In a world of non-conformists, Kajol stands out as an unfathomable oddity.

An enigma. That's what she is even after four years in the industry, know-alls still can't figure her out. How do you explain an actress who didn't suffer a nervous breakdown when she had to sit at home for six months with no offers and her first film stalled? She blithely depleted the neighbourhood library, sleeping peacefully when not buried in historical romances.

What's more, she didn't turn maniac depressive even when Bekhudi was written off in the first week. With unconcerned abandon she plunged into Udhar Ki Zindagi with a little heard of producer and a hero who was never heard of again. Even after she landed a surprise superhit — Baazigar — and had top banners lining up for her approval, she picked up films with a careless nonchalance which defied all logic. Top banners and stars were thumbed down for relative newcomers because Kajol believed in following her instincts.

But that didn't explain why she would turn down a Yash Chopra film opposite Shah Rukh Khan because she didn't want to be second best to Madhuri Dixit and then happily play second fiddle to Ajay Devgan in formula films like Hulchul and Goondaraj. And that's not all. Kajol will unselfconsciously walk into an awards function in everyday wear minus her lenses and won't think twice about slipping on her glasses to read out the winner's name — in full view of gawking star-gazers. In a world of non-conformists, Kajol stands out as an unfathomable oddity.

Sensational on screen and distinctly unstarry off it. Cossetted by the sugar daddies and yet uninterested in any calculated moves. Away from the camera, temperamental, and in front of it, tempestuous. Maybe that's why Kajol scores. While the industry analysts continue with their post-mortem of this intriguing actress, her fast-growing fan club quickly lap up her special magic, waiting expectantly for her films even if they may come once in six months or even after a year, something which would well drive another actress right over the edge. Kajol however is delighted she doesn't have to work round-the-clock. "She wants to enjoy life and not get bogged down by 100 films at a time and that I think is a clever career move," applauds Naresh Malhotra, the director of Yeh Dillagi.

There're others like him who'll forgive her what her rivals would call foolish fickleness and an unflinching faith in that kindergarten adage, "All work and no play makes Jack (read Jill) a dull boy (read girl).

However, not everyone will pardon her that disinterested, unglamorous look. Says ace lenser Gautam Rajadhyaksha, Kajol's friend, philosopher and guiding light, "She is totally indifferent to hairstyles and clothes. They just drive her up the wall. She would be most happy if she were allowed to go for days in jeans, a white shirt and a scarf thrown on for colour. She agrees to photosessions because she can't often say no to Mickey and me but has to be bribed with chocolates." He further adds, "I don't think any of these Maharashtrian girls are overly concerned with glamour. Nutan, Smita Patil and Padmini Kolhapure have mainly relied on their talent to make an impact on screen. But I feel stars have a public persona which also has to be addressed and its high time Kajol paid attention to that."

It's a view seconded by another good friend, Karan Johar, who's now directing a film with her and Shah Rukh. "She may not be a conventional good looker but she has a natural beauty which can take her a long way. A little more glamour can do wonders for her career and I've told her that often enough. But Kajol gets so charged up with her role that she completely forgets that make-up is also an essential part of acting. While doing her make-up if someone comes across to tell her the shot is ready, she drops everything and dashes to the sets, her make-up man and hair-dresser chasing after her," Karan confides with an exasperated sigh.

Way back in Baazigar ,she proved that she was an exceptional actress but lost to Shilpa Shetty in the glamour department. While Shilpa who was hurled out of the film just before the interval concentrated wholely and solely on looking good, Kajol who had the spotlight on her all through the second half came out looking dull and drab because she logically presumed that since she was mourning her sister's death, the audience wouldn't expect her to be fitted out in couture stuff and caked in Estelle Lauder. It didn't take her long to realise that such deductions didn't carry much weight in this fantasy world. The audience like their heroine to look glamourous whether they are celebrating or grieving. And when she landed a `model' role in Yeh Dillagi, she made every effort to turn from the girl-next-door to a beauty extraordinaire. However, she frankly admitted that she wouldn't be caught dead wearing some of the Yeh Dillagi dresses in real life.

However, despite her best intentions, Naresh Malhotra remembers how during the making of the film she'd have her make-up man running up and down with her, begging her to let him finish her face. And Kajol would wave him away dismissively with, "Enough, I'm looking nice." With Yeh Dillagi and Dilwale Dulhania Le Jayenge Kajol worked towards a metamorphosis everyone was advising, a metamorphosis which has transformed her into Rajiv Menon's dream girl. "In the trailers of Sapnay she's bewitching. Rajiv must have really worked hard on her," Malhotra says with a naughty twinkle.

