Janhvi Kapoor’s Controversial ‘Like’ on Madhuri-Sridevi Award Controversy Reel

Janhvi Kapoor Likes Reel Alleging Award Bias Against Sridevi

Recently, Janhvi Kapoor liked an Instagram Reel discussing how she and Madhuri Dixit should be remembered. This caused a stir on the internet. It pointed out that Madhuri Dixit won a Filmfare Best Actress award for doing a “vulgar” dance in the song “Dhak Dhak Karne Laga” from Beta and compared that to Sridevi’s acclaimed performance as two characters in Khuda Gawah not receiving the same attention that year.

The Reel combined the famous “Dhak Dhak Karne Laga” sequence from Beta with writing that said, “Madhuri in Beta – Performed an offensive dance and did not do much in the film, but won Filmfare Best Actress.” A scene with Sridevi from Khuda Gawah showed up with the caption, “Starred in a landmark double role, supporting the film all herself, yet Filmfare did not award her in the Best Actress category.” In 1992, both films came out and the awards were given in 1993. Beta saw Madhuri Dixit receive the Filmfare Best Actress award.

When Janhvi Kapoor gave a “like” to this opinionated and racy Reel, people on social media quickly noticed and users on Reddit shared screenshots of her action with each other. Instantly, people who support both actresses began debating whether Madhuri Dixit’s work in the song was iconic or whether she was being recognized over Sridevi.

Best known to be a classic, many social media users stated that thinking “Dhak Dhak Karne Laga” as vulgar was unfair since the song highlights both Madhuri Dixit’s talent and the iconic dancing scenes from the film.

They argued that Madhuri’s performance of Beta extended beyond the song, and that if any award were deserved, it was because of her entire work in the film.  On the opposite end of the spectrum, many fans of Sridevi echoed the sentiment that was voiced in the Reel, and lamented how her strong performances and her versatility, especially those in Khuda Gawah, in which Sridevi played two roles, frequently did not carry the weight they believed it should within the structures of awards. They included examples of times when Sridevi delivered what they considered excellent performances, and yet never got the award for those.

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This saga demonstrates how fraught comparisons can be, especially where beloved legends of Indian cinema and family are concerned. Although Janhvi Kapoor’s “like” could be seen as simple coincidence or a mere expression of her feelings as Sridevi’s daughter, it inadvertently re-ignited a longstanding conversation among cinephiles about award inequities and the subjective nature of artistic observations. This ordeal succinctly reminds us of the continued legacies and ardent fandom of both Madhuri Dixit and Sridevi (the late) and how they still ignite conversations decades later.

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