Rekha Ganesan (born 10 October 1954), better known by her stage name Rekha, is an Indian film actress. Noted for her versatility and acknowledged as one of the finest actresses in Hindi cinema, Rekha started her career in 1966 as a child actress in the Telugu film Rangula Ratnam, though her film debut as a lead happened four years later with Sawan Bhadon. Despite the success of several of her early films, she was often panned for her looks and it was not until the mid-to-late 1970s that she got recognition as an actress.
Rekha has acted in
over 180 films in a career spanning over 40 years. Throughout her
career, she has often played strong female characters and, apart from
mainstream cinema, appeared in arthouse films, known in India as
parallel cinema. She has won three Filmfare Awards, two for Best
Actress and one for Best Supporting Actress, for her roles in
Khubsoorat (1980), Khoon Bhari Maang (1988) and Khiladiyon Ka Khiladi
(1996), respectively. Her portrayal of a classical courtesan in Umrao
Jaan (1981) won her the National Film Award for Best Actress. Though
her career has gone through certain periods of decline, she has
reinvented herself numerous times and has been credited for her
ability to sustain her status. In 2010, she was honoured with the
Padma Shri by the Government of India.
Rekha was born in
Chennai (then Madras) to Tamil actor Gemini Ganesan and Telugu
actress Pushpavalli. Her father enjoyed considerable success as an
actor and Rekha was to follow in his footsteps. She is an alumnus of
the popular Church Park Convent in Chennai. She considers Telugu to
be her mother tongue. She also speaks Hindi, Tamil and English
fluently.
Her parents were not
married at the time of her birth, and her father did not acknowledge
his paternity during her childhood. Rekha has one real sister,one
half brother and five half sisters. It was in early 1970s, when
she was looking for a footing in Bollywood, that she revealed her
origins. Later, at the peak of her career, Rekha told a magazine
interviewer that father's neglect still rankled and that she had
ignored his efforts at reconciliation. Rekha quit school to start
a career in acting. She did not have any personal aspirations in this
direction, but the troubled financial state of her family compelled
her to do so.
Rekha appeared as a
child (credited as Baby Bhanurekha) in the Telugu film Rangula Ratnam
(1966). Rekha made her debut as heroine in the successful Kannada
film Operation Jackpot Nalli C.I.D 999 with Rajkumar in 1969. In
that same year, she starred in her first Hindi film, Anjana Safar.
She later claimed that she was tricked into a kissing scene with the
leading actor Biswajit for the overseas market, and the kiss made
it to the Asian edition of Life magazine. The film ran into
censorship problems, and would not be released until almost a decade
later in 1979 (retitled as Do Shikaari).
She had no interest
in acting and was basically forced to work to sustain her family
financially, this was a difficult period in her life. Still a
teenager, acclimatising herself to her new surroundings was an uneasy
process. Coming from the South, she did not speak Hindi and struggled
to communicate with co-workers, and was constantly missing her
mother, who was critically ill. Moreover, she was required to follow
a strict diet. Recalling this phase, Rekha was later quoted as saying
(Reacting to it, many years later, she said, "I'm healed, I am
not bitter anymore, I don't think I ever was."), “ Bombay was like
a jungle, and I had walked in unarmed. It was one of the most
frightening phases of my life... I was totally ignorant of the ways
of this new world. Guys did try and take advantage of my
vulnerability. I did feel,"What am I doing? I should be in
school, having an ice-cream, fun with my friends, why am I even
forced to work, deprived of normal things that a child should be
doing at my age?" Every single day I cried, because I had to eat
what I didn't like, wear crazy clothes with sequins and stuff poking
into my body. Costume, jewelery would give me an absolute terrible
allergy. Hair spray wouldn't go off for days even despite all my
washing. I was pushed, literally dragged from one studio to another.
A terrible thing to do to a 13-year-old child. ”
She had two films
released in 1970: the Telugu film Amma Kosam and the Hindi film Sawan
Bhadon, which was considered her acting debut in Bollywood. She had
to learn Hindi, as that was not her naturally spoken
language. Sawan Bhadon became a hit, and Rekha – a star
overnight. Despite the success of the film, she was often scorned
for her looks. She subsequently got several offers but nothing of
substance, as her roles were mostly just of a glamour girl. She
appeared in several commercially successful films at the time,
including Raampur Ka Lakshman (1972), Kahani Kismat Ki (1973), and
Pran Jaye Par Vachan Na Jaye (1974), yet she was not regarded for her
acting abilities and—according to Tejaswini Ganti—"the
industry was surprised by her success as her dark complexion, plump
figure, and garish clothing contradicted the norms of beauty
prevalent in the film industry and in society." Rekha
recalls that the way she was perceived at that time motivated her to
change her appearance and improve her choice of roles: "I was
called the ‘Ugly Duckling’ of Hindi films because of my dark
complexion and South Indian features. I used to feel deeply hurt when
people compared me with the leading heroines of the time and said I
was no match for them. I was determined to make it big on sheer
merit."
