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pireviewDS Besides her elastic and primeval looks, the actress possesses an inbuilt instinct for grasping characters at a level way beyong the surface.

ak1995interviewanotheranother 9612/1996review1999 1999 hindu Tarazu review

[2] RekhaKS97 int97 Ocreview YB revRekha Dev Anand1999[3]HTIW Jungle REKHA BOOK

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In 2001, she was paired with Sunny Deol in the action film Farz. Her role was dismissed by critics, and the film failed commercially.

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AICA

• 1981: Amitabh Bachchan and Jennifer Kendal[4]
• 1993: Arjun Chakraborty for Atmajo and Meenakshi for Damini.
• 1996: Nana Patekar (Agni Sakshi) and Aprna Sen (Unishe April)
• 1998: Mithun Chakraborty (Swami) and Shabana Azmi (Bada Din)
• 1999: Amitabh Bachchan (Sooryavansham)
• 2000: Hrithik Roshan (Fiza) and Manisha Koirala (Khauff)

• Film Journalists' Association1939

K

Known for her portrayals of a variety of strong women--from fictional to historic political leaders--in female-led films

Respected for her versatility and acting prowess,

Known for playing a variety of strong-willed protagonists

Known for her work in female-led films, Ranaut has played a variety of characters--from ... to--

KBM

lead

Khoon Bhari Maang is among the first of a new trend of women-centred films about revenge (p. 231). It is often associated with films about revenge in Indian popular culture, and is often cited in the media as one of Rekha's best performances.

themes

Vengeance is one of the core issues dealt with in Khoon Bhari Maang, which was one of the first films to introduce the concept of avenging women.

(title) The film's title, literally traslated as "blood-smeared forehead", refers to the married Hindu women's practice of applying vermilion along the parting of their hair to mark their marital status. In the case of the title, the marker is blood.

Scholars have argued over the feminist connotations of the film. According to Lawrence, Khoon Bhari Maang had a significant meaning for feminist viewers. Rajeswari Sunder Rajan noted the film for defying "the socially sanctioned violence against women that reinforces and is reinforced by the ideology of husband-worship". She noted the film for being different from other revenge films of the genre, thanks to the "exact and measured dose" with which the killing was executed. She notes that due to commercial pressures, the film avoids being subversive and so the story clearly suggests that the revenge is not a classic husband murder, because this was a second marriage to a man the wife never loved or desired; the marriage was never comsummated and thus inauthentic, and when she killed him, she transformed into an altogether different person, with an overhauled identity.

Shohini Ghosh attributed the film's significance to the heroine's "active resistance" and argued that the film was a rare film within the popular format, for seeking to "liberate women from traditional frameworks of representation". She further noted that it "shattered the myth about women’s pacifism and showed her as an agent of violence".

The film's symbolic reference to Hindu goddesses has also been mentioned. Rajan mentioned the physical display of Kali/Durga, the avenging goddess, in one of the film's scenes, and found avisual analogy between the goddess and Rekha's appearance in the film's last scene, namely "with her hair loose, wearing men's clothing, carrying weapons and riding a horse". Towards the final portions of the film, Rekha's character is "seen in terms of a Durga or Shakti, as if she has reincarnated herself, which indeed is nearly the case."

According to Rajan, Khoon Bhari Maang reflects the prevalent notion of a lawless society and powerless or corrupt forces of justice, and therefore justice can only be achieved when the righteous initiates to punish the evil.

A body double was used for Rekha in the film.

refs

• Samanta, Nirmalya (15 November 2018). "Hindi Cinema and the Avenging Woman". In Chauhan, Vibha S.; Halpert Zamir, Lily (eds.). Eight Faces of Revenge. Brill. pp. 25–37. ISBN 978-90-04-38025-7. In 1988 three films, Sherni (The Lioness) and Zakhmi Aurat (The Injured Woman) and Khoon Bhari Maang brought the idea of an avenging woman to the centre screen.
• Lawrence, Michael (2017). "Transformation and Glamour in the Cross-Cultural Makeover: Return to Eden, Khoon Bhari Maang and the Avenging Woman in Popular Hindi Cinema". In Smith, Iain Robert; Verevis, Constantine (eds.). Transnational Film Remakes. Edinburgh University Press. pp. 103–117. ISBN 978-1-4744-0725-0.

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Shefali

"I genuinely feel that, if I can say something in four words, I won't use eight; If I can say something in two words, I won't use four; and if I can say it without using a word, I will do it."

