“I was always curvy but I wanted to change the way my derriere looked. Somehow the thought stayed in my mind. And I am now proud to flaunt a JLo-like derriere,” said Sherlyn Chopra in an interview.

Not always you get someone from Bollywood flaunting her ass and moreover talking outrageously about its shape.

In the past, Hindi cinema had its share of butt-shaking beauties who flaunted their curves on screen and heard whispering sounds of appreciation rather than aggravation, from male audiences.

Sharmila Tagore was one such actress who was more admired for her curvy butt than the big kohl eyes which were more prominent in her feature.

In 70’s Sharmila was not alone, there was a bunch of actresses who were keen to sizzle on the celluloid with their hottest property: butt.

Zeenat Aman, Parveen Babi and Neetu Singh followed ‘Kashmir Ki Kali’ in the later years.

In every generation Bollywood actresses hoodwinked men with their well toned bottoms. It never was a matter of debate but it has always been talked and adored.

Today, the silicon transplant may have killed the natural bump of butts but it has given the beauties a way to find their route for wanting whispers.

Sharmila Tagore top the list of having the most seriously carved butt by some craftsman, the Bengali diva was the first woman in Hindi cinema to don a bikini in ‘An Evening in Paris’. Opposite to her name Sharmila: Shy; she was audacious and bold.

After many years, she said, “You know I remember a funny incident. As you know I wore a one-piece bathing costume in ‘An Evening In Paris’ and not a bikini as is generally believed. But I wanted to wear a bikini. Shaktida put his foot down. He forced me to wear a one-piece.”

When we talk about butts, we can not dare to miss Saira Banu, the alabaster complexion, mahogany eyes, aquiline nose and an enviable figured actress of 60’s heated the screen with her back-beck. (Image- Purab Paschim)

Saira Banu made her debut in 1961 opposite Shammi Kapoor in ‘Junglee’ and her very first film earned her the nomination for Filmfare best actress awards. Saira was beautiful with curvaceous features, like an artwork which asks for heartily attention rather than mere craftsman’s labour.

In the age of conventional cinema Zeenat Aman dared to experiment with unconventional roles, shedding the clichéd image of heroines of hindi cinema – obedient and sweet lover – with boisterous and opportunist characters like hippie in ‘Hare Rama Hare Krishna’, hooker in ‘Manoranjan’ and extra-marital relationship in ‘Prem-Shashtra’.

Smita Patil was known for her acting acumen, dusky looks and sharp features and one ‘rarely’ looked beyond what was obvious on screen. But in ‘Chakra’ the goddess of parallel cinema left everyone breathless as she dared to put her rear for public scrutiny.

The yesteryear actresses may be forgotten in a blink after watching today’s hindi cinema where dare-bare and well-toned bodies are prerequisite for any glamorous role – a must have spice of the recipe called career.

And with easy availability of feature altering technology, changing ones looks or shape is no longer a stigma as it used to be back in good old days.