"My heart and soul are always with the people of my home state," she had said. On few occasion, she dropped hints of making a comeback to Andhra Pradesh politics. Since then, she had been living in political oblivion. In 2004, Jaya Prada was elected to the Lok Sabha from Rampur, a seat which she retained in 2009.Ī year later, then Samajwadi Party president Mulayam Singh Yadav expelled her and Amar Singh for anti-party activities.Īmar Singh and Jaya Prada then floated a new political outfit - Rashtriya Lok Manch - in 2011 but it came a cropper in the Uttar Pradesh Assembly elections held a year later. When she was denied a second term in 2002, she distanced herself from the party and moved to Uttar Pradesh to join the Samajwadi Party at of Amar Singh's invitation. Naidu made her the president of Telugu Mahila, the women's wing of the TDP and also nominated her to Rajya Sabha. Chandrababu Naidu led a revolt against his father-in-law NTR and took over the reins of the government and the party in 1995, she backed the Naidu camp.
She initially joined the Telugu Desam Party (TDP) in 1994 at the invitation of founder and former chief minister N.T. She soon gravitated to politics where she found a mentor and guiding force in Amar Singh, then a top honcho in the Samajwadi Party, but not without a hiccup. A string of Amitabh Bachchan starrers in the 1980s, where she had little to do except wait while the hero fought all odds, including the mega-hit "Sharaabi" only reiterated Jaya Prada's beautiful-but-dull image. The constant comparisons with Sridevi soon got to her and her career. "Jaya was more the domesticated wifely type while Sridevi could be anything she wanted. Jaya Prada was heartbroken, as she was quickly typecast as the typical long-suffering Sita-reincarnated wife in forgettable family dramas produced in the South with street-side arrow-pointers like "Swarg Se Sundar" and "Ghar Ek Mandir" as titles.Ī very successful leading man of the 19s who worked with both Sridevi and Jaya Prada compared the two rather ebulliently. Hindi cinema didn't seem to respect her virtuous personality. The Telugu version of the same film was a game-changer in Andhra Pradesh. Sadly Jaya Prada's most ambitious film, "Sur Sangam", a striking spectacular homage to Indian classical dance and music sank without a trace. However, "Sargam" remained her career's highest point in Hindi.
And Jaya Prada was soon approached by every major filmmaker in Mumbai. When Jaya Prada moved to Hindi cinema she was an instant hit in the underrated blockbuster "Sargam". Unknowingly he pinned down the lack oomph in her personality that all female superstars are known to possess. "There's something very pure very graceful and poised about Jaya Prada," Bapu had once raved. Starting out in Telugu cinema in 1974 she quickly garnered a reputation for being both saleable and assailable with blockbuster films "Manmatha Leelai" and "Seetha Kalyanam". Somehow, Jaya never reached the zenith that her all-round combination of talent beauty and grace promised. As though her aspirations were constantly stopped by distractions. There is always a sense of incompletness in Jaya Prada's performances.
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