— Shah explaining her approach to film acting and her preference for minimal use of words

Shah has been recognised by critics and the media as one of India's finest actresses. Describing herself as an instinctive actor, she confessed to not approaching acting as a craft but rather becoming a person and living each character's struggle, which often proves taxing. While acting on stage in 2010, she said, "I have to literally break down every time, then collect the pieces and put them back together again". Known for her understated acting style, Shah has been noted for her big, expressive eyes and her ability to emote through minimal facial expressions and gestures, and often through silence. Devansh Sharma described Shah's use of silence as "a leitmotif in all her performances", and Sneha Bengani commented, "Shah has always thrived in silences. Through them, she communicates with easy effortlessness what words almost always fail to." In view of her preference for minimalism, she has gained a reputation for asking directors to cut her lines and scenes. Shah explains that cinema being a powerful visual medium which captures actors' faces, sometimes not much spoken text is required and is often redundant. Due to her eagerness to be thoroughly versed in details about her scripts and parts, Shah often keeps badgering her directors with questions during filming.

Highly selective about her roles and unwilling to compromise her artistic integrity, Shah chooses parts by instinct and maintains that unless completely consumed by a project, she will not commit to it. She does not give importance to the length of a role, but more "the mettle, the potency and the relevance" it has in the film. Some of Shah's characters throughout her career were of women much ahead of her years. Her first roles on television when she was in her early twenties, including Savy, the mother of a teenager in Hasraten, made several filmmakers offer her parts of women older than herself. She admitted that Hasraten had damaged her career in this regard. On one occasion, she almost played the role of a mother to Amitabh Bachchan when she was half his age before she left the project. Although she was initially excited about the acting challenge in playing mature women, she decided to stop accepting parts of the sort, especially after playing the middle-aged part of Bachchan's wife and Akshay Kumar's mother in Waqt (2005), because filmmakers sought to typecast her in similar parts. She explained her choice of Gandhi, My Father (2017) was different as she played Kasturba Gandhi from the character's early adulthood into her later years. Dil Dhadakne Do (2015) was another exception where she was so impressed with the character she could not refuse it.

Shah was one of the leading actresses of Indian television before she left it due to poor content. Following the positive reaction to her perofrmance in Satya in 1998, she expected more film work coming her way whereas the offers she received at the time comprised mostly small character parts. While initially bothered by the limited work available to her in Hindi films, Shah has over years come to terms with the realisation that satisfactory roles would come to her every once in a while. This resulted in numerous gaps between her film appearances. The rise of OTT platforms, however, rejuvenated Shah's career, with parts not otherwise available in films and often written specially for her. Delhi Crime proved to be a major turning point in her career, as it brought about an influx of film offers, mostly of leading roles which would seldom come her way before. Consequently, she embarked on the busiest period of her professional life, working on six projects throughout 2020 in films and roles the kind of which she longed for. She credited digital platforms with giving her opportunity to invest more in her parts: "The web-series format gives me hours to experiment, explore and indulge and understand my character’s nuances."

The reception to Shah's performances has been positive from her initial television work. Her early screen persona on television was that of a woman who, according to Chatura Poojari, is "homely, chatty but with a sensible head firmly screwed onto her shoulders — a regular Indian woman who deals with life by wearing a velvet glove over an iron hand." Shah believes her middle-class background has helped her shape a personality which makes her characters relatable. An 1999 article by The Indian Express said that she "pulls off each and every character with absolute ease". Subhash K. Jha describes her as "an impossibly skilled actress" and, on another occasion, "an actress who forces you to watch her". Speaking of her eyes, Devansh Sharma wrote in a review of Once Again (2018), "Her loquacious eyes express rage with as much ease as they do love." While reviewing Jalsa (2022), was highly impressed with Shah's use of just her eyes and expressions to emote. Author and journalist Aparna Pednekar wrote, "Shah's au naturale performances come from an instinctive, savage space, with an abundance of layers simmering beneath a placid smile and soft-spoken personality".

After Waqt, quality.m

B&WRoshmila

DC: a force of nature (HT) and a winning combination of velvet and steel (scroll), Shah reveals Chaturvedi’s frustrations and anger in small and impactful ways. (The quint)

Scroll Juice and OA

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[5]

, although Priyanka Roy of The Telegraph thoughts the tone lost its effect after a point and found Shah atypically artificial

I don’t know any other way but to free-fall into a project. I choose to be consumed and drained to contain and create a character. I choose to vanish completely as a person so that only the character prevails. The loss of Shefali is a win for the character.