This period marked
the beginning of Rekha's physical transformation. She started paying
attention to her make-up, dress sense, and worked to improve her
acting technique and perfect her Hindi-language skills. To lose
weight, she followed a nutritious diet, led a regular, disciplined
life, and practised yoga, later recording albums to promote physical
fitness. According to Khalid Mohamed, "The audience was floored
when there was a swift change in her screen personality, as well as
her style of acting." She began choosing her film roles with
more care; her first performance-oriented role came in 1976 when she
played Amitabh Bachchan's ambitious and greedy wife in Do
Anjaane. An adaptation of Nihar Ranjan Gupta's Bengali novel
Ratrir Yatri, the film was directed by Dulal Guha and became a
reasonable success with audiences and critics.
Her most significant
turning point, however, came in 1978, with her portrayal of a rape
victim in the movie Ghar. She played the role of Aarti, a newly
married woman who gets gravely traumatised after being gang-raped.
The film follows her character's struggle and recuperation with the
help of her loving husband, played by Vinod Mehra. The film was
considered her first notable milestone, and her performance was
applauded by both critics and audiences. Dinesh Raheja from Rediff,
in an article discussing her career, remarked, "Ghar heralded
the arrival of a mature Rekha. Her archetypal jubilance was replaced
by her very realistic portrayal..." She received her first
nomination for Best Actress at the Filmfare Awards.
In that same year,
she attained fame with Muqaddar Ka Sikandar, in which she co-starred
once again with Amitabh Bachchan. The movie was the biggest hit of
that year, as well as one of the biggest hits of the decade, and
Rekha was set as one of the most successful actresses of these
times. The film opened to a positive critical reception, and
Rekha's performance as a courtesan named Zohra, noted for a
"smouldering intensity", earned her a Best Supporting
Actress nomination at the Filmfare.
1980s
In 1980, Rekha
appeared in the comedy Khubsoorat, directed by Hrishikesh Mukherjee,
with whom she had developed a strong father-daughter bond during
their previous collaborations. In a role written specially for her,
she played Manju Dayal, a young vivacious woman who visits her
recently married sister at her in-law's house and tries to bring joy
to the wide family, much to the displeasure of the matriarch of the
household. Rekha said she easily identified with the bubbly
nature of her character, calling it "quite a bit me".
Khubsoorat was a success and Rekha was appreciated for her comic
timing. It won the Filmfare Award for Best Film and Rekha won her
first Best Actress award. The Tribune described the film as "a
lively comedy," noting that "Rekha's spunky performance
gives the film its natural zing." Film World magazine
reported in that same year, "Rekha's done it. Smoothly,
successfully. From a plump, pelvis-jerking, cleavage-flashing
temptress, she has metamorphosed into a sleek, accomplished actress.
Gone are most of the inane mannerisms, pouts, wiggles and giggles."
It further noted that her career prospects had begun to improve
significantly, as leading filmmakers had started taking more notice
of her and become more keen to cast her in their films.
Rekha went on to
star opposite Bachchan in a number of films, most of which were hits.
She also had an alleged off-screen relationship with him, which was
widely reported on in the media, as well as sharply criticised, as he
was a married man. This relationship ended in 1981, when they
starred in Yash Chopra's drama Silsila. The film was the most
scandalous of their films together; Rekha played Bachchan's love
interest, while Bachchan's real-life wife, Jaya Bhaduri, played his
wife. This was their last film together.
Critics noted Rekha
for having worked hard to perfect her Hindi and acting, and media
reporters often discussed how she had transformed herself from a
"plump" duckling to a "swan" in the early 1970s.
Rekha's credits to this transformation were yoga, a nutritious diet,
and a regular, disciplined life. In 1983, her diet and yoga practice
were published in a book called "Rekha's Mind and Body
Temple".
