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—Kapadia in 1987 on the experience of making Kaash[5]
In 1987, Kapadia starred in Mahesh Bhatt's drama Kaash. Kapadia and Jackie Shroff starred as an estranged couple who, during a relentless legal battle over the custody of their only son, learn that the boy is suffering from leukaemia, which makes them reunite to spend together the last months of his life. Before shooting began, she called it "the most serious artistic challenge I have ever faced in my career."[17] Bhatt said he decided to cast her in the role because he was aware of her own marital experience, and he noted that during the making of the film she "came closer and closer to the naked truth," so much that "after a certain point, mentally I couldn't differentiate between Dimple and Pooja. She became the character."[18] Kapadia's performance as Pooja was highly praised by critics.[19] In an article discussing her career's best roles, The Times of India wrote, "As ... [a] long-suffering wife who tries making a living for herself and her young son by working odd jobs, Dimple showed immense strength as a performer. This has to be one of her best and most unrecognised performances."[3] Sukanya Verma from Rediff.com noted, "She rendered her Pooja with stoic determination and touching vulnerability making her character extremely believable and sympathetic at once."[20][21]
In 1988, she played the main protagonist in Zakhmi Aurat, that of a female police officer who gets gang-raped and, after the judicial system fails to convict the criminals, abandons the legal course and joins forces with other rape victims to get revenge by castrating the rapists. The Times of India labelled the film a "B-grade movie", but further noted that "Dimple nonetheless did a very convincing job of portraying her anguish and bitterness at being denied justice."[3] M.L. Dhawan from The Tribune, while documenting the famous Hindi films of 1988, praised Kapadia for "proving her mettle as an actress of intensity and passion."[22] Subhash K. Jha, however, in an article discussing Indian actresses who have played policewomen, wrote that the film "turned into quite an embarrassment for its leading lady."[23]
The three final years of the decade saw the release of several other films featuring Kapadia, but few did well. In 1987, she appeared in two action movies: Rajkumar Kohli's Insaniyat Ke Dushman and Mukul Anand's Insaaf, in which she played a dual role of a dancer and a physician. She worked with Kohli in two more movies in 1988, the horror film Bees Saal Baad and the action drama Saazish. In that same year Mahesh Bhatt cast her again in his action thriller Kabzaa, a critical failure.[24] Ram Lakhan (1989), directed by Subhash Ghai, was a success with both critics and audiences,[25] but Kapadia's role was considered small with one critic saying it did not do "justice to her talent" and another reporting that she "pales into insignificance in the film."[14][26] Other films of this period include Babbar Subhash's Pyar Ke Naam Qurbaan, opposite Mithun Chakraborty, and J.P. Dutta's Batwara.
[edit]1990s
In the 1990s, Kapadia started venturing more into arthouse films, later citing an "inner yearning to exhibit my best potential."[27] Those films include Drishti (1990), Lekin... (1990), Rudaali (1993) and Antareen (1995). Drishti, a marital drama directed by Govind Nihalani, starred Kapadia and Shekhar Kapur as a married urban couple from an intellectual milieu in Mumbai and followed their trials and tribulations, extramarital affairs, divorce, and ultimate reconciliation after years of separation. Kapadia's part was that of career-woman Sandhya, and for her portrayal she was named the Best Actress (Hindi) of the year by the Bengal Film Journalists' Association.[28] The film was acknowledged as the Best Hindi Film of that year at the annual National Film Awards. In 1993, Frontline suggested that Kapadia's performance in the film should have earned her the Best Actress award at the same function.[29] In Gulzar's Lekin..., she played a restless sprite named Reva, a role she has often cited as a personal favourite and wished would have had more screen time in the film.[30] Referring to it once as "the most fantastic" part of her career, she recalled the working relationship with Gulzar as "a wonderful experience".[31] In order to make her character more truthful, Gulzar did not let Kapadia blink even once during filming, trying to capture an "endless, fixed gaze" which would give her "a feeling of being surreal."[32] Lekin... was popular with critics and Kapadia's performance earned her a third Filmfare nomination.[28]
In 1991, she appeared in Prahaar: The Final Attack, the first directorial venture of actor Nana Patekar, with whom she would collaborate in several other films. The film, co-starring Patekar and Madhuri Dixit, received a welcome reception from critics. Kapadia was noted for her "deglamourised role", but most of the praise went to the performance of Patekar himself.[33] Kapadia starred alongside Amitabh Bachchan in Shashi Kapoor's fantasy Ajooba, an Indo-Russian co-production based on Arabian mythology and set in the Afghan kingdom of Baharistan. She played Rukhsana, a young woman who comes from India to rescue her father, court magician Ameer Baba, from prison. The critical response to Ajooba was mostly lukewarm.[34] She played the protagonist in Haque, a political drama directed by Harish Bhosle and scripted by Mahesh Bhatt. Her role was that of Varsha B. Singh, an Orthodox woman married to an influential politician.