IE best is yet to: "There is no other way I can work. Every role takes away a part of me. It’s exhausting, it drains me completely, and then enriches me. It’s a cycle, but I don’t know any other way"

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Shefali Shah (born Shefali Shetty on 22 May 1972) is an Indian actress of film, television, theatre and web series who mostly appears in independent Hindi films. Respected for her acting prowess, she has received several accolades, including a National Film Award, two Filmfare Awards, two Screen Awards, and an Asian Academy Creative Award. Shah's acting career started on Gujarati stage before she debuted on television in 1993. After a number of small parts on television and a brief stint with cinema in Rangeela (1995), she gained wider recognition in 1997 for her role in the popular series Hasratein. This was followed by lead roles in the TV series Adhikar (1997), Kabhie Kabhie (1997) and Raahein (1999). A supporting role in the crime film Satya won her positive notice and a Filmfare Critics Award, and she soon shifted her focus to film acting starting with a lead role in the Gujarati drama Dariya Chhoru (1999).

Unwilling to compromise her artistic convictions, Shah was selective about her roles through the following decades. This resulted in intermittent film work, mostly in character parts and often to appreciation from critics. She appeared in the international co-production Monsoon Wedding (2001) and the mainstream comedy-drama Waqt: The Race Against Time (2005). In 2007, her portrayal of Kasturba Gandhi in the biographical drama Gandhi, My Father (2007) won her the Best Actress prize at the Tokyo International Film Festival, and she won the National Film Award for Best Supporting Actress for the nested film The Last Lear (2007). Among her subsequent film roles, she played a leading part in Kucch Luv Jaisaa (2011) and was noted for her work in the social Lakshmi (2014) and the ensemble drama Dil Dhadakne Do (2015).

Shah's career surged upward in the late 2010s. She won a Filmfare Short Film Award for her performance in Juice (2017), a short film on gender inequality. This was followed by starring roles in two Netflix projects: the romantic drama Once Again (2018) and the International Emmy Award-winning crime miniseries Delhi Crime (2019). Her performance as DCP Vartika Chaturvedi in the latter won her widespread acclaim. Shah was the protagonist in two short films in 2021: Ankahi, a segment of the Netflix anthology film Ajeeb Daastaans, and Happy Birthday Mummyji, which marked her directorial debut. The Disney+ Hotstar webseries Human and Amazon Prime feature drama Jalsa followed. Divorced from actor Harsh Chhaya, Shah is married to Indian producer Vipul Shah, with whom she has two sons.

Shah's career surged upward in the late 2010s as she transitioned to leading roles. She won a Filmfare Short Film Award for her performance in Juice (2017) and followed with three Netflix projects: the romantic drama Once Again (2018), the International Emmy Award-winning crime miniseries Delhi Crime (2019), and the anthology film Ajeeb Daastaans (2021). Her performance as DCP Vartika Chaturvedi in the latter met with widespread acclaim. Shah wrote and directed two self-starring COVID-themed short films: Someday and Happy Birthday Mummyji. The Disney+ Hotstar webseries Human and Amazon Prime feature drama Jalsa followed. Divorced from actor Harsh Chhaya, Shah is married to Indian producer Vipul Shah, with whom she has two sons.

PZ

Preity G Zinta (pronounced [ˈpriːt̪i ˈzɪɳʈaː]; born 31 January 1975) is an Indian film actress and entrepreneur. After graduating with degrees in English honours and criminal psychology, Zinta made her acting debut in Dil Se.. in 1998, followed by a role in Soldier in the same year. These films earned her the Filmfare Award for Best Female Debut, and she was later recognised for her role as a teenage single mother in Kya Kehna (2000). She subsequently established a career with a variety of character types, and was appreciated for her perofrmances in Chori Chori Chupke Chupke (2001), Dil Chahta Hai (2001), Dil Hai Tumhaara, and Armaan (2003). Her film roles along with her screen persona have been credited with contributing to a change in the concept of a Hindi film heroine, and won her several accolades.