In 1981, she starred
in Umrao Jaan, a film adaptation of the Urdu novel Umrao Jaan Ada
(1905), written by Mirza Hadi Ruswa. Rekha played the title role of a
courtesan and poet from 19th century Lucknow. The film follows
Umrao's life story right from her days as a young girl named Amiran
when she is kidnapped and sold in a brothel. Rekha once confessed,
"After reading the script, I had a strange feeling that I had
Umrao in me." In preparation for the role, Rekha, who at the
beginning of her career did not speak Hindi, took the task of
learning the finer nuances of the Urdu language. Director
Muzaffar Ali later noted that "Rekha has given more than my
conception of the role." The response to her work was
universally positive. Her portrayal is considered to be one of her
career-best performances, and she was awarded the National Film Award
for Best Actress for it. She played a courtesan with a heart
of gold in several of her films; Muqaddar Ka Sikandar and Umrao Jaan
were followed by a number of films which had her playing similar
roles.
In that same year,
Rekha starred in Ramesh Talwar's family drama Baseraa, which saw her
playing a woman who marries her sister's husband, after the latter
loses her mental balance. She appeared as Sadhna in the commercially
successful Ek Hi Bhool (1981), opposite Jeetendra, playing the role
of a betrayed wife who leaves her husband. In 1982, she received
another Filmfare nomination for Jeevan Dhaara, in which she played a
young unmarried woman who is the sole breadwinner of her extended
family. In 1983, she took the supporting role of a lawyer in Mujhe
Insaaf Chahiye, garnering another Filmfare nomination in the
Supporting Actress category.
During this period,
Rekha was willing to expand her range beyond what she was given in
mainstream films. She started working in arthouse pictures with
independent directors, mostly under Shashi Kapoor's production, in
what was used to be referred to as parallel cinema, an Indian New
Wave movement known for its serious content and neo-realism. Her
venture into this particular genre started off with Umrao Jaan, and
was followed by other such films as Shyam Benegal's award-winning
drama, Kalyug (1981), Govind Nihalani's Vijeta (1982), Girish
Karnad's Utsav (1984) and Gulzar's Ijaazat (1987), among others.
Benegal's Kalyug is a modern-day adaptation of the Indian
mythological epic Mahabharat, depicted as an archetypal-conflict
between rival business houses. Rekha's role was that of Supriya, a
character based on Draupadi. Benegal said he decided to cast her in
the role after seeing her work in Khubsoorat, besides noticing that
she was "very keen, very serious about her profession".
Critic and author Vijay Nair described her performance as "a
masterful interpretation of the modern Draupadi". In Vijeta
she played a woman who struggles through her marital problems and
tries to support her adolescent son, who, undecided about his future
plans, eventually decides to join the Indian Air Force. She
described her performance in the film as one of her favourite from
her own repertoire. For her portrayal of Vasantsena in Utsav, an
erotic comedy based on the fourth-century Sanskrit play Mrichhakatika
(The Little Clay Cart), she was acknowledged as the Best Actress
(Hindi) of the year by the Bengal Film Journalists' Association.
Maithili Rao wrote for "Encyclopaedia of Hindi Cinema",
"Rekha – forever the first choice for the courtesan's role, be
it ancient Hindu India or 19th-century Muslim Lucknow – is all
statuesque sensuality..." In Gulzar's drama Ijaazat, Rekha
and Naseeruddin Shah star as a divorced couple who meet unexpectedly
for the first time after years of separation at a railway station,
and recall together their life as a married couple and the conflicts
which brought to their ultimate split.
Apart from parallel
cinema, Rekha took on other increasingly serious, even adventurous
roles; she was among the early actresses to play lead roles in
heroine-oriented films, one such film being Khoon Bhari Maang in
1988. She won her second Filmfare Award for her performance in the
film. Rekha went on to describe Khoon Bhari Maang as "the first
and only film I concentrated and understood all throughout."
One critic wrote about her performance in the film, "Rekha as
Aarti is just flawless and this is one of her best performances ever!
In the first half as the shy and not so sexy Aarti she is excellent
and after the plastic surgery as the model and femme fatale she is
excellent too. Some scenes show that we are watching an actress of a
very high calibre here." M.L. Dhawan from The Tribune, while
documenting the famous Hindi films of 1988, remarked that Khoon Bhari
Maang was "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 in the film as one of Hindi cinema's memorable female
characters, noting it for changing "the perception of the
ever-forgiving wife, turning her into an avenging angel." In
a similar list by Screen magazine, the role was included as one of
"ten memorable roles that made the Hindi film heroine
proud."
