a gesture here, a word there, sometimes merely a communicating glance escapes their guard. Perhaps unwittingly, involuntarily, but at least they leave a little of themselves behind. Something that shows you the real person inside, even if all that remained o it was a shadow. But what can one say of Sridevi? Of a woman who shows no signs of ever having existed. Whose emotional responses, if any, are still those of the child who was offered at the altar of the goddess of success. Hers was the ultimate sacrifice. Complete denial of self.


What, now that the hour of reckoning is near? I can hear the faraway drums begin to beat, and see the shadows rise to encircle her in their death dance. The same producers who resentfully yield to her haughty commands, the co-stars with who she disdains any interaction, the rare relationship or two she has banked on, the friends she never made... this same industry which she distrusts and deliberately keeps at a distance s waiting for her to crumble.

What then will Sridevi's future hold for her? What will she have to fall back on?

Q: Can you hear the warning rumbles beneath your pedestal signaling the end of your reign as No.1?
Sridevi: What can I say? I admit that it is only now that I have begun to take an interest in finding out the collections of films, especially about Khuda Gawah. Touch-wood, it's doing well in its seventh week, Manoj Desai (the producer) tells me that Khuda Gawah has not only covered its huge costs but that its giving an overflow. And this man is very blunt, he will tell you the facts to your face. Besides, he has signed me for his next film.

Yes, Lamhe flopped. But till today, whenever I am abroad, fans mention Lamhe before any other film of mine. Even I get surprised how this film flopped - so many liked and remember it. Also, some may feel that I have been toppled yet there are so many who tell me, 'Sri, there is still no replacement on the scene for certain roles that only you can do.' Whatever it may be, Lamhe and Khuda Gawah are once in a lifetime films. Even if I want to, or Amitji and Manoj Desai are willing to go back to Afghanistan all over again, still a Khuda Gawah can never be made again.


Q: So you believe you're still the No.1? No panic?
Sridevi: I'm still enjoying the same position.

Q: Are you aware that the same industry which grovels at your feet badmouths you behind your back?
Sridevi: What do they say?

Q: Your producers complain that frequent flops do not justify your demands, which include airfares to and from Madras, hotel bills and personal expenses on top of 35 lakhs.
Sridevi: Which producers complain - the ones who keep repeating me? Harmesh Malhotra is doing four films with me, Yash Chopra has signed me again after Lamhe, and Manoj Desai after Khuda Gawah. I can sign 20 more films and make a lot more money. I'm the one who is selective. Producers pay because they know what they are getting in return. I'm not like those heroines who merely give their shot and rush off. Once I commit myself I give my complete concentration to the project - role, director, costumes, scenes and the difference shows on screen. It has upset me, hearing about these complaints. What else do they say?

Q: They call you a mean machine - cold and unfeeling.
Sridevi: (Distressed) It is true that just like that I do not communicate my feelings. I feel funny, why simply show what I am feeling all the time? How is the industry concerned with my feelings? I speak my mind clearly regarding my work. You ask any director, they will tell you how I argue when I feel that a particular scene is not to my liking or sometimes it happens that I want to make some suggestions if I feel that this is how this character should react. And I will not give in unless my director is able to convince me and I am satisfied. In one scene in Mr India, Shekhar wanted me to cry. I told him no, all along, it has been shown that this girl is hating children, so all of a sudden how can it be that she will start crying? She will feel sad, no doubt but simply she cannot start howling...

Q: I can see the point you are trying to make. But why is it that you relate everything to your films? Whereas art is supposed to imitate life do you realise that emotional life gropes for inspiration from the stock situations in films?
Sridevi: (Smiles). What life had I seen? this reminds me of an incident when I was 13 years old. They gave me to wear a heavy silk sari and told me, 'You are playing Rajnikant's step mother in this film.' I am slightly big made, no? So, because I was tall and looking quite grown up with the sari and make-up, even my director forgot that I was only 13. For one scene, he was not satisfied with my expression. He ordered, 'Show more love.' I did not know what to do. He began to shout, 'If you don't know what is love, go see some films and learn.' the next day itself I went to see Geet Gaata Chal because it was supposed to be a love story! I would keep concentrating on the heroine's expression whenever she came near the hero. How many times I saw that film considering it to be the height of passionate love!

Q: It appears that you did all your growing up in the studios since the age of four.
Sridevi: That's true.

Q: Wouldn't such an excessive deluge of make believe result in an ineptitude at coping with reality? Did it cripple your emotional growth?
Sridevi: (Laughs). Like the role I played in Sadma? You mean, I act as if I am six years old?