Zinta received the Filmfare Award for Best Actress in 2003 for her performance in the drama Kal Ho Naa Ho. She went on to play leading roles in two consecutive annual top-grossing films in India, the science fiction film Koi... Mil Gaya (2003) and the romantic drama Veer-Zaara (2004). She was later noted for her portrayal of independent, modern Indian women in Salaam Namaste (2005) and Kabhi Alvida Naa Kehna (2006), top-grossing productions in overseas markets. These accomplishments established her as a leading actress of Hindi cinema. Her first international film role was in the Canadian film Heaven on Earth (2008), for which she was awarded the Silver Hugo Award for Best Actress and was nominated for the Genie Award for Best Actress. She followed this with a hiatus from acting work for several years, with the exception of her self-produced comeback film, Ishkq in Paris (2013), which failed to leave a mark.

In addition to acting, Zinta has written a series of columns for BBC News Online South Asia; she is a social activist, a television presenter, and a regular stage performer. She is the founder of the production company PZNZ Media, a co-owner of the Indian Premier League cricket team Kings XI Punjab since 2008, and the owner of the South-African T20 Global League cricket team Stellenbosch Kings since 2017. Zinta is known in the Indian media for publicly speaking her mind, and consequently has sparked the occasional controversy. These controversies include her being the sole witness not to retract in court her earlier statements against the Indian mafia during the 2003 Bharat Shah case, for which she was awarded the Godfrey Phillips National Bravery Award.

She was a leading actress of Hindi cinema for over a decade during the late 1990s and most of the 2000s, before retiring to concentrate on her business ventures with only occasional returns to acting.

Peter Debruge of Variety wrote of Zinta's "stunning psychological transformation" and said she " grows with the role that few her age could master".

Shabana

http://web.archive.org/web/20060326090201/http://www.screenindia.com/sep10/cover.htm

https://web.archive.org/web/20021020112842/http://www.screenindia.com/20001006/fartic.htm

https://web.archive.org/web/20010207222123/http://www.expressindia.com/screen/20000929/fartic.htm

https://web.archive.org/web/19991104094242/http://www.filmfare.com/site/june97/shabana.html

http://web.archive.org/web/20050426134241/http://www.hindustantimes.com/news/181_111112,001100030004.htm http://web.archive.org/web/20050425201347/http://www.hindustantimes.com/news/181_1327182,00110003.htm

Masoom

Ankur review

In a career of over 160 films, she has primarily worked in the Hindi film industry and focused on social and neorealist parallel cinema, but worked in mainstream films as well as several foreign projects.

Her career in the Hindi film industry, which has spanned over 160 films, is mostly associated with social and neorealist parallel cinema, and her work extended to mainstream films as well as a number of foreign projects.

Nutan

Nutan considered herself an instinctive actress; she believed in spontaneity and therefore was not fond of rehearsals.[6]

Chhalia Hindu]

• A Very Old Machine: The Many Origins of the Cinema in India: "At times it seems as if the framing narrative wants to satirize the found scenes. In scenes from an unfinished war melodrama, Shikhwa (Com-plaint, 1954), a pacifist hero (Dilip Kumar) is imprisoned as a traitor to the cause of war. To save him from the death penalty, his lover Nutan must abandon him and marry the warmongering general. In the version Gyan-chand is directing, this war melodrama is translated by his newbie actors but with Buñuelesque transformations. Shot-reverse-shots of the two characters include the presence of a teddy bear in the heroine’s arms and two goats that bear the brunt of the hero’s wrath." (p. 174)
• Bollywood Baddies : Villains, Vamps and Henchmen in Hindi Cinema: In Khandaan, the narrative space is occupied entirely by the villain once he comes back from Singapore. The role of the senior brother Chaudhuri’s wife is played by Lalita Pawar, and she supports unknowingly her nephew’s misdeeds. But, as in Junglee, she realizes her mistake later and breaks the wall that had separated the family. This wall was set up at the behest of the nephew. The villain is accompanied by his sister, played by Mumtaz. Significantly, this film is not primarily concerned with showing either the feats of the hero, played by Sunil Dutt, or his romance with the heroine Radha, played by Nutan, a poor orphaned girl, who’s brought to the house by the younger brother’s wife. Nutan works as a maidservant in Chaudhuri’s house. When the audience feels bored with the peace and harmony of the family, Navrangi Lal arrives on the scene. (73)
• Film world; author: Mangala Chandran: "While I was doing ' Hamari Beti ' , my first film with Shekhar , I was full of doubts . Nothing excited me . ' Was I really O.K. ? ' The film clicked . The relatives who called me ugly changed their opinions overnight. They said they were proud of me. "
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• Amrish Puri
• Sujata/Chhalia
• unconventional/Dil Hi To Hai/Laat Saheb
• Bimal
• Baarish IWoI
• Saudagar review
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• Sahrmila intvVijayDesai
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Dimple

