she was a performer who owned the screen
The phrase ‘item number’ in Bollywood instantly brings to mind a riot of colour, sound, and movement.
These songs, often only loosely linked to a film’s plot, are designed to dazzle, blending bold choreography, catchy beats, and provocative visuals.
For decades, item numbers have been an essential part of Hindi cinema’s identity.
They’ve shifted with the times, moving from smoky cabaret clubs to glitzy stage sets, from vampish characters on the margins to heroines in the spotlight.
The item number reflects Bollywood’s commercial ambitions and cultural tensions, all wrapped in five minutes of high-octane spectacle.
From Helen’s trailblazing performances to the arrival of ‘item boys’, we explore the history, controversy, and lasting appeal of one of Bollywood’s most recognisable formats.
The Genesis of the ‘Item Number’
In Bollywood’s early decades, there was no official ‘item number’, but there was a clear space for glamour and seduction – the vamp.
Vamps were the on-screen antithesis of the modest heroine. They drank, smoked, wore Western clothes, and danced with abandon.
Through these characters, filmmakers explored themes like sexuality and temptation that were off-limits for lead roles.
One of the earliest icons of this trope was Nadira, who captivated audiences in Shree 420 (1955) as a stylish seductress.
But it was dancers like Cuckoo Moray who truly carved a niche. An Anglo-Indian performer active in the 1940s and 50s, Cuckoo dazzled in short, energetic numbers set in villain’s dens or nightclubs, spaces coded as morally ambiguous but cinematically thrilling.
These segments were visual detours, offering glamour and modernity that contrasted sharply with the film’s main storyline.
They were also windows into an aspirational world – urban, cosmopolitan, and out of reach for most of the audience.
The label ‘item number’ didn’t exist yet, but its DNA was already there: a standalone song with style, attitude, and a character whose appeal was magnetic but contained.
The Helen Era
No figure shaped the Bollywood item number more profoundly than Helen.
Born Helen Ann Richardson, she was mentored by Cuckoo and quickly became the face and body of the cabaret song in the 60s and 70s.
She wasn’t just a dancer; she was a performer who owned the screen, often more memorable than the film’s leads.
Helen’s magic lay in how she elevated dance to storytelling.
Her performances were electric, expressive, and deeply cinematic.
In songs like ‘Piya Tu Ab To Aaja’ from Caravan (1971) and ‘Yeh Mera Dil’ from Don (1978), she fused jazz, Latin influences, and Indian expressions into a style that was both global and local.
Her popularity was so strong that filmmakers started writing entire sequences around her, knowing a Helen number meant a better chance at box office success.
Choreographer Farah Khan said that performers like Helen could “command the screen” in a way few others could.
This period is rightly remembered as the golden age of the item number, when dancers were celebrated as artists, and dance numbers weren’t just spectacle but skilful performance art.
Heroines Take Centre Stage
By the 1980s and 90s, Bollywood saw a major shift.
The wall between heroines and vamps began to crumble. Leading ladies were no longer confined to virtuous roles; they embraced bolder, more modern personas.
As their characters evolved, so did their presence in dance numbers.
This era saw mainstream heroines take over the item number.
Stars like Madhuri Dixit and Sridevi brought impeccable dancing and star power.
‘Ek Do Teen’ from Tezaab (1988) turned Madhuri into a household name. ‘Choli Ke Peeche’ from Khal Nayak (1993) sparked moral outrage, but also became one of the most iconic Bollywood songs ever made.
These item numbers reflected India’s changing ideas about femininity, sexuality, and entertainment.
More importantly, they signalled a power shift. Item numbers were no longer about the peripheral vamp; they were now tools for the biggest stars to showcase charisma and range.
The term ‘item number’ reportedly entered public discourse in 1999 with Shilpa Shetty’s ‘Main Aai Hoon UP Bihar Lootne’ in Shool.
She recalled in a later interview how choreographer Ahmed Khan encouraged her to be free, fun, and improvisational. That spontaneity helped define the era’s new tone: bold, playful, and highly marketable.
What changed most in this period was visibility.
These numbers were no longer just filler; they were often the most publicised part of the film. Posters and trailers centred around the item number, sometimes more than the plot itself.
The Modern ‘Item’ Song: Controversy, Commerce, and the ‘Item Boy’
By the 2000s, item songs had cemented their place as commercial centrepieces.
With the rise of music television and, later, YouTube, a viral dance number could make or break a film’s launch.
These songs were crafted with massive budgets, choreographed to perfection, and designed to go viral.
Performers like Malaika Arora and Katrina Kaif became synonymous with the modern item number.
Malaika’s ‘Munni Badnaam Hui’ (Dabangg, 2010) and Katrina’s ‘Sheila Ki Jawani’ (Tees Maar Khan, 2010) were huge hits. Later, Katrina raised the bar further with ‘Chikni Chameli’ (Agneepath, 2012).
These songs, though successful, also sparked debate.
They featured high-octane choreography, revealing costumes, and suggestive lyrics that critics said played into the male gaze. Yet, their popularity was unmatched.
Farah Khan, who choreographed many of these hits, defended them:
“It is an ‘item number’ only and there is nothing derogatory about it… that will attract the people to come and watch the movie.”
This era also introduced the ‘item boy’.
Shah Rukh Khan’s shirtless ‘Dard-e-Disco’ in Om Shanti Om (2007) and Hrithik Roshan’s appearance in Krazzy 4 (2008) flipped the gender dynamic. Abhishek Bachchan’s role in Rakht is also credited as pioneering male item numbers.
These sequences were designed with the same visual language – sex appeal, slick choreography, and stylised camera work.
Though less common, item boys added a new twist to the form and opened up conversations around male objectification, still a rarity in Bollywood.
Objectification or Empowerment?
The item number today is as divisive as it is popular.
Critics argue these songs objectify women and contribute to the normalisation of gender-based harassment.
Academic studies and media watchdogs have flagged lyrics and visuals that reinforce patriarchal stereotypes.
Yet, there’s a counterargument that sees these songs as empowering.
Some say item numbers give female performers a rare space to express confidence and sexual agency.
Vaibhavi Merchant, who choreographed ‘Kajra Re’ (Bunty Aur Babli, 2005), recalled Aditya Chopra saying the song would make history, and he was right. It resonated across classes and regions.
Katrina Kaif, whose item songs have gone viral globally, has stated she never felt objectified in numbers like ‘Sheila Ki Jawani’ or ‘Chikni Chameli’. She said she saw them as performances, not statements about gender.
Film scholar Usha Iyer suggests that this debate is too binary.
In her view, many female audiences derive enjoyment and meaning from item numbers, whether through admiration, escapism, or even subversive readings.
She argues that “queer modes of looking” can disrupt the traditional male gaze and open up new interpretations of these dances.
It’s also worth noting that many item numbers are choreographed by women and have become major vehicles for female stardom. They boost careers, influence pop culture, and generate major revenue.
From smoky bars and cabaret clubs to global streaming platforms, the Bollywood item number has undergone a dramatic transformation.
What began as a side act for vamps has evolved into a headline-grabbing event, capable of driving ticket sales and sparking cultural debate.
While critiques of objectification are valid and necessary, it’s also true that item numbers have been a showcase for female talent, physicality, and star power.
They’ve allowed performers to claim the spotlight and audiences to enjoy cinema’s most uninhibited expressions of energy and emotion.
Whether empowering or problematic, or both, the item number remains one of Bollywood’s most iconic exports.
It’s a genre that refuses to fade, constantly reinventing itself to suit the tastes and tensions of each generation.
In the end, its goal remains the same: to captivate, entertain, and create moments audiences will remember long after the music stops.
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