Q: Judging by your emotional responses, yes. Obviously you look like a full blown woman but the fact that the only ones you can bring yourself to trust are your parents and sister indicate a frightened, clinging child, not a mature person. Why is it that you instinctively distrust everyone? Why are you afraid to love?
Sridevi: There are many reasons. Basically, I suppose these are the after effects of growing up in the studios, like you said. Normally, children benefit from attending school, mixing freely with other children and all that, whereas I did not get that opportunity. There was only Srilata, my sister to fight or play with. That is not the same as being with children from different homes because there you learn to adjust whereas on the sets, I was pampered. You see, I was always the baby in the unit. I was playing the girlfriend or wife of very much older heroes like NTR. (Like that Tamil film which I told you about where I was married to Rajnikant's father!). Pampered like a kid by my seniors, doted on by father... I remained basically like a child.

Moreover, how does any child grow to maturity. Either you learn from books or from life, isn't it? Life has been too kind to me. On top of that, my parents protected me absolutely. I was not left alone even for a minute. I think it is very important for a young girl in this industry to have the strong backing of her family otherwise if you are not knowing anything you can fall into the wrong hands, then what?

I am lucky that I did not need anyone else because my parents were always there to look after me. I don't have any friends. See, it's not that I distrust everybody but if my parents would leave me alone for any reason I used to feel very lost. Even it's not true that I have no emotions. I'm emotional about my family. That is why I was totally shattered by my father's death. You say that I do not feel like a woman. Well, I too want to get married and raise kids. No need to waste emotions before the right man comes along. Why am I afraid to love? (Falls silent).

As yet, I haven't met a man worth loving...


Q: If you keep evaluating men by the yardstick of success and wealth, no man can measure to the standard that you have achieved. Isn't that why you rejected Rajnikant once you superseded him. Reportedly your ditch drove he sensitive Southie to an emotional breakdown to the extent of attempting suicide.
Sridevi: Mr. Rajnikant? Went into hospital? When was this? For me? This is simply not true. I'm very distressed to hear that such a wild rumour is making the rounds. If he was in hospital it must have been for some other reason not me. In fact, I am feeling very sorry that Rajni sir was in hospital and I was not even aware of it.

Q: Why do your personal relationships, few as they are, fizzle out? Why are you so inept at sustaining relationships?
Sridevi: I don't have friends I told you. My relatives are more than sufficient to keep me happy. That's why you'll see a different me in Madras. I laugh, cry, get hurt like everyone else. The only difference is that my private life is not on show.

To tell you the truth, I've opened up my heart to you more than I've ever done before. I'm being very honest with you. See, what happens is that whenever I've gone out of my way to be helpful or friendly, it's been flung back on to my face. And if the other person steps back, I take a hundred steps back. But if they take even one step towards me, I take two hundred steps towards them.

When Jaya Prada dropped in to offer condolences for my father, for one minute I was absolutely stunned. I did not know how to react as she said, "I'm very sorry that this happened." After she left, I found myself moved to tears by her sincerity. I'm very touched by Jaya's gesture.

On the other hand there was an occasion when I actually treated a certain newcomer like a sister and went to the extent of even promoting her, getting her films as a heroine. She used to touch my feet until one film became a hit. Then she changed her tune overnight. Once when we were both shooting on a hill station, she even phoned saying, "I may be shooting close by but I'm too busy to see you." What cheek. Incidentally, I was extremely hurt but I never let her see it.

Q: Would you say that your fickle behaviour towards Rekha was any different from the starlet's?
Sridevi: Can I avoid this question?

Q: Why?
Sridevi: I don’t want to steer a hornet's nest by unnecessarily speaking about Rekha.


Q: Weren't the pair of you very thick when you first arrived in Bombay? Wasn't it Rekha who recommended you to Jeetendra, taught you the art of make-up and I believe that Amitabh, Mithun, Rekha and you often spent time together?
Sridevi: At that time Rekha had no films and so she had ample free time to drop in on my sets whenever she liked. She would offer advice, "Sri, don't you think this will look better on you than that?” And I used to just listen to her because she was my senior and all. But you cannot compare me to an ungrateful starlet because I was already a top star in Tamil and Telugu films before coming here. It's not as if I needed help - it was nice of her to offer advice but I didn't ask for it. I'm not guilty of cold-shouldering Rekha. For one thing, Rekha being an extrovert makes a big show of warmth but I cannot open my mouth wide, and wave frantically and scream "Hiii!" That's not me. We still meet cordially if not frequently but that's more because she is working again and let's just say that we are both too busy to go out of our way to meet.

Q: What of the future?
Sridevi: Life just happens, so why should I waste this moment by planning for the next? You remember, last year I had told you that I would quit while I was at the op, in the next interview I had changed my mind and decided to continue? Yet, after my father's death I was so much disturbed and since mum also was insisting that I should settle down, I actually called the producers whose films had not begun and I begged them, “Please take back your amounts." But they refused, saying “Don't decide in haste. We will wait." And see, I changed my decision again. It just shows that plans do not work for me. Actually, I'm enjoying myself too much to throw it up overnight.

Q: I meant, your future outside films? After sacrificing yourself at the altar of success what is left for you to fall back on?
Sridevi: The future itself!

Q: You mean, you'll finally find time to fall in love?
Sridevi; (Laughs) You don't require time to fall in love! It strikes like that! (snaps her finger).

By Nina Arora