Dimple Kapadia was born on 8 June 1957 in Mumbai to Gujarati entrepreneur Chunibhai Kapadia and his wife Bitti. Chunibhai belonged to a wealthy family of lapsed Ismaili Khojas who accepted Hinduism but continued following Aga Khan as their mentor, and Bitti was Muslim. (IT 85, lapsed Khojas)

Chunnibhai Kapadia was — and is — a maverick. A rebel in the stronghold of Gujarati conservatism, Chunibhai had from his early days been a non-conformist in everything. He was an attractive catch in the wealthy Gujarati community's marriage-market because he belonged to the wealthy Kapadia industrial family. Chunibhai, however, took his non-conformism seriously enough to by-pass all the huge dowrys and wealth that went hand-in-hand with making an arranged match with a girl from another wealthy Gujarati family. Instead, he opted for a love-marriage. Falling for a pretty young Muslim girl whom he nicknamed Betty, Chunibhai married her. The marriage created a furore, shaking as it did the very foundations of this community's traditionalism. And it was Chunibhai's eldest daughter Dimple, now about fourteen years old, who Mrs. Raj Kapoor's close friend Munni Dhawan had mentioned as a good choice for the title role of Bobby.

My contacts with the film industry began in the early sixties , " Chunibhai Kapadia told me . “ At that time in the building where we were staying we had as our neighbours two film families : the comedian Sunder , and the music - director Roshan. Through Sunder and his wife we met H. S. Rawail and his wife Anjana. Anjana Rawail during her lifetime had been a leading filmland socialite and very fond of hosting parties where everybody could get to know everybody else. Once Anjana began to include Chunibhai in her parties he became a filmwallah too, though at this time only a peripheral one.

Inevitably, when Dimple entered her teens people in the film circles in which the Kapadias had begun to move started to eye her as a prospective candidate for stardom. In 1970, for instance , Anjana Rawail offered Chunibhai the Guddi role for Dimple. Gulzar had written its script and they felt Dimple suited the role.

Chunibhai, who had taken quite a few years to persuade his father to get adjusted to a daughter-in-law from outside their community, dreaded to think how his father and his uncles would react if he now lit another firecracker under their feet - no , it was simply impossible to make his father live with the idea of any grand - daughter of his becoming an actress! “I had to refuse not only this, but some other good offers too,” Chunibhai revealed. "My father would have thrown a fit! My family would never have agreed."

In mid - 1971 actor Rakesh Roshan got married. It was a gala filmland wedding where every big film personality was present. Rajendra Kumar who had become a very dear friend of Raj Kapoor since the Sangam days, was taking a leading part in the wedding festivities . He was aware that Raj Kapoor was coming to this wedding , and he mentioned it to Chunibhai. "Then Munni Dhawan collared me, " Chunibhai smilingly reminisced.“ Taking me aside she told me that Raj-ji was coming here to the (page 200) wedding, and he wanted to talk to me about Dimple.”

It was a thrilling moment, and right then Chunibhai the perpetual maverick thrust all thoughts of his conservative family's disapproval to the back of his mind.

Raj Kapoor did talk to Chunibhai at Rakesh Roshan's wedding. It was a brief conversation. Raj invited Chunibhai for dinner to Chembur a couple of days later for fuller discussions. At that dinner Raj was very persuasive. He was in the mood to go for a screen - test as soon as possible. Chunibhai's protestations about his family not agreeing grew feebler and feebler. Eventually, he resolved the dilemma within himself by deciding to put off telling his father until after the screen-test . Who knows, maybe his daughter'd fail the screen test, and then he'd not have to confront the old man with this painful news at all!

Yet, in his heart of hearts, he did not want this to happen. In his heart of hearts, Chunibhai Kapadia was even more excited than his daughter was at the prospect of her becoming a film heroine — and that too, in a Raj Kapoor film, to start with.

The atmosphere in R. K. Studios was electric on the day of that memorable screen - test. By now the news had circulated freely in the inner circle that there was a girl who had a far enough lead over all the others to have reached the stage of a screen-test at R.K. Studios.

Raj's senior technicians were all present at the studio that day when Raj escorted the young girl , now made - up and costumed for the test , into the grounds . Before you entered the main sound - stage you used to have to pass the sound-truck outside . It was a mini - empire within the R . K . kingdom , lorded over by veteran audiographer Allauddin Qureshi.

