Wednesday, 6 March 2013

Indian Tamil Actress

Source(Google.com.pk)
Indian Tamil Actress Biography
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 Puri.
She later appeared in Mehul Kumar's Krantiveer, alongside Nana Patekar. She played journalist Meghna Dixit, a past rape victim who now tries to persuade an alcoholic and unemployed village man to be a champion of justice for those around him. Kapadia later called the film "out and out a Nana Patekar vessel," but asserted, "I had my share too," crediting the part with allowing her "the freedom to perform".[38] The film became an economic success, emerging as India's third-highest grossing picture of the year.[39] For her performance, Kapadia received her fourth Filmfare Award, this time in the Best Supporting Actress category. Mrinal Sen's 1995 Bengali drama Antareen was the first non-Hindi project Kapadia took part in since Vikram (1986). She played a woman caught in a loveless marriage. Her collaboration with Sen was described as "a high point in her career". Insisting to play her part spontaneously, Kapadia did not do a crash-course in Bengali, as she felt she would be able to pick the right diction.[14] Her voice was eventually dubbed by actor Anushua Chatterjee, something Kapadia was unhappy with.[40]
Following Antareen, Kapadia, who was reportedly expected to work in more independent films, took a three-year hiatus from acting, later explaining that she was "emotionally exhausted".[41] She returned to film in 1997 back in commercial cinema, but the few films she did until the end of the decade met with neither mainstream nor critical success. Her first release in 1997 was the action film Agnichakra, which went unnoticed. She played Amitabh Bachchan's wife in that same year's Mrityudaata, once again under Mehul Kumar's direction. The film was a critical and commercial failure, with India Today panning its "comic book-level storytelling".[42] Trade journal Film Information wrote Kapadia had "no role worth her", and she herself shared similar sentiments.[8][43]
She appeared in Laawaris (1999) because she liked the subject and considered her role "substantial", which Rediff.com, in turn, described as another preachy "woman of substance", while criticising the film for its lack of originality: "...working a worked-to-death formula, [the film] falls flat on its face.[44] This was followed by the final feature she appeared in during the decade, Hum Tum Pe Marte Hain, in which she played the part of Devyani, the strict mother of a wealthy family. Subhash K. Jha called the film an "embarrassment",[45] critic Suparn Verma, in a scathing review, criticised Kapadia's performance, noting that she "wears a permanent scowl" throughout the film, and Bella Jaisinghani of The Indian Express, calling the film "inconsequential", concluded her review writing that she wonders "what made Dimple Kapadia do this to herself".[46][47]
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