I have worked with Sridevi only in English Vinglish. In the hindsight, I will say that Sridevi was very different from other commercial actors of Bollywood. The mainstream Indian actors and I mean both male and female, perform for the audience and miss out the truth of the given situation. But Sridevi was unique and truthful with her display of emotions and with her feelings. This was something very significant because we need to remember that while we had been always acting for the audience, since time immemorial, nowadays we perform to make a profit.&nbsp;

Sridevi displayed through her acting the higher realities of humanity without sacrificing the profit motive.

I found Sridevi to be vulnerable. But her vulnerability was actually an indication of her inner strength. Sridevi was a compassionate listener. She had a confidence which, honestly, I lacked.&nbsp;

Sridevi was courageous enough to let go her mask, which we all wear. We rarely can put off our guard. But she did. Sridevi soaked in the realities, let things happen to her. Consequently, what her audience got is responsive, not reactive acting.&nbsp;

And, how do I know that?&nbsp;

I know that because on the set of English Vinglish, we would be discussing scenes for an hour. And Sridevi would be in the corner, reading a book. Suddenly, she would say a joke and we would all crack up. We realised that she had been listening to each one of us carefully. She was definitely a good listener and that&#39;s one of the most important capitals of an actor. You must listen, only if you listen, you can apply. The fundamental training that we got as an actor was to listen. Listen to your co-actor.

Sridevi was equally competent in all kinds of roles, be it Sadma or her last film, English Vinglish. The levels of maturity that she had and that orientation of action that she had about good and bad acting helped to bring out the elegance in both the roles that she had played in Sadma and English Vinglish.

When Sridevi took a gap of 15 years and then came back to acting, it did not seem like she had left acting at all. When she came back to Bollywood with English Vinglish, she was way more matured with the experiences of being a mother, wife and homemaker. She had now much more to perform and immediately connected with the audience.&nbsp;

Having born in this part of the world, Sridevi had those amazing qualities of grace and elegance. She was, like my mother and wife, patient and elegant.

As I said, Sridevi found a way of holding, of retaining the truthfulness of her acts and yet playing out for the audience.&nbsp;

Unlike the western style of acting, very few in Indian film genre actually acted the way Sridevi, Amitabh Bachchan, or Balraj Sahni did.&nbsp;

I don&#39;t believe in rumours, so I have nothing to add to the many theories spun around her death.&nbsp;

But I would certainly say that in Bollywood the difference between an actor a model is getting increasingly blurry.&nbsp;

Most of the costume designers that I have met come from a fashion industry. &nbsp;They dress actors like fashion models. A lot of people go from modelling to acting; this shows the quality of acting that we choose in the film industry. I don&#39;t deny, some of them could be very good actors but the kind of complexity that an actor brings, well I don&#39;t see that at all now. Dimensional characters, such as Sridevi, are hard to find now. In fact, I don&#39;t think they are even anymore demanded because if we are not demanding those layers.

So now, the victims are not only the models but the actors as well. they have to work towards fitting into that concept of cool and beautiful.&nbsp;

&nbsp;

This opinion piece is based on an interview that Adil Hussain gave to WION.

(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

What made Sridevi precious was her truthful and unpretentious nature, her vulnerability and yet the confidence. She could retain the truthfulness of her acts and yet play out for the audience.