As Raj Kapoor came alongside the sound-truck escorting the girl, he looked at Allauddin and said: “Kyon Khan Saab? How do you like our new girl?

(page 201) “Bismillah" said the ever-diplomatic Allauddin, playing safe and noncommittal at such an early stage of the proceedings!

They went inside.

It was the large drawing-room set of Kal Aaj Aur Kal with the huge staircase on which Raj was shooting Dimple's test.

Cinematographer Radhu Karmakar was there, ready behind the camera. Raj had earlier explained the shot to him. The test as Raj Kapoor had visualized it involved both the new girl and his son Rishi Kapoor. Chintu was to stand at the foot of the stairs and Dimple was to come running down the stairs exclaiming “Raju, Raju, tumhare naam se mujhe school mein sub chidhate hain!' (Raju, Raju everyone at school is teasing me because of you!) Saying these words she was to run down the stairs and into Chintu's arms. Raj explained the scene to the new girl. She listened without a word, then nodded and went quietly up the stairs to her starting position "Lights on ! ” One by one the studio - lights were switched on . Tense silence . “ Radhu ? ” Raj asked . looking at his cinematographer . “Yes . Ready , ” Radhu Karmakar mumbled , peering through the camera . " Start sound ! ” Raj called . “ Camera ! ” Allauddin ' s voice echoed in from the sound - truck outside . “ Action ! ” Raj called. Raj ' s Chief Assistant Kala Chandra sounded the clapper-board and stepped back. The girl came running down the stairs and — flung herself off the last two steps of the staircase into Chintu's arms! It was an unexpected improvisation which startled not only Chintu but Raj Kapoor himself ! But it looked good . It was spontaneous and natural , and more than what the filmmaker had expected . Going near his cinematographer Raj muttered. Radhu ? ” Turning to him the laconic cinematographer spoke in Bengali (Raj

(page 202) Kapoor is very fluent in several languages, especially Bengali, since he ' d spent many of his growing-up years in Calcutta where Papa - jee was working as a star ). Radhu said quietly: "A star is born"

Dimple Kapadia was born on June 8 , 1957 . Her screen - test for Bobby was taken at R . K . Studios in June 1971 . She was only fourteen years old at the time .

One or two very close associates of Raj who were on the sets asked Chunibhai Kapadia: “ Under whom has your daughter taken acting lessons ? ” They were astonished when Chunibhai replied: “Her first acting - lesson was just now. Under Raj Kapoor.

...

(page 204) Chunibhai Kapadia was wildly thrilled too . But he simply dared not storm the Kapadia stronghold with the good news . Deciding that the devious way would be the better way in this instance , Chunibhai told Raj : “ You must be knowing Ratibhai Punatar ? " Ratibhai Punatar was an old - time film director at Ranjit Studio , Dadar which had been an early training ground of Raj Kapoor ' s also . “ Yes , “ Raj said . “ Why ? At this point of time Ratibhai was no longer in films . But he knew Chunibhai ' s uncle Nimjeebhai , a big - shot at the industrial house of Killicks . " My uncle Nimijeebhai gives him some work at Killicks , ” Chunibhai told Raj , " to help him . Ratibhai is very close to my uncle . Let ' s go talk to him. He ' ll be able to swing it . " It is interesting to note , yet again , that when Raj Kapoor wanted something or someone for a film of his really badly , he would go to any lengths to have it. Raj agreed. He met Ratibhai Punatar who took him to meet Chunibhai's uncle. It was the night of August 31 , 1971 . There were two parties on that night , one at Gopi Kishen ' s ( the dancer ) , and the other at Sonia Sahni ' s ( the actress ) . It was Sonia's birthday . Apparently , the meeting with Nimjeebhai Kapadia hadn ' t been an easy one for Raj because he tanked up rapidly on Black Label after it , and by the time

