Reena Roy

Information On Reena Roy
Name:	Reena Roy
Debut Film:	Zaroorat

Reena Roy's Profile

Reena Roy was launched in Zaroorat (1972) by one of the most controversial directors of his time - BR Ishara. The film had all the hot scenes and thought-provoking bold lines Ishara was famous for, and Reena became known as the 'zaroorat’ girl. Her choice of films in the next few years reflected that very ‘neediness’, as she struggled in B grade movies with feeble scripts and faltering heroes. Her lively performance in Jaise Ko Taisa (1973) and Zakhmee (1975) were noticed by all, but it was the huge success of Nagin (1976) that bought Reena fame and recognition. Playing the title role of the deadly 'nagin', she avenges the death of her lover by killing five leading male-stars, one after another. Inspired by its success, the director, Raj Kumar Kohli, looked no further for the heroine of his next star-studded horror movie, Jaani Dushman (1979). Thereafter, the Kohli-Roy combination continued to give Bollywood cinema some its greatest multi-starrers, including Muqabla (1979), Badle Ki Aag (1982), and Raaj Tilak (1984). Reena Roy was most frequently paired with Sunil Dutt and Shatrughan Sinha in the early days. Whilst her films with the declining Dutt were commercially viable, they failed to develop her image and versatility. With Shatrughan Sinha it was a different ball game altogether. Sinha was a villain struggling to become a hero, and Reena, a heroine struggling to reach the top. Major success came to them together in Subhash Ghai’s debut film, Kalicharan (1976). In a quick succession, the Ghai-Sinha-Roy combination delivered yet another blockbuster thriller, Vishwanath (1978). Shatru and Reena became the hottest pair of the 1970s, partly due to their off-screen involvement. However, it is with Jeetendra that Reena gave her finest performances, be it in love triangles (Badaltey Rishtey, 1978), family socials (Pyaasa Sawan, 1982), or costume dramas (Jay Vijay, 1977). It is by no coincidence that Reena Roy’s landmark films – Apnapan (1977), Aasha (1980) and Arpan (1983) - are with Jeetendra. With pain in her eyes and graceful expressions, Reena immortalises herself to the rhythm of Shisha Ho Yah Dil Ho, in the heart-stirring, Aasha. Her dark-shaded role in Apnapan, as the selfish gold-digger that abandons her husband and child, won her the Best Supporting Actress Filmfare Award. As legend has it, she rejected the honour on basis that she is the heroine of the film, not the supporting actress! And finally, her screen image as a sacrificing symbol of Indian womanhood is glorified in the immensely popular, Arpan. After the super success of Aasha at the box-office, Reena Roy was a leading lady in demand, securing herself critical roles with phenomenal superstars like Rajesh Khanna, Dharmendra and Vinod Khanna. She is the defiant widow who reforms the egotistical Rajesh Khanna of Dhanwan (1981); the beautiful ‘actress’ that dies on stage performing her last ‘mujra’ for Dharmendra in Naukar Biwi Ka (1983); and the talented psychiatrist determined to cure Vinod Khanna in the comical, Jail Yatra (1981). Top directors like Prakash Mehra, Raj Khosla and Sultan Ahmad grabbed her for crucial roles. But the jewel in the crown came in the form of Manmohan Desai’s grand extravaganza, Naseeb (1981), co-starring the legendary Amitabh Bachchan. Reena Roy was providing Hema Malini and Rekha stiff competition for the No 1 position by the early 1980s. In 1982 alone, she had thirteen releases, by far more than any of her rivals. She was now demanding equal footing with Hema, and effectively stealing the show from Rekha in emotional melodramas like Prem Tapasya (1983) and Asha Jyoti (1984). Her characters became more versatile, as did her dances, as she effortlessly shifted from classical ‘natyam’ (Rocky, 1981) to Disco Station (Hathkadi, 1982). The sophisticated, glamorous model of Karishmaa (1984) was equally seductive as the village belle of Dharam Kanta (1982). Her profile was further enhanced with an extraordinary double role in the Muslim social, Ladies Tailor (1981), opposite the talented Sanjeev Kumar. At the pinnacle of her popularity, Reena’s dormant desire to prove herself found expression in a number of female-oriented films. Enacting the role of a tormented ‘bahu’ in Sau Din Saas Ke (1980), she defies conventions to oppose her tyrant mother-in-law. With an author-backed role in Bezubaan (1982), she gives a realistic portrayal of a woman whose past returns to threaten her present married life. But it was Roy’s presentation, Lakshmi (1982) that glorified the presence of Reena Roy in Bollywood cinema. Playing the role of a misfortunate ‘tawiaf’, she dances to her never-ending tragedies. Reena, anguished by the commercial failure of Lakshmi, found solace in the sensational success of her other home production - the musical comedy, Sanam Teri Kasam (1982), opposite upcoming Kamal Hasan. In 1983 – at the zenith of her stardom – Reena Roy decided to quit films to marry Pakistani cricketer, Mohsin Khan. Her last shooting was for Inteha (1984) – a tragedy, in which she is raped and tormented by Raj Babbar, crying out for help to the tune of Lut Gayi Main To Saiyan Lut Gayi. Despite its lack of widespread acceptance, Inteha is considered as Reena Roy's swan song. However, our last memories of Reena as a heroine, is as the struggling Moran of J P Dutta’s war-torn Ghulami (1985). The actress that played the role of a fairy to perfection in Rani Aur Lalpari (1975) soon realised the grim realities of the real world, as her marriage to Mohsin Khan disintegrated and she lost custody of her daughter. The philosophy in her Aasha song, Duniya Ek Tamasha Hai, Aasha Aur Nirasha Hai. Thode Phool Hai Kaante Hai, Jo Taqdeer Ne Baate Hai proved prophetic. Reena returned to Bollywood in 1992, to be directed by none other than, J Om Prakash, who gave her classics like Aasha, Apnapan and Arpan. In a pivotal ‘bhabhi’ role, Aadmi Khilona Hai (1993) greeted the arrival of the mature Reena Roy. But the insignificant roles that were to follow proved even to her die-hard fans that the Roy story had come to an end.