1992 saw the release of Maarg, her third appearance under Mahesh Bhatt's direction. The film was delayed for several years. She played the role of a prostitute, working by choice. Bhatt called her performance "stunning" and reported that when shooting ended, she was "on the point of a breakdown" as she was "exhausted battling with the nitty-gritty of a whore's character".[18] She next played Barkha, a single woman who abandons her premarital daughter upon birth, in Hema Malini's directorial debut Dil Aashna Hai. In Shashilal K. Nair's Angaar, a crime drama based on the life of an underworld don, she played Mili, a homeless orphan collected by an unemployed man, played by Jackie Shroff. Angaar received positive reviews from critics, as did Kapadia's performance, but it was financially unsuccessful, which Meena Iyer of The Times of India—who called it "one of the most engaging mafia films to have come out of Bollywood"—attributed to its dark proceedings.[35]
In 1993, she won the National Film Award for Best Actress for her performance in Rudaali, a drama directed by Kalpana Lajmi. Kapadia played the central character of Shanichari, a lonely and hardened village woman who, throughout a lifetime of misfortune, has never cried and is now challenged with a new job as a professional mourner. The citation for the award described her performance as a "compelling interpretation of the tribulations of a lonely woman ravaged by a cruel society".[36] She received a third Filmfare Award for the role, a Critics Award for Best Actress. In 2010 Filmfare magazine included her work in the film in their list of "80 Iconic Performances".[37] Another Filmfare nomination for Kapadia came that year for her supporting role as Shanti, a street prostitute, in the Priyadarshan-directed drama Gardish. An adaptation of the 1989 Malayalam film Kireedam, the film starred, among others, Jackie Shroff and Amrish
Hot Actresses Photos South Actresses Biography
—Kapadia in 1987 on the experience of making Kaash[5]
In 1987, Kapadia starred in Mahesh Bhatt's drama Kaash. Kapadia and Jackie Shroff starred as an estranged couple who, during a relentless legal battle over the custody of their only son, learn that the boy is suffering from leukaemia, which makes them reunite to spend together the last months of his life. Before shooting began, she called it "the most serious artistic challenge I have ever faced in my career."[17] Bhatt said he decided to cast her in the role because he was aware of her own marital experience, and he noted that during the making of the film she "came closer and closer to the naked truth," so much that "after a certain point, mentally I couldn't differentiate between Dimple and Pooja. She became the character."[18] Kapadia's performance as Pooja was highly praised by critics.[19] In an article discussing her career's best roles, The Times of India wrote, "As ... [a] long-suffering wife who tries making a living for herself and her young son by working odd jobs, Dimple showed immense strength as a performer. This has to be one of her best and most unrecognised performances."[3] Sukanya Verma from Rediff.com noted, "She rendered her Pooja with stoic determination and touching vulnerability making her character extremely believable and sympathetic at once."[20][21]
In 1988, she played the main protagonist in Zakhmi Aurat, that of a female police officer who gets gang-raped and, after the judicial system fails to convict the criminals, abandons the legal course and joins forces with other rape victims to get revenge by castrating the rapists. The Times of India labelled the film a "B-grade movie", but further noted that "Dimple nonetheless did a very convincing job of portraying her anguish and bitterness at being denied justice."[3] M.L. Dhawan from The Tribune, while documenting the famous Hindi films of 1988, praised Kapadia for "proving her mettle as an actress of intensity and passion."[22] Subhash K. Jha, however, in an article discussing Indian actresses who have played policewomen, wrote that the film "turned into quite an embarrassment for its leading lady."[23]
The three final years of the decade saw the release of several other films featuring Kapadia, but few did well. In 1987, she appeared in two action movies: Rajkumar Kohli's Insaniyat Ke Dushman and Mukul Anand's Insaaf, in which she played a dual role of a dancer and a physician. She worked with Kohli in two more movies in 1988, the horror film Bees Saal Baad and the action drama Saazish. In that same year Mahesh Bhatt cast her again in his action thriller Kabzaa, a critical failure.[24] Ram Lakhan (1989), directed by Subhash Ghai, was a success with both critics and audiences,[25] but Kapadia's role was considered small with one critic saying it did not do "justice to her talent" and another reporting that she "pales into insignificance in the film."[14][26] Other films of this period include Babbar Subhash's Pyar Ke Naam Qurbaan, opposite Mithun Chakraborty, and J.P. Dutta's Batwara.
