#Female dancer in Tamil cinema

[famousinuniverse]

Dances of India

Dance is an ancient and celebrated cultural tradition in India. Folk dances abound all across the country, and huge crowds of people can be found dancing at festivals and weddings. Dance and song features heavily in Indian cinema (so-called “Bollywood” films), too. But where does Indian dance draw its roots from? Here are six of the most important classical dance forms of India.

Classical Dances of India

Odissi

Dancer performing Indian classical odissi dance.

Odissi is indigenous to Orissa in eastern India. It is predominantly a dance for women, with postures that replicate those found in temple sculptures. Based on archaeological findings, odissi is belived to be the oldest of the surviving Indian classical dances. Odissi is a very complex and expressive dance, with over fifty mudras (symbolic hand gestures) commonly used.

Kuchipudi

Kuchipudi performance.

Unlike the other styles mentioned, kuchipudi requires talent in both dancing and singing. This dance, from the state of Andhra Pradesh in southeastern India, is highly ritualized, with a formalized song-and-dance introduction, sprinkling of holy water, and burning of incense, along with invocations of goddesses. Traditionally the dance was performed by men, even the female roles, although now it is predominantly performed by women.

Manipuri

Manipuri-style performance of Indian classical dance.

Manipuri comes from Manipur in northeastern India. It has its roots in that state’s folk traditions and rituals, and often depicts scenes from the life of the god Krishna. Unlike some of the other, more rhythmic dances, Manipuri is characterized by smooth and graceful movements. Female roles are especially fluid in the arms and hands, while male roles tend to have more forceful movements. The dance may be accompanied by narrative chanting and choral singing.

Kathak

Kathak school dancer, in Mughal costume, performing Indian classical dance.

A dance of northern India, Kathak is often a dance of love. It is performed by both men and women. The movements include intricate footwork accented by bells worn around the ankles and stylized gestures adapted from normal body language. It was originated by Kathakas, professional storytellers who used a mixture of dance, song, and drama. Like other Indian dances it began as a temple dance, but soon moved into the courts of ruling houses.

Kathakali

Kathakali dance

Kathakali comes from southwestern India, around the state of Kerala. Like bharatanatyam, kathakali is a religious dance. It draws inspiration from the Ramayana and stories from Shaiva traditions. Kathakali is traditionally performed by boys and men, even for female roles. The costumes and makeup are especially elaborate, with faces made to look like painted masks and enormous headdresses.

Bharatanatyam

Bharatanatyam performance

Bharatanatyam is a dance of Tamil Nadu in southern India. It traces its origins back to the Natyashastra, an ancient treatise on theatre written by the mythic priest Bharata. Originally a temple dance for women, bharatanatyam often is used to express Hindu religious stories and devotions. It was not commonly seen on the public stage until the 20th century. The dance movements are characterized by bent legs, while feet keep rhythm. Hands may be used in a series of mudras, or symbolic hand gestures, to tell a story.

6 Classical Dances of India | Britannica

[brokoala-soup]

South Indian cinema: Part 1

I think we (I) don't talk enough about my obsession with the South Indian film industry. I'm less of a star or fame powered fangirl and most of my obsessions start from very niche observations and qualities. Both me and my mom are good cinema enthusiasts, that being said, we love not just watching movies but also analyze them and talk about them in great lengths and detail; and it isn't always just about the actors but also the scenes, the cinematography, the dialogues and so on. We enjoy a good story based cinema that's more about carrying the characters in place and action than about how much hype a movie gets. I enjoy old movies, including monochrome movies of the yesteryears and the faded coloured classics of the 70's and 80's.

Let me go from one obsession to other. First, comes my unexplainable obsession with actors who are also trained dancers. That's a sexy characteristic because it adds an edge to the actor's identity over being just a movie star and IMHO, it also refines the depth of character and acting skills (many talented actors who aren't dancers do exist, this is just my view). I have this captivation with dancers because something in them, be it the unseeable depth of efforts and practice and hurdles they cross before they set foot on the stage or be it the inordinate amount of beauty they express and portray in both costumes and jewelry or be it the grace with which they carry themselves or be it the way the fluidity, fragility and fierceness of dance entwines with their soul and body making it indistinguishable, obvious and redefines their identity and adds meaning to their character for the better. Irrespective of gender, classical dance forms in my opinion, have a profound effect on the individual and somehow makes them all the more charming to me because it's art that flows in their body and art has that unique fragrance to which you can never turn a blind eye to. It also anchors you down to your inner zen because gender conforms and norms are all broken (atleast in Indian classical dances) as both male and female dancers play either roles in dances and it's all the more about expression and emotion than the role per se. And that I think is a very liberating thing and I love Indian classical dances for it.