In later interviews,
Rekha often described the moment she received the Filmfare Award for
this role as a turning point, explaining that only then did she start
genuinely enjoying her work and seeing it as more than "just a
job": "...when I went up on the stage, and received my
award for Khoon Bhari Maang... Boom, it hit me! That's the first time
I realised the value of being an actor and how much this profession
meant to me." In 2011 she further stated, "I felt even more
charged to give my best and knew right then, that this was my
calling, what I was born to do, to make a difference in people's
lives, through my performances."
The 1990s saw a drop
in Rekha's success. Few of her films were successful and many of her
roles were condemned by reviewers. Critics did note, however, that
unlike most of the actresses of her generation, like Hema Malini and
Raakhee, who succumbed to playing character parts, typically of
mothers and aunts, Rekha was still playing leading roles at a time
when younger female stars rose to fame. The first year of the
decade saw four releases featuring Rekha, including Mera Pati Sirf
Mera Hai and Amiri Garibi, all of which went unnoticed. Still
recovering from the recent suicide of her husband and struggling with
the ensuing press antagonism towards her, Rekha retained considerable
success with her starring role as Namrata Singh, a young woman who
joins the police force to avenge her husband's death in K. C.
Bokadia's Phool Bane Angaray (1991). The film was a box-office hit
and Rekha received a Best Actress nomination at Filmfare for her
work, in reference to which Subhash K. Jha remarked, "Khaki
never seemed sexier". The public's acceptance of this
film and Khoon Bhari Maang prompted several filmmakers to come with
similar offers to Rekha, and she played such roles—labeled
"avenging angels"—in several of her proceeding projects
to a much less consequential effect. These included her next film
Insaaf Ki Devi (1992), and later films such as Ab Insaf Hoga (1995)
and Udaan (1997), all of which were major duds. She followed with
a dual role of twin sisters in Shakti Samanta's Geetanjali opposite
Jeetendra and the title role in the box-office disaster Madam X, in
which she starred as a young woman hired by the police to impersonate
a female underworld don.
Halfway through the
decade, Rekha managed to halt her decline when she accepted several
highly-controversial films, including Kama Sutra: A Tale of Love and
Khiladiyon Ka Khiladi (1996). Kama Sutra, a foreign production
directed by Mira Nair, was an erotic drama and many felt it would
damage Rekha's career, as Rekha played a Kama Sutra teacher in the
film. Khiladiyon Ka Khiladi, an action film directed by Umesh
Mehra, was a major financial success, becoming one of the
highest-grossing Indian films of the year. It featured Rekha in
her first negative role as Madam Maya, a vicious gangster woman
running a secret business of illegal wrestling matches in the US,
who, during the course of the film, romances the much younger Akshay
Kumar. Her portrayal earned her several awards, including the
Filmfare Award for Best Supporting Actress and the Star Screen Award
for Best Villain. In spite of the positive response to her
performance from both fans and critics, she maintained on more than
one occasion that she did not like herself in the film, noting that
her work was not up to her own, personal standards.
Another
controversial film at that time was Aastha: In the Prison of Spring
(1997), where Basu Bhattacharya, making the last film of his career,
cast her as a housewife who moonlights as a prostitute. While her
performance earned her positive notices and a Star Screen Award
nomination, she was criticised by the audience for the nature of the
part, to which she later replied, "...people had a lot to say
about my role... I don't have problems playing anything. I've reached
a stage where I could do justice to any role that came my way. It
could be role of a mother, a sister-in-law; negative, positive,
sensational or anything."
2000s
In the 2000s, Rekha
appeared in relatively few movies, usually in supporting mother
roles. She started the decade with Bulandi, directed by Rama Rao
Tatineni.
In 2001, Rekha
appeared in Rajkumar Santoshi's feminist drama Lajja, an ensemble
piece inspired by a true incident of a woman being raped in Bawanipur
two years before. The film follows the journey of a runaway wife
(Manisha Koirala) and unfolds her story in three main chapters, each
one presenting the story of a woman at whose place she stops. Rekha
was the protagonist of the final chapter, around which the film's
inspiration revolves, playing Ramdulari, an oppressed Dalit village
woman and social activist who becomes a victim of gangrape. Speaking
of the film, Rekha commented, "I am Lajja and Lajja is me".