(page 205) he made his usual , dramatic late night entry at Sonia Sahni ' s birthday party , he was pretty high . Remembering those moments Chunibhai said , with a chuckle : " He was angry and aggressive at first. He had apparently clashed with my uncle , and he was feeling very cut - up at my uncle ' s high and mighty attitude and his snobbish way, and he was feeling very cut - up at my uncle ' s high and mighty attitude and his snobbish way of looking down on film people . “ We left the party and Raj drove me home . On the way he told me verything . Because of what had happened at my uncle ' s , Raj was now absolutely adamant about taking Dimple . I went along with his decision , deciding mentally to clear the matter through my father , who was always an easier man to handle than my uncle . ” Now tragedy struck again . Raj Kapoor , who had already lost his father and mother during the past months , now lost another dear friend and close associate . Jaikishen died on Sunday , September 12 , 1971 . It shook Raj badly . He had worked out some fascinating melodies with Jaikishen over the years and he found himself suddenly rudderless in a very private and vulnerable area of his creative life . It was only that steel - tough obstinacy which this man ' s personality which helped him pull through this crisis also . As if it wasn ' t bad enough contending with the Nimjeebhais and other assorted Kapadias of this world...

No matter . He would pull through . It was imperative to get back to work now . The first thing to do was to tie Chunibhai down , and through him his daughter Dimple . On September 29 , 1971 , the auspicious Dussera day , a bare two weeks after Jaikishen ' s death , Chunibhai Kapadia signed a contract with Raj Kapoor on behalf of his minor daughter , committing her to the title role of Bobby

She performed a screen test for the part in June 1971, at ag 14, on the sets of his production Kal Aaj Aur Kal.

Haque "Little wonder then that she is going all | out to help an unknown Harish Bhosle complete his film, Haque. The metamorphosis of a doormat who eventually murdersher husband in disgust and cold fury, rejecting the conventional roles thrust upon her by society is what Haque is all about. So taken up is Dimple with the film that she insists on shooting for it from nine to nine. “Never ask for a single shift,” is her instruction to her director."

Prahaar

The film had some beautiful beach scenes including the famous one in which Dimple drops her towel and Rishi is bowled over

"Reviving the Bobby charisma The success of any of her forthcoming films could put Dimple back on the winning track , the ... She almost looked like throwing off the towel … the expectation was she will be able to carry the films on her "

"But the detractors put across unsavoury arguments and contend : “ Since the main force behind the reselling of Dimple Kapadia was her much - remembered looks and figure , the expectation was she will be able to carry the films on her "

https://www.rollingstone.com/movies/movie-reviews/tenet-movie-review-christopher-nolan-1047641/

https://archive.org/details/isbn_9781861084187/page/n7/mode/2up?q=dimple+kapadia bobby fashion...

EIC

Insaaf hit p.43 Saagar 473 Batwara 488 Lekin 498 Krantiveer 520

https://archive.org/details/Cult_Movies_38_c2c_Cult_Movies_2003_YZ1?q=%22dimple+kapadia%22 ajooba

The poor commercial performance of .. and .. led TIWI to … The film underp commercially /was a box office and her work was deemed by Trade Guide magazine.

{{rfc|bio|media}} There has been an ongoing debate about the religion of Kapadia's parents, which started on the article's [[Wikipedia:Featured_article_candidates/Dimple_Kapadia/archive1#Oppose_from_Fowler&fowler|recent FAC]] and never resolved. Although I was initially reluctant to add parents' religion, after insistence by a particular user and based strictly on the sources found (no others are available), the current sentence was eventually added and it reads as: {{quote|"Chunibhai was from a wealthy Ismaili Khoja family, whose members had reportedly "embraced Hinduism" while still regarding Agha Khan as their religious mentor (<small>from [https://www.indiatoday.in/magazine/society-the-arts/films/story/19851130-from-bobby-to-saagar-dimple-kapadia-has-come-along-way-802215-2014-01-20 ''India Today'', 1985] and [https://openthemagazine.com/cinema/twinkle-khanna-the-tina-factor/ ''Open'', 2019], see direct quotes in the [[#Parents' religion|section above]]</small>); Bitti was an Ismaili, too, and similarly followed Aga Khan (<small>from [https://www.indiatoday.in/magazine/supplement/story/20161219-humour-cant-exist-without-candour-twinkle-khanna-akshay-kumar-733748-2016-12-19 ''India Today'', 2016] and [https://www.rediff.com/movies/report/akshay-has-been-my-biggest-cheerleader/20161114.htm Rediff, 2016]</small>).}} The options then: * '''Option 1:''' The current version is sustainable in view of the sources provided * '''Option 2:''' Kindly offer an alternative if it is not. * '''Option 3:''' The mention of parents' religion is unnecessary and better removed altogether. ~~~~ # Is the current version sustainable in view of the sources provided? Kindly offer an alternative if it is not. # Is the mention of parents' religion necessary or better removed altogether?