I have worked with Sridevi only in English Vinglish. In the hindsight, I will say that Sridevi was very different from other commercial actors of Bollywood. The mainstream Indian actors and I mean both male and female, perform for the audience and miss out the truth of the given situation. But Sridevi was unique and truthful with her display of emotions and with her feelings. This was something very significant because we need to remember that while we had been always acting for the audience, since time immemorial, nowadays we perform to make a profit. Sridevi displayed through her acting the higher realities of humanity without sacrificing the profit motive. I found Sridevi to be vulnerable. But her vulnerability was actually an indication of her inner strength. Sridevi was a compassionate listener. She had a confidence which, honestly, I lacked. Sridevi was courageous enough to let go her mask, which we all wear. We rarely can put off our guard. But she did. Sridevi soaked in the realities, let things happen to her. Consequently, what her audience got is responsive, not reactive acting. And, how do I know that? I know that because on the set of English Vinglish, we would be discussing scenes for an hour. And Sridevi would be in the corner, reading a book. Suddenly, she would say a joke and we would all crack up. We realised that she had been listening to each one of us carefully. She was definitely a good listener and that's one of the most important capitals of an actor. You must listen, only if you listen, you can apply. The fundamental training that we got as an actor was to listen. Listen to your co-actor. Sridevi was equally competent in all kinds of roles, be it Sadma or her last film, English Vinglish. The levels of maturity that she had and that orientation of action that she had about good and bad acting helped to bring out the elegance in both the roles that she had played in Sadma and English Vinglish. When Sridevi took a gap of 15 years and then came back to acting, it did not seem like she had left acting at all. When she came back to Bollywood with English Vinglish, she was way more matured with the experiences of being a mother, wife and homemaker. She had now much more to perform and immediately connected with the audience. Having born in this part of the world, Sridevi had those amazing qualities of grace and elegance. She was, like my mother and wife, patient and elegant. As I said, Sridevi found a way of holding, of retaining the truthfulness of her acts and yet playing out for the audience. Unlike the western style of acting, very few in Indian film genre actually acted the way Sridevi, Amitabh Bachchan, or Balraj Sahni did. I don't believe in rumours, so I have nothing to add to the many theories spun around her death. But I would certainly say that in Bollywood the difference between an actor a model is getting increasingly blurry. Most of the costume designers that I have met come from a fashion industry. They dress actors like fashion models. A lot of people go from modelling to acting; this shows the quality of acting that we choose in the film industry. I don't deny, some of them could be very good actors but the kind of complexity that an actor brings, well I don't see that at all now. Dimensional characters, such as Sridevi, are hard to find now. In fact, I don't think they are even anymore demanded because if we are not demanding those layers. So now, the victims are not only the models but the actors as well. they have to work towards fitting into that concept of cool and beautiful. This opinion piece is based on an interview that Adil Hussain gave to WION. (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Opinion: Sridevi's vulnerability came from her inner-strength

A decade passes by sometimes before you remember someone you loved from your past. They don&rsquo;t come to you because they aren&rsquo;t in the news anymore but mostly because you have outgrown them. Only to realise one fine morning that you never really did.

I woke up to seven messages telling me the legendary Indian actress Sridevi was no more. As comprehension came, so did the sadness, suddenly and plenty of it. Because I was in love with her for as long as I could remember.&nbsp;

Sridevi came to my life by chance. As the younger of two girls growing up in Patel Nagar, New Delhi, much of our lazy afternoons were spent discussing who gets what. I know, silly game. My elder sister being stereotypical to her role, gave me Sridevi and chose Madhuri Dixit as her favourite actress - the rules of the game were such that after being assigned these favourites, we weren&rsquo;t allowed to change them. Ever. Or until we became adults and the silliness of the game struck us.&nbsp;

So I felt stuck with who my sister had chosen for me. By default, I wanted the other actress more. But Sridevi turned out to be everything my young personality wanted. She was full of spunk. She was gorgeous. Her voice was strangely enough not adult-like, something that added innocence to the characters she played. Her comic timing was out of the world. I was smitten before I knew it.

Chaalbaaz has been the all-time favourite. All thanks to her. The strange concoction of a tortured, timid soul and her hilarious beer guzzling, bully sister full of gumption enthralled me. I couldn&rsquo;t believe it was the same actor playing two women, so different and so endearing at the same time. It was very clear to my impressionable mind which twin I wanted to be like when I grew up.

Lamhe taught me the layers of love, unlike anything. I understood what the &lsquo;younger Sridevi&rsquo; felt for her Kunwar Sa and still believed wholeheartedly in what the same man had for the &lsquo;older Sridevi&rsquo; in the film. The complex affairs of their hearts lead to a turmoil in my young mind and heart too. That said, I don&rsquo;t know how many times Didi and I danced to &lsquo;Morni bagha ma bole&rsquo; for guests, parents and most importantly, for ourselves.

Sridevi was part of some of the most iconic films of our times. Sadma taught me to love, compassion and pain all at once. I watched it twenty times only because I wanted to watch Sridevi emote, the way only she can. Crying at the movies began there for me.

But the Yash Raj super hit Chandni eluded me till I turned twenty. Earlier, it seemed as a happy-go-lucky woman found love, found misfortune and found love again. A re-watching of the film made it clear what the story actually was. Of how women in our society are always at the mercy of what the society and the male ego dictates - the boyfriend&rsquo;s accident puts him in a depression strong enough to overlook the women&rsquo;s good work in helping him recover. He pushes her away but once he recovers completely, he decides he wants her back. I personally wanted Chandni to end up with Lalit, the way more nuanced and humane character played by Vinod Khanna in the film. Nonetheless, Sridevi was picture perfect for the role.

