Unconventional is how the early Rani Mukherjee was politely described for her ungainly, ungroomed looks, with a wardrobe sense that would have made only the “Virar ka chhokra” Govinda happy. Into the industry at the age of 18, she unhesitatingly went for Hindi films like Raja Ki Aayegi Barat and Mehndi. The face that people preferred to forget, in those initial ventures, was that of a demure wife taking a beating from her husband for dowry and then waking up to the power of women. What people did remember, however, was the girl who knew her act. And what lingered in memory was her overly husky voice.

Soon after, she changed gear. Karan Johar had the good sense and confidence of casting Rani Mukherjee into a completely different and glamorous role in his debut film, Kuch Kuch Hota Hai, and to everyone’s amazement she stole the show from the then reigning queen and cousin Kajol. From Aati kya Khandala with Aamir Khan in Ghulam to Koi mil gaya with Shah Rukh Khan in Kuch Kuch Hota Hai, Rani began to rock as glam rani.

The following years saw quantity prevailing over quality as she starred in almost every film that came her way. In contrast to the glamour that she had been projecting in her earlier films she gave her image the twist of the ‘lively’ this time. Along came her pairing with Govinda the Clown King of Slapstick and some average releases like Hadh Kar di Aapne, Chalo Ishq Ladaye, Pyar Deewana Hota Hai. And with it followed the controversy about her relationship with Govinda, which still keeps popping up in the headlines every now and then. Not one to be bothered by trivia, Rani put on her grin-and-bear-it face and carried on bravely.

And brave she was, and she proved it time and again. Even earlier she had dared to do things that other heroines wouldn’t. Her kissing scene with Kamalahasan in the critically acclaimed film, Hey Ram, raised another storm in her career, but she proved that she was here to break the rules.

In a couple of years that followed Ghulam she did all sorts of films and with all kinds of heroes. With Salman Khan she did Hello Brother, Har Dil Jo Pyar Karega, Chori Chori Chupke Chupke. Between 1998 and 2003 she had paired with almost every hero in the industry. From Bobby Deol (Bichhoo and Badal) to Abhishek Bachchan (Bas Itna Sa Khwab Hai), Ajay Devgan (Yeh Raaste Hain Pyaar Ke) to Chandrachur Singh (Dekha Jaayega), along with Akshay Kumar, Sanjay Kapoor, Arbaaz Khan, Anil Kapoor ? and managed to look good with all of them. She did films with the best of banners and as for the Chopras and the Johars she was almost considered their mascot.

Now that this ‘face’ had tickets flying off the counter, Rani could even put in a cameo or two. In Mann she appeared for just one song (Kali naagin ke jaise zulfen teri kali kali), which went on to become very popular. In Kabhi Khushi Kabhie Gham...yet again she appeared in a song, this time with Amitabh Bachchan. Her fleeting presence in Karan Johar’s Kal Ho Na Ho was because the director considered her presence ‘auspicious’. Rani’s USP lay in her ability to leave a lasting impression in her audiences’ minds however insignificant her role might be.

But it was with Saathiya that she presented a completely different Rani onscreen. She made playing a wife ? sexy and sacrificing ? her forte. The year 2002 saw Rani slowing down and concentrating more on quality. Saathiya, opposite Vivek Oberoi, brought her all the recognition she deserved. Then came one more glam role with Chalte Chalte where she played wife to SRK. Followed by playing wife to Abhishek in Yuva and in Hum Tum. Every portrayal had one thing in common, her excellent onscreen chemistry with each of her heroes. None could have portrayed so well those playfully teasing moments between the husband and wife nor the silent support she lent, just with her expressions during troubled times.

Released almost at the same time, Yuva and Hum Tum proved her versatility as an actress. Two starkly opposite characters handled so vividly that they left one wondering if this was the same Rani. One completely rustic, the other suave. Rani almost touched the plane where Aamir Khan had been reigning supreme. He is one hero who carried off a Lagaan and a Dil Chahta Hai with equal conviction and in the same year and is off to another set of contrasting roles in Mangal Pandey and Rang De Basanti.

More recently, Rani appeared for a shortish role in Yash Chopra’s love legend, Veer-Zaara (2004), as a lawyer out to bring justice to a convict in Pakistan and earned her acclaim. Yash Chopra’s Veer-Zaara followed and Rani was right up there in her career ladder. But she still had lots more to offer.

The peak, as it seems for now, arrived with Black. It was with Sanjay Leela Bhansali that Rani gave us her Bolly best. Black crowned her the queen of the Indian screen. Michelle McNally came as a huge surprise. To be able to connect with the audience while portraying a deaf, mute and blind girl was an amazing feat and Rani accomplished it with aplomb. What she did onscreen was perhaps something that people had never witnessed on the Indian screen before. The once never-rated actress had now come to be considered as an underrated one with immeasurable hidden talent!

Rani continues to surprise. Unlike most of the so-called parallel film actresses, who after critical acclaim, prefer to stick to their art-film image or meaningful films, Rani is back in circulation again with an out-and-out comedy, Bunty Aur Babli. The film portrays, literally, the changing faces of Rani Mukherjee, as she does a series of masquerades along with costar Abhishek.

The future looks like it is bringing Rani full circle with two more films with the reigning Khans, with whom she had begun her silver screen dream. She’ll be soon seen in a period film, Mangal Pandey, another first up her sleeves, with Aamir Khan, and playing the beautiful Rajasthani belle with Shah Rukh Khan in Paheli this year. And the dazzle of her changing ‘faces’ will brighten the screen with many more surprises, many more silvery-smile promises.