Highly praised for her portrayal, she received several nominations
for her work, including a Best Supporting Actress nomination at
Filmfare. Taran Adarsh wrote that "it is Rekha who walks away
with the glory, delivering one of the finest performances the Indian
screen has seen in the recent times."
In Rakesh Roshan's
science-fiction film Koi... Mil Gaya, Rekha played Sonia Mehra, a
single mother to a developmentally disabled young man, played by
Hrithik Roshan. The movie was a financial and critical success and
became the most popular film of the year; it won the Filmfare Award
for Best Film, among others. Rekha received another Best
Supporting Actress nomination at the Filmfare for her performance,
which Khalid Mohamed described as "astutely restrained".
In 2005, Rekha guest
starred in an item number in connection with the song "Kaisi
Paheli Zindagani", in Pradeep Sarkar's "Parineeta". In
Bachke Rehna Re Baba (2005), Rekha played a con woman who, along with
her niece, uses one scheme to rob men of their property. The film was
a major critical failure. Mid Day remarked, "why Rekha chose
to sign this film is a wonder," noting that she is "riddled
with bad dialogue, terrible cakey makeup and tawdry styling".
This was followed in 2006 by Kudiyon Ka Hai Zamana, a poorly received
sex comedy about four female friends and their personal troubles. In
a scathing review, Indu Mirani noted that "Rekha hams like she
was never going to do another film." In a 2007 article by
Daily News and Analysis, critic Deepa Gahlot directed an advice to
Rekha: "Please pick movies with care, one more like Bach Ke
Rehna Re Baba and Kudiyon Ka Hai Zamana and the diva status is under
serious threat."
In 2006, she
reprised the role of Sonia Mehra in Krrish, Rakesh Roshan's sequel to
Koi... Mil Gaya. In this superhero feature, the story moves 20 years
forward and focuses on the character of Sonia's grandson Krishna
(played again by Hrithik Roshan), whom she has brought up
single-handedly after the death of her son Rohit, and who turns out
to have supernatural powers. Krrish became the second-highest
grossing picture of the year and, like its prequel, was declared a
blockbuster. It received mostly positive notices from critics,
and Rekha's work earned her another Filmfare nomination in the
supporting category. Ronnie Scheib from Variety noted her for
bringing "depth to her role as the nurturing grandmother".
In 2007, she once
again portrayed a courtesan in Goutam Ghose's Yatra. Unlike the
initial success she experienced in playing such roles in the early
stages of her career, this time the film failed to do well. In 2010,
Rekha was awarded the Padma Shri, the 4th highest civilian award
given by the Government of India.
Rekha has also been
nominated as a Rajya Sabha member. She currently is the member of the
Rajya Sabha (May 2012).
Rekha starred in the
2010 film Sadiyaan alongside Hema Malini and Rishi Kapoor. The film
marked the debut of Shatrughan Sinha's son Luv Sinha. The film failed
to do well at the box office.
In 2014, Rekha was
working on Abhishek Kapoor's Fitoor, but left the film due to unknown
reasons and later Tabu was signed as her replacement. In 2014 she
also worked in Super Nani released on Diwali (24 October). Super Nani
was a family drama, in which the grandmother (Rekha) is unappreciated
by her children and husband, Randhir Kapoor. Her grandson, Sharman
Joshi convinces her to change. The grandmother 'transforms' herself
into a glamorous model.
In 2015, she
appeared in R. Balki's Shamitabh, where she played herself.
Rekha at Ahana
Deol's wedding reception in Feb 2014
In 1990, Rekha
married Delhi-based industrialist Mukesh Aggarwal. A year later—while
she was in London—he committed suicide, after several previous
attempts, leaving a note, "Don't blame anyone". She was
pilloried by the press at that time, a period which one journalist
termed as "the deepest trough in her life."[59] Bhawana
Somaaya observed the period speaking of "a strong anti-wave
against the actress — some called her a witch, some a murderess,"
but added that soon "Rekha came out of the eclipse once again
unblemished!"
She was rumoured to
have been married to actor Vinod Mehra in 1973, but in a 2004
television interview with Simi Garewal she denied being married to
Mehra referring to him as a "well-wisher". Rekha currently
lives in her Bandra home in Mumbai.