I don&rsquo;t know where to stop - Khuda Gawah was the desi version of Arabian Nights with the most badass princess Bollywood could have. And Mr India was everything a child could want from a fantasy.&nbsp;

But I grew up, and the &#39;roop ki rani&#39; gently retired after her marriage to Boney Kapoor. A healthy dose of Ma&rsquo;s filmy magazines lying about in the house and immaturity meant I had strong opinions about the person behind the stardom and how she chose to live her life. Add to that a new breed of actresses and I was all set to forget my childhood crush.&nbsp;

But somewhere at the back of my mind, I always wanted to watch just one more film of hers. Soon Gumrah released; a splendid thriller where Sridevi showcased her most vulnerable side yet. A few years later, Judaai came - a ridiculous story about a wife marrying off her husband to another woman for money. The movie would be one of those I laugh about with friends if only it wasn&rsquo;t made so deliciously entertaining by Sridevi as the eccentric, gold-digging wife.

Life went on and suddenly people were discussing &lsquo;yesteryear star Sridevi&rsquo;s comeback film&rsquo;. English Vinglish reminded me just how much I loved this actor who ruled as the meek but gritty Shashi Godbole. Her prowess shone as a woman derided for not being smart or savvy enough, a tale too close to home for many Indian women.

Today, my childhood favourite is no more. A doting mother, Sridevi had been sharing her excitement for her daughter&rsquo;s movie debut next month on Instagram. But alas, she has left behind a loving family, a legacy of fabulous films in several languages and millions of heartbroken fans. Too soon it is.

Today, I thank the sweet twist of fate that handed over this fabulous actor and a superb role model to a five-year-old me in a childish game.&nbsp;

Between her and me, yeh lamhe, yeh pal, hum barso yaad karenge! 
&nbsp;

(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Sadma taught me to love, compassion and pain all at once. I watched it twenty times only because I wanted to watch Sridevi emote, the way only she can.

A decade passes by sometimes before you remember someone you loved from your past. They don’t come to you because they aren’t in the news anymore but mostly because you have outgrown them. Only to realise one fine morning that you never really did. I woke up to seven messages telling me the legendary Indian actress Sridevi was no more. As comprehension came, so did the sadness, suddenly and plenty of it. Because I was in love with her for as long as I could remember. Sridevi came to my life by chance. As the younger of two girls growing up in Patel Nagar, New Delhi, much of our lazy afternoons were spent discussing who gets what. I know, silly game. My elder sister being stereotypical to her role, gave me Sridevi and chose Madhuri Dixit as her favourite actress - the rules of the game were such that after being assigned these favourites, we weren’t allowed to change them. Ever. Or until we became adults and the silliness of the game struck us. So I felt stuck with who my sister had chosen for me. By default, I wanted the other actress more. But Sridevi turned out to be everything my young personality wanted. She was full of spunk. She was gorgeous. Her voice was strangely enough not adult-like, something that added innocence to the characters she played. Her comic timing was out of the world. I was smitten before I knew it. Chaalbaaz has been the all-time favourite. All thanks to her. The strange concoction of a tortured, timid soul and her hilarious beer guzzling, bully sister full of gumption enthralled me. I couldn’t believe it was the same actor playing two women, so different and so endearing at the same time. It was very clear to my impressionable mind which twin I wanted to be like when I grew up. Lamhe taught me the layers of love, unlike anything. I understood what the ‘younger Sridevi’ felt for her Kunwar Sa and still believed wholeheartedly in what the same man had for the ‘older Sridevi’ in the film. The complex affairs of their hearts lead to a turmoil in my young mind and heart too. That said, I don’t know how many times Didi and I danced to ‘Morni bagha ma bole’ for guests, parents and most importantly, for ourselves. Sridevi was part of some of the most iconic films of our times. Sadma taught me to love, compassion and pain all at once. I watched it twenty times only because I wanted to watch Sridevi emote, the way only she can. Crying at the movies began there for me. But the Yash Raj super hit Chandni eluded me till I turned twenty. Earlier, it seemed as a happy-go-lucky woman found love, found misfortune and found love again. A re-watching of the film made it clear what the story actually was. Of how women in our society are always at the mercy of what the society and the male ego dictates - the boyfriend’s accident puts him in a depression strong enough to overlook the women’s good work in helping him recover. He pushes her away but once he recovers completely, he decides he wants her back. I personally wanted Chandni to end up with Lalit, the way more nuanced and humane character played by Vinod Khanna in the film. Nonetheless, Sridevi was picture perfect for the role. I don’t know where to stop - Khuda Gawah was the desi version of Arabian Nights with the most badass princess Bollywood could have. And Mr India was everything a child could want from a fantasy. But I grew up, and the 'roop ki rani' gently retired after her marriage to Boney Kapoor. A healthy dose of Ma’s filmy magazines lying about in the house and immaturity meant I had strong opinions about the person behind the stardom and how she chose to live her life. Add to that a new breed of actresses and I was all set to forget my childhood crush. But somewhere at the back of my mind, I always wanted to watch just one more film of hers. Soon Gumrah released; a splendid thriller where Sridevi showcased her most vulnerable side yet. A few years later, Judaai came - a ridiculous story about a wife marrying off her husband to another woman for money. The movie would be one of those I laugh about with friends if only it wasn’t made so deliciously entertaining by Sridevi as the eccentric, gold-digging wife. Life went on and suddenly people were discussing ‘yesteryear star Sridevi’s comeback film’. English Vinglish reminded me just how much I loved this actor who ruled as the meek but gritty Shashi Godbole. Her prowess shone as a woman derided for not being smart or savvy enough, a tale too close to home for many Indian women. Today, my childhood favourite is no more. A doting mother, Sridevi had been sharing her excitement for her daughter’s movie debut next month on Instagram. But alas, she has left behind a loving family, a legacy of fabulous films in several languages and millions of heartbroken fans. Too soon it is. Today, I thank the sweet twist of fate that handed over this fabulous actor and a superb role model to a five-year-old me in a childish game. Between her and me, yeh lamhe, yeh pal, hum barso yaad karenge! (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Opinion: Why I was forever in love with Sridevi

