At one level in Om Shanti Om (2007), Shah Rukh Khan grabs Deepika Padukone by the arms and says, whereas shaking her, “I do know you’re not an actress and you’ll’t act, however you’ll be able to at the very least strive!” Though the scene is between the characters Om Kapoor, the hero of the movie, and Sandy, a debutante who’s been chosen for her seems to be, that exact line felt distinctly meta. Om Shanti Om was Padukone’s first Hindi movie and whereas she seemed attractive, emoting was a problem for the model-turned-actor. Over the following six years, Padukone would set up herself as certainly one of Hindi’s cinema’s most stunning girls and most stilted actors. Whether or not she was taking part in the London-based career-driven Meera (Love Aaj Kal, 2009) or a blind roller-skating dancer from a Mumbai slum (Lafangey Parindey, 2010), little modified in the best way Padukone offered herself. Regardless of the position, her smile lit up the display whereas her makes an attempt at appearing had the alternative impact. The primary trace that there could also be extra to Padukone than her seems to be was in Cocktail (2012). Padukone introduced out the defiance and vulnerability within the vice-ridden Veronica in a approach that made audiences root for the ‘social gathering chick’ over the movie’s sanskari heroine. 

Then got here 2013. Padukone had 4 movies that 12 months — Race 2, Yeh Jawaani Hai Deewani, Chennai Categorical and RamLeela. Not solely had been all 4 huge hits, in every movie, the actor remodeled herself. From her make-up to physique language, all the things modified to adapt her hanging seems to be to match the distinct necessities of every position. She held her personal alongside co-stars who had been recognized for his or her appearing; she stood out in ensembles even when the script sidelined her character. With movies that spanned motion to melodrama, Padukone established herself as a commercially bankable star who additionally excelled as an actor in a variety of genres. Gone was the awkward newcomer of the early years. In 2013, Padukone arrived as a born-again actor.  

Since then, she has gone from power to power. Within the final decade, Padukone has been forgettable in solely two movies — Race 2, during which she (and everybody else) was overshadowed by the automobile that escaped an exploding aircraft because of 4 pink parachutes tied to its headlights and tail lights; and 83 (2021), the place her look as Romi Dev was basically an prolonged cameo. Barring Joyful New Yr (2014), which was a tragic try at comedy, and a forgettable Hollywood debut in XXX: The Return of Xander Cage (2017), there have been only some disappointments from the actor. Listed here are Padukone’s 10 finest performances from the previous 10 years.  

10. Padmaavat (2018)

Of the three movies that Padukone has achieved with director Sanjay Leela Bhansali, this one was essentially the most controversial and noticed the actor delivering probably the most listless performances of her profession. She seemed spectacular and pulling off the choreography of “Ghoomar” is genuinely a feat of muscular power disguised as dancing, however Padukone couldn’t make Padmavati way more than a good looking model. Virtually entombed within the elaborate costumes — the nostril ring coated greater than half of her face — her efficiency was bland and it didn’t assist that she had no chemistry with co-star Shahid Kapoor. The worst a part of Padmaavat was Bhansali’s choice to glorify and romanticise the regressive apply of jauhar (traditionally, girls set themselves ablaze when there was worry of being raped by the rival military). It’s profoundly ironic that Padukone’s look throughout the jauhar sequence impressed that 12 months’s marriage ceremony pattern of ‘maharani bride’.       

9. Bajirao Mastani (2015)

Mastani has the form of entry that’s normally reserved for heroes. Bajirao (Ranveer Singh) is strategising in his camp together with his trusted aide when an unknown warrior storms the peshwa’s tent. Guards rush in, however can’t match the invader’s sword-wielding abilities. It takes a kick to the chest, from the peshwa, to lastly capable of cease the stranger, whose helmet comes off to disclose a cloud of brown hair. Mastani, exuding power and femininity, tells Bajirao that the king of Bundelkhand has requested assist. “If he has fighters such as you, he doesn’t want my assist,” Bajirao replies. It’s a improbable introduction, however the very best elements are when Mastani is a faceless soldier in helmet and chainmail. As soon as she reveals herself, Mastani feels unusually bland. Regardless of being given a well-written position and the chemistry she shared with Singh, Padukone solely shone within the motion sequences. Bajirao Mastani is without doubt one of the uncommon movies of this decade during which Padukone was overshadowed by her co-actors.