| 8 | | Actress. Former advertising model. First major role in Hare Rama Hare Krishna as emancipated ‘hippie’ sister of hero Dev Anand, heralding the 70s look of the Westernised, ‘liberated’ young woman in Hindi film. At its best, this attempt to represent ‘modernity’ redefined the love story (Yaadon Ki Baraat) by violating several moral codes advocated by earlier melodramas to control female sexuality. The image was adopted and negatively inflected, notably by Parveen Babi (the gangster’s moll in Deewar, 1975), in the context of Amitabh Bachchan’s vigilante themes. Raj Kapoor later used the image to stigmatise the obscenity of contemporary consumerist versions of religious symbolism in Satyam Shivam Sundaram. |
| | 8 | Actress. Former advertising model. First major role in [[Hare Rama Hare Krishna]] as emancipated ‘hippie’ sister of hero [[Dev Anand]], heralding the 70s look of the Westernised, ‘liberated’ young woman in Hindi film. At its best, this attempt to represent ‘modernity’ redefined the love story ([[Yaadon Ki Baraat]]) by violating several moral codes advocated by earlier melodramas to control female sexuality. The image was adopted and negatively inflected, notably by Parveen Babi (the gangster’s moll in [[Deewar]], 1975), in the context of [[Amitabh Bachchan]]’s vigilante themes. [[Raj Kapoor]] later used the image to stigmatise the obscenity of contemporary consumerist versions of religious symbolism in [[Satyam Shivam Sundaram]]. |