Bollywood is a dazzling universe. The ultimate, definitive, never-land-of-happy-ever-after for the stressed-out junta, dreaming of everything exciting, glamorous and romantic. The stars that rule this empire are not humans, but gods and goddesses. They are not merely loved and admired but worshipped by their hysterical devotees. &nbsp;However, there is a flip-side too, a terrifying side that shows how cruel and insensitive these very devotees can be once, the star&rsquo;s sell-by-date arrives. &nbsp;

Suddenly, collective amnesia from the hydra-headed monster called audiences can play havoc, dumping the once revered deities with alarming speed and replacing them with the latest, younger, hotter and more desirable flavours of the day. &nbsp;Very few are remembered and hardly any saluted, once their golden days are over. As for considering them benchmarks and timeless icons, one can count on one&rsquo;s fingers how many stars fit that elusive slot.&nbsp;

Sridevi, who died early Sunday in Dubai of cardiac arrest, must belong to that rare breed whom neither can chill nor rival steal. &nbsp;Her shocking and untimely demise at the young age of 54 is an irreparable loss to the industry and her zillion devotees. &nbsp;

Starting out at age 4 as a child-star and getting into the romantic mode at age of10-11, this amazing performer, blending irresistible oomph with mischief, only had to appear on the screen to light it up in matchless fashion. &nbsp;A hugely successful star across all the Southern states, Sridevi was Bollywood&rsquo;s first authentic female superstar. &nbsp;

Fact is she dominated the 80&rsquo;s when the action was the main draw and heroes were centre stage. Her astonishing performances in Mr. India, Chaalbaaz and Nagina wiped out the male lead good and proper! In all truth, till date, no one has been able to replicate her mass-draw with the audiences, trade and critics alike. &nbsp;The Chandni and Hawa-Hawai charmer who didn&rsquo;t know a word of Hindi when she entered Bollywood, only to race past earlier Southie heavies like Vyjantimala and Hema Malini, was truly something phenomenal.&nbsp;

Today, as we look back on her body of work, we are zonked! &nbsp;The diversity of roles, the depth and range across genres is the only one part of the story. &nbsp;The other is the astonishing ease and effortlessness with which she delivered her knock-out performances. &nbsp;Totally camera-friendly, uninhibited and spontaneous, a star is very difficult to locate, but Sridevi, time and again unleashed her brand of magic to mesmerise every viewer privileged to witness her chutzpah in action! &nbsp;Drama, romance, comedy, song-dance, she embraced the Bollywood template with a passion.&nbsp;

