View this post on Instagram A post shared by Queen of Bollywood (Official) (@aishwaryaraibachchan_fc) On the last Saturday in May, as the sun set over the azure waters of the French Riviera, the Croisette would have worn a deserted look, as tourists, media and celebrities packed their backpacks or Louis Vuitton luggage, as
The actor’s early alter ego in the 1993 Lehar Pepsi ad had exuded a cool irreverence and a certain mystery. Her character Sanjana — who has nostalgic value now — had, even in that brief appearance in a white shirt and trousers, reflected the confidence of an emerging modern India and spawned several namesakes.
But as life plods back to normal, the kaleidoscope of images generated during that fortnight remains embedded in our consciousness, making us, in fact, view celebrity life refracted through the camera’s lens. More so with the delicious prospect of stumbling onto the quotidian which, thanks to the histrionics on the ’gram, then often gets transformed and metastasised into cringe-worthy content.
Regretting that I had extended my daily Instagram limit beyond 15 minutes to dissect the couture at Cannes, I felt a sense of personal disruption by the negative reviews. Those hazel blue-green eyes had mesmerised me and other baby boomers, right from her modelling days, when Prahlad Kakar cast her in the Lehar Pepsi ad film, as the unforgettable Sanjana, circa 1993. . Having spotted her cool and unaffected irreverence, I knew she was made for bigger and better things.
Sara Ali Khan’s posts caught the whole Cannes scene from the beach to the India Pavilion, but she didn’t make us feel like we had been adopted by the bigwigs hobnobbing at Cannes. While Rai Bachchan somehow comes across as a Cannes insider, given that in 2003 when she was just 29, she was the first Indian actor, and one of the youngest actors, to be selected on the Cannes jury.
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