The difference was that now, for possibly the only time in his meteoric career, Khanna was given the scope to offer more than the signature mannerisms that his audience had once loved and then loved to hate.Īavishkar also brought to the screen Khanna’s oft-cast screen partner Sharmila Tagore in an older unbelievably uncoquettish avatar, her dimples the only reminder of An Evening in Paris (1967). The cleft in his chin was still deep and his hands were still the hands of an artist. While this Rajesh Khanna still had zits that defied makeup, a spreading girth and bad hair days, he also had the same persuasive smile and the soft voice of his superstar years. In 1974, when the Rajesh Khanna phenomenon had begun to wane, director Basu Bhattacharya’s Aavishkar (Discovery) unearthed a new and older version of the man who once was king.
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