Finally coming to the point: &nbsp;What was so remarkable, special and exclusive that this amazingly shy, reticent and reserved person &ndash; off-screen &ndash; brought to the screen? &nbsp;What did Sridevi have that no other heroine did? &nbsp;

Renowned author and editor Rauf Ahmed believe &ldquo;it was sensuousness of a very special kind. &nbsp;No heroine before Sri ever let go in such un-inhibited fashion, in the dance numbers. &nbsp;You see the &#39;kaante nahin katte&#39; body language in Mr. India or the sizzling stuff in a Feroz Khan film - Har Kisiko - in Jaanbaaz, and it shakes you up! There is not one ounce of self-consciousness or vulgarity, only the wild abandon of romance. &nbsp;The super song-dance sequences in Chaalbaaz, Chandni and Lamhe too come into the reckoning. &nbsp;Like the legendary Garbo, she and the camera were magical soul-mates, lovers, eternally romancing each other in style. &nbsp;The moment the camera was off, she - amazingly &ndash; returned to her quiet, shy and reserved self.&rdquo; &nbsp;

Ahmed adds that beyond the sensuousness, Sri was also an unmatched talent in the area of versatility. &nbsp;&ldquo;Don&rsquo;t forget she started out with Jumping Jack Jeetu in pot-boilers like Himmatwala, Mawali, Justice Chowdhry, Tohfa etc. They were all films from the South and all very successful. &nbsp;They demanded a kind of loud and hammy-performance which the young aspirant pulled off admirably. &nbsp;A quick learner, she matured in her journey by maintaining an intelligent focus on what her directors wanted from her and how best she could deliver. &nbsp;Never judgemental, be it Yash Chopra&rsquo;s Lamhe and Chandni, Shekhar Kapoor&rsquo;s Mr. India and Joshilay or Pankaj Parashar&rsquo;s Chaalbaaz, she dazzled across all genres. &nbsp;Along the way, she also did a Sadma, inviting startled fans to wonder whether she was for real!&rdquo; &nbsp;

English-Vinglish, directed by Gauri Shinde was Sri&#39;s successful comeback film, putting it down to a talent that is &ldquo;instinctive, intuitive, spontaneous &ndash; a natural! &nbsp;It&rsquo;s a gift that cannot be acquired through training or whatever. &nbsp;You are blessed with it &ndash; or not. &nbsp;Period.&rdquo; &nbsp; &nbsp;

Today, as we bid farewell to this remarkable talent whose persona and work will always stay with us, one priceless line from one of her early interviews, resonates. &nbsp;I think it was with Vir Sanghvi. &nbsp;It reminded me so much of what the legendary Hollywood Director, Sydney Pollack, articulated so succinctly about the art of acting. &nbsp;He said &ldquo;Acting has nothing to do with intellectuality. &nbsp;An actor doesn&rsquo;t need to understand in a conventional way what he&rsquo;s doing. &nbsp;He has to just do it. &nbsp;It&rsquo;s critical to make a distinction between a performance that produces behaviour and one that offers intellectual understanding. &nbsp;All effective acting comes from wanting something. &nbsp;It&rsquo;s what you want that makes you do it, not what you think!&rdquo;&nbsp;

RIP Chandni. &nbsp;Thanks for the Lamhes spent with you. Now go, Hawa-Hawai to the lucky ones in the packed halls above.&nbsp;

(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Despite her shy nature, Sridevi was believed to have sensuousness of a very special kind in all her dance numbers, making all her fans zonked to the theater screens.