Surprisingly, even in the looks department Kajol has her defenders. While admitting that she's no asmaan se utri hui pari, the writer-director of her Hulchul, Anees Bazmi insists that in her simplicity lies her beauty. "Ajeeb husn hai usme," he breathes in wonder.

Kajol has the Jaya Bhaduri kind of appeal which grows on you and makes it easy for the audience to relate to her, maintains producer Shabnam Kapoor. "She doesn't look like one of those extra-terrestrials who even sleep with their hair coiffured, their faces meticulously made up and their nails manicured," her Hulchul and Goondaraj producer points out.

Mukesh Bhatt is more vocal in his approval. "She's gorgeous!" "She may not have Smita and Shabana's earthy sensuality but she has that extra sparkle in her eyes and a kind of energy she generates on screen which make her incredible."

However despite the spirited defense, one has to admit that Kajol will never be able to carry off a Mamta Kulkarni or Karisma Kapoor kind of role despite her brilliance. She exudes simplicity, not smouldering sensuality and it's obvious her forte is teenage romances and family dramas.

If Kajol scores, it is due to her spontaneity. An overabundance of exuberance which she has obviously inherited from her mother Tanuja. But while Tanuja had the misfortune of arriving on the film scene 8-10 years before her time and in the era of carefully measured angles her spontaneity was looked upon as being "deviant behaviour" compounded by an obvious disinterest which was all too evident on camera, Kajol has arrived at the right time and her spontaneity is gushed over even by a veteran producer like G.P. Sippy. "I haven't seen another actress with her kind of spontaneity before. And if she can retain her style, she's one star who's going to shine the brightest of all," he prophesies.

The spontaneity which entices Sippy today is what endeared her to Rahul Rawail, puppy fat and all. "She had a kind of spark," he confesses."And one look at this spirited child and I knew I'd found my heroine for Bekhudi.

And the result of this spontaneity was a new school of acting. Marked by natural charm and easy grace. A school which doesn't want to follow any rules, doesn't imitate any methods. Ratan Jain, the producer of her first blockbuster Baazigar, agrees that when Kajol is on screen she doesn't seem to be acting. "She's so good she doesn't need to act," he adds.

Perhaps it is because of this special talent that Kajol has so quickly and with so few films shrugged off the tag of "Tanu's lil' daughter" and jumped to the top bracket. A born actress, she didn't need time to cultivate her histrionics. She arrived with her very first film and never felt the need to improve because she consistently came up with brilliant performances irrespective of how her films fared at the box-office. As Shabnam Kapoor puts it, "Kajol hasn't grown because she was magnificent to start with. She didn't need to grow." Kajol has the unique gift of keeping her audience glued to an otherwise drab film and, as Bazmi asserts, "whatever role she plays, her films carry weight".

So is she a good draw at the box-office? "Independently, a heroine has never been a big draw. But Kajol does add to a film's prospects," admits distributor Ramesh Sippy. "Dilwale Dulhaniya Le Jayenge wouldn't have been what it is today if it wasn't for her. And what is Sapnay without Kajol? Who wants to see a Prabhudeva or an Aravind Swamy film?"

So why isn't she numero uno yet when the crown is up for grabs? According to her detractors, one reason could be her temperamental streak. "Moody" is an adjective often associated with her. One moment she's warm and vivacious, the next moment Arctic cool, crib many. Friends don't have to ask her, "Where have you been?" because she makes it a point to be in touch. But with strangers Kajol takes a long time to open up. While her colleagues are always ready to give their fans a smile and a scrawl, Kajol can be very stingy with her autographs and photographs. "I can't let anyone and everyone click me," she grumbles. "Hey, they could misuse those pixs." Fact is she is a natural in front of the moving camera but absolutely freezes in front of a still camera. She hates photo-sessions and public relations sessions. She doesn't think they're necessary. If you want to see her, you can always watch her films, right? Not the best approach for a person who's considered "public property". But then Kajol has never aspired to be a star.

Lambe race ki ghodi, one of the best actresses of the country, a perfect all-rounder, are some of the compliments showered on her by the industry. But ask anyone if she's tomorrow's Queen Bee and you won't get a straight "Yes" or "No". What you'll get is, "More than being No. 1 or No. 2, actresses should be remembered and Kajol will go down in history as one of our best actresses." And that is the biggest compliment of all, wouldn't you say?