==Themes== Schholar Afreen Khan considered Kapadia's role as representing mothers "who are gradually bringing with them the belief that their own happiness is as important as their children's", further writing that the "jeans-clad Dimple Kapadia in ''Pyaar Mein Twist'' played the mom every daughter dreamt of having."<ref>{{cite journal |last1=Khan |first1=Afreen |title=Hindi Cinema: Changing Portrayal of Female Characters |journal=Madhya Pradesh Journal of Social Sciences |date=December 2016 |volume=21 |issue=2 |pages=46-64 |url=https://mpissr.org/wp-content/uploads/2019/11/MPJSS-Dec-2016.pdf#page=52 |issn=0973-855X}}</ref> ==Reception== Indrani Roy Mitra of [[Rediff.com]] liked the film, concluding, "Pyaar Mein Twist may not appeal to teenagers. For those on the wrong side of 40, however, it will touch a few chords. As for me, it was a tryst with long forgotten childhood stars. And that's always a good thing."<ref>{{cite web |last1=Indrani |first1=Roy Mitra |title=Pyaar Mein Twist: Good stuff |url=https://www.rediff.com/movies/2005/sep/02pyaar.htm |website=[[rediff.com]] |accessdate=25 October 2020 |date=2 September 2005}}</ref>

Kapadia admitted to being totally involved in the character; and the author Subramani, calling Sandhya "vulnerable and intense and full of feminine wiles", noted Kapadia's intelligent portrayal which shows her "as an actress with hidden resources".

Kapadia recounted her emotional involvement in the character, which

For her.

Kapadia recounted her full emotional involvement in the part of the protagonist career-woman Sandhya; for her critically acclaimed portrayal, she was named the Best Actress (Hindi) of the year by the Bengal Film Journalists' Association. The author Subramani described Sandhaya as "vulnerable and intense and full of feminine wiles", and commended Kapadia's intelligent portrayal, which shows her "as an actress with hidden resources".

argued that through Kapadia's ..., Sandhya is...

Hi there, Harry, nice to see that you're back. As you remember, the article was archived following a very messy FAC but it ended up benefitting from some of the comments, including yours. The peer review that I requested right after that did not yield responses, but I've been quietly working to improve the article in terms of both prose (the excessive quoting which you were a little critical of have now been cut off considerably) and sourcing (I followed every source and digged in the archives for quite some time to present the best sources available, mostly from books). Her film with Nolan, Tenet was released in September so now it's quite up-to-date. The result, I believe is rather satisfactory, but since I respect your view and appreciate your kind help during the FAC, I thought I'd ask for your opinion. I see that you are a little busy, so I wouldn't want to bother, but if you have some freetime to look at it, I'd appreciate it. Regards,

Sharma, Devesh (8 June 2020). "Filmfare recommends: Best films of Dimple Kapadia". Filmfare. The Times Group.

While her initial roles often relied on her perceived beauty and sex appeal, Kapadia was keen to expand her range, gaining recognition for Aitbaar (1985) and Kaash (1987). In the 1990s, she extended her work into parallel cinema, a movement of neorealist art films, accepting parts of troubled women in Drishti (1990), Lekin... (1991), and Rudaali (1993), to substantial critical acclaim

While her initial roles often relied on her perceived beauty and sex appeal, Kapadia was keen to challenge her acting potential and expand her range. She took on dramatic parts of troubled women in both mainstream and neorealist parallel cinema, and received acclaim for her performances in such films

Further reading

• Chopra, Shaili (2014). When I Was 25: The Leaders Look Back. Random House India. ISBN 978-81-8400-677-3.
• Gurovar, Rāj (2018). The Legends of Bollywood. Jaico Publishing House. ISBN 978-93-86867-99-5.
• Chhibber, Mini Anthikad (27 November 2020). "Christopher Nolan's 'Tenet' is my second Cinderella moment: Dimple Kapadia". The Hindu.

Homi Adajania likewise noted her intuitive acting and credited her life experience and instincts, calling her a "director's actor"

Her father was disowned by his conservative family as soon as they learned she was entering films in 1971 (204)

AK

AK is a film critic and journalist, who started his career as a documentary filmmaker. He is a film critic with The Hindu. He took part in the writing of the book House Full along with Ziya Us Salam.

Kumar was a member of the jury during the 7th Filmsaaz in 2014, an international festival of documentaries and short films.