Bollywood is a dazzling universe. The ultimate, definitive, never-land-of-happy-ever-after for the stressed-out junta, dreaming of everything exciting, glamorous and romantic. The stars that rule this empire are not humans, but gods and goddesses. They are not merely loved and admired but worshipped by their hysterical devotees. However, there is a flip-side too, a terrifying side that shows how cruel and insensitive these very devotees can be once, the star’s sell-by-date arrives. Suddenly, collective amnesia from the hydra-headed monster called audiences can play havoc, dumping the once revered deities with alarming speed and replacing them with the latest, younger, hotter and more desirable flavours of the day. Very few are remembered and hardly any saluted, once their golden days are over. As for considering them benchmarks and timeless icons, one can count on one’s fingers how many stars fit that elusive slot. Sridevi, who died early Sunday in Dubai of cardiac arrest, must belong to that rare breed whom neither can chill nor rival steal. Her shocking and untimely demise at the young age of 54 is an irreparable loss to the industry and her zillion devotees. Starting out at age 4 as a child-star and getting into the romantic mode at age of10-11, this amazing performer, blending irresistible oomph with mischief, only had to appear on the screen to light it up in matchless fashion. A hugely successful star across all the Southern states, Sridevi was Bollywood’s first authentic female superstar. Fact is she dominated the 80’s when the action was the main draw and heroes were centre stage. Her astonishing performances in Mr. India, Chaalbaaz and Nagina wiped out the male lead good and proper! In all truth, till date, no one has been able to replicate her mass-draw with the audiences, trade and critics alike. The Chandni and Hawa-Hawai charmer who didn’t know a word of Hindi when she entered Bollywood, only to race past earlier Southie heavies like Vyjantimala and Hema Malini, was truly something phenomenal. Today, as we look back on her body of work, we are zonked! The diversity of roles, the depth and range across genres is the only one part of the story. The other is the astonishing ease and effortlessness with which she delivered her knock-out performances. Totally camera-friendly, uninhibited and spontaneous, a star is very difficult to locate, but Sridevi, time and again unleashed her brand of magic to mesmerise every viewer privileged to witness her chutzpah in action! Drama, romance, comedy, song-dance, she embraced the Bollywood template with a passion. Finally coming to the point: What was so remarkable, special and exclusive that this amazingly shy, reticent and reserved person – off-screen – brought to the screen? What did Sridevi have that no other heroine did? Renowned author and editor Rauf Ahmed believe “it was sensuousness of a very special kind. No heroine before Sri ever let go in such un-inhibited fashion, in the dance numbers. You see the 'kaante nahin katte' body language in Mr. India or the sizzling stuff in a Feroz Khan film - Har Kisiko - in Jaanbaaz, and it shakes you up! There is not one ounce of self-consciousness or vulgarity, only the wild abandon of romance. The super song-dance sequences in Chaalbaaz, Chandni and Lamhe too come into the reckoning. Like the legendary Garbo, she and the camera were magical soul-mates, lovers, eternally romancing each other in style. The moment the camera was off, she - amazingly – returned to her quiet, shy and reserved self.” Ahmed adds that beyond the sensuousness, Sri was also an unmatched talent in the area of versatility. “Don’t forget she started out with Jumping Jack Jeetu in pot-boilers like Himmatwala, Mawali, Justice Chowdhry, Tohfa etc. They were all films from the South and all very successful. They demanded a kind of loud and hammy-performance which the young aspirant pulled off admirably. A quick learner, she matured in her journey by maintaining an intelligent focus on what her directors wanted from her and how best she could deliver. Never judgemental, be it Yash Chopra’s Lamhe and Chandni, Shekhar Kapoor’s Mr. India and Joshilay or Pankaj Parashar’s Chaalbaaz, she dazzled across all genres. Along the way, she also did a Sadma, inviting startled fans to wonder whether she was for real!” English-Vinglish, directed by Gauri Shinde was Sri's successful comeback film, putting it down to a talent that is “instinctive, intuitive, spontaneous – a natural! It’s a gift that cannot be acquired through training or whatever. You are blessed with it – or not. Period.” Today, as we bid farewell to this remarkable talent whose persona and work will always stay with us, one priceless line from one of her early interviews, resonates. I think it was with Vir Sanghvi. It reminded me so much of what the legendary Hollywood Director, Sydney Pollack, articulated so succinctly about the art of acting. He said “Acting has nothing to do with intellectuality. An actor doesn’t need to understand in a conventional way what he’s doing. He has to just do it. It’s critical to make a distinction between a performance that produces behaviour and one that offers intellectual understanding. All effective acting comes from wanting something. It’s what you want that makes you do it, not what you think!” RIP Chandni. Thanks for the Lamhes spent with you. Now go, Hawa-Hawai to the lucky ones in the packed halls above. (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Opinion:  What did Sridevi have that no other heroine did?  

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Opinion: Sridevi's vulnerability came from her inner-strength

Opinion: Why I was forever in love with Sridevi

Opinion: What did Sridevi have that no other heroine did?