Mr India, 1987
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No one can deny Sridevi's ability to look erotic even when she's covered from head to toe.
Her provocative dance in Mr India, draped in layers of electric blue chiffon, is testimony to this scorching fact.
Image: Sridevi in Mr India
Ram Teri Ganga Maili, 1985
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Usually a white sari's job is to either communicate either spooky circumstances (Sadhana in Woh Kaun Thi?) or a colour-robbed existence (Jaya Bachchan in Sholay).
Mandakini's interpretation redefined the genre. Let's just say that the relationship between a viewer and artist was never this transparent.
Image: Mandakini in Ram Teri Ganga Maili
Arth, 1982
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If only her life was as glossy and smooth as the steel gray silk worn by Shabana Azmi in one of the most crucial scenes of Mahesh Bhatt's acclaimed Arth.
Azmi's Pooja faces open humiliation at the hands of her unfaithful husband leading to a public showdown and consequent end of their marriage.
Image: Shabana Azmi in Arth
Roti Kapda Aur Makaan, 1974
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From romping on the roof to bouncing on a swing, Zeenat Aman engages in all sorts of craziness during her seductive rain dance, Hai hai yeh majboori in a dripping flower-print orange sari.
Only the object of her affection, Manoj Kumar is too busy making silly to absurd faces to notice or join in.
Image: Zeenat Aman in Roti Kapda Aur Makaan
Guddi, 1971
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From a school-going girl excited about wearing a mini-dress to the movies to a young woman sporting a gleaming red Benarasi and singing the classical beauty, Bole re papeehara, Hrishikesh Mukherjee's Guddi conveys the coming-of-age of a Dharmendra-obsessed Jaya Bhaduri in characteristic, inimitable style.
Image: Jaya Bachchan in Guddi
Johny Mera Naam, 1970
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There's something instantly elegant and chic about this black chiffon with a turquoise blue embroidery border worn by a stunning Hema Malini in the O Mere Raja track from Johny Mera Naam.
Image: Hema Malini in Johny Mera Naam
Ittefaq, 1969
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Sultry Nanda is a portrait of sly mystique and understated sensuality in a see-through cerulean blue sari, playing the unwilling host(age) to an escaped convict (Rajesh Khanna) in Yash Chopra's experimental thriller, Ittefaq.
Image: Rajesh Khanna and Nanda in Ittefaq
Brahmachari, 1968
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It's amazing how she didn't even play the main lead in Brahmachari and yet Mumtaz is credited for the most iconic image of this family flick starring Shammi Kapoor.
Her uniquely draped orange -- gold sari highlight all her best assets allowing her to freely twist around the buoyant tunes of Aaj kal tere mere pyaar ke charche.
Image: Mumtaz in Brahmachari
Jewel Thief, 1967
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This one's memorable for rather curious reasons.
It's as though Vyjayantimala set out to pay tribute to Santa's style with her vibrant red sari dotted by not sequins, stars or crystal, but ladoo-sized, puffy cotton balls.
Image: Vyjayantimala in Jewel Thief
Shagird, 1967
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The frothy rom-com about a staunch bachelor and his equally hard-nosed Guru comically fall for the same village girl forms the crux of Shagird's plot.
Adding some novelty to the proceedings, an impish Saira Banu made a style statement in spunky mini-saris, which garnered a lot of notice.
Urmila Matondkar copied her look to unsuccessful results in its lacklustre 1993 remake Shreeman Aashique.
Image: Saira Banu in Shagird
Guide, 1965
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There is much poetry to be found in the captivating frames and lilting sound of Vijay Anand's classic.
And among its many enduring images is Waheeda Rahman's enthralling snake dance in an attractive orange sari with an encrusted gold border and a contrasting black blouse.
Image: Waheeda Rehman in Guide
Shree 420, 1955
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Even a simple cotton sari can go a long way in the path of cinematic immortality.
It certainly appears true in the case of Nargis and that iconic moment in the rain, under an umbrella, with Raj Kapoor.
From Raveena Tandon in Patthar Ke Phool to Zarine Khan in Ready, it's been several decades of tribute.
Image: Nargis and Raj Kapoor in Shree 420













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