Rekha at 4th Annual
Asia Spa Awards
In 2011, Rediff
listed her as the ninth-greatest Indian actress of all time, noting,
"It's hard not to be bowled over by Rekha's longevity, or her
ability to reinvent herself... the actress took on a man's job and
did it stunningly well, holding her own against all the top actors
and being remembered despite them." Filmfare described her
acting style, writing, "...when it comes to style, sexiness or
sheer onscreen presence, she's unparalleled... [she is] a fierce,
raw, flinty performer with unbridled honesty. Her acting isn't
gimmicky." Critic Khalid Mohamed commends her technical
control: "She knows how to give and to what degree. She has all
that it takes to be a director. There is a kind of vulnerability in
her control. She explores when she is acting." Shyam
Benegal, who directed her in two movies, believes she is "a
director's actress". M.L. Dhawan from The Tribune wrote,
"Rekha's flowering as an actress post Ghar and Khubsoorat
climaxed in [...] Umrao Jaan. As a tragic courtesan she gave a
performance of consummate artistry, adopting a much-admired huskiness
and despondency of tone. Rekha communicated much with a delicately
raised eyebrow. In 2010, Filmfare included two of her
performances—from Khubsoorat (1980) and Umrao Jaan (1981)—in
their list of "80 Iconic Performances". Her work in the
latter was included on Forbes India's list of "25 Greatest
Acting Performances of Indian Cinema".
Rekha has often been
compared to Greta Garbo, and has been cited by media as her Indian
equivalent. Hindustan Times described her physical change and
loss of weight as "one of cinema's and perhaps real life's most
dramatic transformations," arguing that "Rekha morphed from
an overweight, dark ordinary girl into a glamorous and beautiful
enigma, shrouding her life in an intriguing Garbo-like mystery." According to Rediff, "Rekha's reclusive nature has gone a long
way towards building an aura of mystery around her." Rekha
rarely gives interviews, and she mostly avoids parties and events.
Asked once about her mysterious image, she denied several times
trying to live up to this image, asserting it is press-created: "What
mystery? The media is the one that creates this image. It's just that
I am basically shy by nature, an introvert and fiercely private."
Film journalist Anupama Chopra, who visited Rekha in 2003, wrote that
while tabloids had portrayed her as "a reclusive woman twisted
bitter by lecherous men and loneliness", in reality Rekha was
"none of these", describing her as "chatty and
curious, excited and energetic, cheerful and almost illegally
optimistic".
Writing for The
Tribune, Mukesh Khosla spoke of her transformation, writing, "From
the giggling village belle in Saawan Bhadon to one of country's
reigning actresses, Rekha has come a long way." According to
critic Omar Qureshi, "the term diva (in India) was coined for
Rekha." Mira Nair, who directed Rekha in Kama Sutra (1997),
likens her to a "Jamini Roy painting" and says, "Like
Marilyn Monroe is shorthand for sex, Rekha is shorthand for
charisma". Filmmaker Sanjay Leela Bhansali labels her the "last
of the great stars".
She was referred to
as the reigning Queen of Indian Cinema at the 2012 IIFA Awards held
in Singapore, where she was given the "Outstanding Contribution
to Indian Cinema (Female)" award, also referred to as the
Lifetime Achievement Award.
Rekha Filmography with Super Star Rajesh Khanna :
- Namak Haraam - 1973 : as Shyama
- Aakraman - 1975 : as Sheetal (Rajesh Khanna's Guest Appearance)
- Palkon Ki Chhaon Mein - 1977 as Dancer (Guest Appearance)
- Bhola Bhala - 1978 : as Champa
- Prem Bandhan - 1979 : as Mahua
- Muqbla - 1979 : as Qawwali singer (Guest Appearance) and also (Rajesh Khanna's Guest Appearance)
- Naya Bakra - 1979 : as Qawwali singer (Guest Appearance) and also
(Rajesh Khanna's Guest Appearance) - Aanchal - 1980 : as Tulsi
- Khoon Aur Paani - 1981 : as Champa (Rajesh Khanna's Guest Appearance)
- Film Hi Film - 1983 : Guest Appearance and also (Rajesh Khanna's Guest Appearance)
- Nishaan - 1983 : as Rita
- Agar Tum Na Hote - 1983 : as Mrs. Neena Mehra/Mrs. Radha Bedi
- Asha Jyoti - 1984 : as Asha
- Ram Tere Kitne Naam - 1985 : as Mrs. Radha Aloknath Gupta (Rajesh Khanna's Guest Appearance)
- Om Shanti Om - 2007 : As Rekha herself (Rajesh Khanna appearing through graphics in a song)
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