[edit]1990s
In the 1990s, Kapadia started venturing more into arthouse films, later citing an "inner yearning to exhibit my best potential."[27] Those films include Drishti (1990), Lekin... (1990), Rudaali (1993) and Antareen (1995). Drishti, a marital drama directed by Govind Nihalani, starred Kapadia and Shekhar Kapur as a married urban couple from an intellectual milieu in Mumbai and followed their trials and tribulations, extramarital affairs, divorce, and ultimate reconciliation after years of separation. Kapadia's part was that of career-woman Sandhya, and for her portrayal she was named the Best Actress (Hindi) of the year by the Bengal Film Journalists' Association.[28] The film was acknowledged as the Best Hindi Film of that year at the annual National Film Awards. In 1993, Frontline suggested that Kapadia's performance in the film should have earned her the Best Actress award at the same function.[29] In Gulzar's Lekin..., she played a restless sprite named Reva, a role she has often cited as a personal favourite and wished would have had more screen time in the film.[30] Referring to it once as "the most fantastic" part of her career, she recalled the working relationship with Gulzar as "a wonderful experience".[31] In order to make her character more truthful, Gulzar did not let Kapadia blink even once during filming, trying to capture an "endless, fixed gaze" which would give her "a feeling of being surreal."[32] Lekin... was popular with critics and Kapadia's performance earned her a third Filmfare nomination.[28]
In 1991, she appeared in Prahaar: The Final Attack, the first directorial venture of actor Nana Patekar, with whom she would collaborate in several other films. The film, co-starring Patekar and Madhuri Dixit, received a welcome reception from critics. Kapadia was noted for her "deglamourised role", but most of the praise went to the performance of Patekar himself.[33] Kapadia starred alongside Amitabh Bachchan in Shashi Kapoor's fantasy Ajooba, an Indo-Russian co-production based on Arabian mythology and set in the Afghan kingdom of Baharistan. She played Rukhsana, a young woman who comes from India to rescue her father, court magician Ameer Baba, from prison. The critical response to Ajooba was mostly lukewarm.[34] She played the protagonist in Haque, a political drama directed by Harish Bhosle and scripted by Mahesh Bhatt. Her role was that of Varsha B. Singh, an Orthodox woman married to an influential politician.
1992 saw the release of Maarg, her third appearance under Mahesh Bhatt's direction. The film was delayed for several years. She played the role of a prostitute, working by choice. Bhatt called her performance "stunning" and reported that when shooting ended, she was "on the point of a breakdown" as she was "exhausted battling with the nitty-gritty of a whore's character".[18] She next played Barkha, a single woman who abandons her premarital daughter upon birth, in Hema Malini's directorial debut Dil Aashna Hai. In Shashilal K. Nair's Angaar, a crime drama based on the life of an underworld don, she played Mili, a homeless orphan collected by an unemployed man, played by Jackie Shroff. Angaar received positive reviews from critics, as did Kapadia's performance, but it was financially unsuccessful, which Meena Iyer of The Times of India—who called it "one of the most engaging mafia films to have come out of Bollywood"—attributed to its dark proceedings.[35]
In 1993, she won the National Film Award for Best Actress for her performance in Rudaali, a drama directed by Kalpana Lajmi. Kapadia played the central character of Shanichari, a lonely and hardened village woman who, throughout a lifetime of misfortune, has never cried and is now challenged with a new job as a professional mourner. The citation for the award described her performance as a "compelling interpretation of the tribulations of a lonely woman ravaged by a cruel society".[36] She received a third Filmfare Award for the role, a Critics Award for Best Actress. In 2010 Filmfare magazine included her work in the film in their list of "80 Iconic Performances".[37] Another Filmfare nomination for Kapadia came that year for her supporting role as Shanti, a street prostitute, in the Priyadarshan-directed drama Gardish. An adaptation of the 1989 Malayalam film Kireedam, the film starred, among others, Jackie Shroff and Amrish
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
Hot Actresses Photos South Actresses
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