So here goes the list: Kamal Haasan is a trained Bharatanatyam and Kathak dancer; the best of which is seen in his performance in the movie Sagara Sangamam which is a majorly dance based movie. My most favorite scene is when he humbles Sailaja when she opposes his critique. Padmini, one of the famous Travancore sisters, was a trained Bharatanatyam dancer and in her retired days also opened a dance school and taught abroad. Shobana, one of my favorite actresses, who is also the niece of the Travancore sisters is a trained Bharatanatyam dancer; she also received a national award for her performance in the Malayalam movie Manichitrathazhu which was the original for the famous Chandramukhi, Bhool Bhulaiya, Nagavalli, Aatmamitra etc. I rate her acting top notch because her expressions and her eyes often speak way more than the dialogues. Revathi, is again a trained Bharatanatyam dancer and has delivered multiple box office hits and is also one of my favorite actresses. Bhanupriya, who's pretty famous in tamil and telugu cinema, is a trained Kuchipudi dancer and appeared in the film Sitaara which went on to win the National award for that year. Jayalalitha, apart from her successful political career was a leading film actress in the tamil industry. She was trained dancer of multiple forms like Bharatanatyam, Kuchipudi, Mohiniyattam, Kathak etc. Sukanya, who famously starred against Kamal Haasan in Indian, is a trained Bharatanatyam dancer. Prabhu Deva, who we all know as the Michael Jackson of India, is a trained Bharatanatyam and Udupi dancer. Amala Akkineni, is a trained Bharatanatyam dancer and also has a degree bachelor degree for the same from Kalakshetra. Vineeth, who works mostly in tamil, telugu and malayalam films is a trained Bharatanatyam dancer; lesser known but he's Shobana's cousin and Padmini's nephew from her husband's side. Asin, who is well known for her role in Ghajini, is also a trained Bharatanatyam dancer. Jayam Ravi, now well known as the Ponniyin Selvan after the famous novel adaptation, is also a trained Bharatanatyam dancer.

This is in my list (can't think more, brain fried) do feel free to add more. Tagging @sister-of-satan @voidsteffy and @bipdf because I think y'all will enjoy reading this

Do reblog and tag people who'd enjoy reading this

[jackoshadows]

A movie about the Chola dynasty, a Tamil empire in South India during  3rd century BCE, and still the main characters are played by light skinned actresses.

India continues to be a colorist hell hole.

The book is really good and I want to be excited for this, but this first look poster just make me angry at the colorism and implications.

Obviouly, this movie aims to be a faithful adaptation of Kalki’s ‘Ponniyin Selvan’, which itself is rooted in the history of the 10th and 11th centuries Chola dynasty. First, historically, it’s a known fact that Kundavai Pirattiyar was a bold woman who is believed to have been one of the shadow architects of Rajaraja Cholan’s power and empire. Secondly, Kalki’s novel is clearly about the joys and sorrows of the royal dynasty mainly and not the population over which they ruled. Thirdly, Kundavai is described for her beauty and her fair skin may be pointed out by Kalki as one of the traits of her beauty (I write « may » because I suppose so, I don’t remember all her descriptions in the novel). In short, if the director wanted to adapt the novel’s universe ‘as it is’, it’s not a surprising representation of Kundavai.

But it’s actually not (really) what is disturbing here. If Kundavai was portrayed alone, my colorism radar would not have turned on.

The problematic fact is the urge to portray the fair-skinned princess surrounded by dark-skinned girls. The problematic fact is that the chromatic and aesthetic composition of the poster is based on the obvious skin tone contrast between the princess whose light-skinned face appears in a halo of light and her little ladies who appear like a darker embroidery around her radiant presence. The problematic fact is that there has clearly been a work to enhance the poster’s tones which creates a striking difference between the fair Kundavai and the girls who are strangely so homogeneously dark-skinned.

Then, what is the purpose of this bunch of dark-skinned girls on a first look poster which doesn’t give any information on the plot, if not to highlight the fair-skinned princess’s beauty ? Does their presence have any other meaning than decorative ?

Their skin color in this poster (and I guess, in the film) is not a random fact, it has been chosen by the film artistic team to create a certain representation of a female protagonist which itself is rooted in an obvious and quite long-standing colorism in Tamil popular culture, which itself is rooted in casteism and colonialism. Thus, this poster is not an exception in Tamil cinema. Think about all these song sequences where the light-skinned amidst a myriad of dark-skinned dancers

[sfbanana]

Anu sithara old pics

#Anu sithara old pics movie

#Anu sithara old pics serial

#Anu sithara old pics movie

She has received numerous awards such as 65th Filmfare Awards South, Nandi Awards, Filmfare Awards South, 2nd South Indian International Movie Awards and CineMAA Awards etc. She was born on 8 April 1988, in Bengaluru, Karnataka, India. Nitya Menon is an Indian film actress and singer who mainly works in Malayalam, Telugu, Tamil, Kannada and Hindi films. She worked in more than 14 Malayalam films. Malayalam movie actress Parvathy has worked in many successful south Indian movies as “ Ennu ninte moideen, Take Off, Notebook, Uyare, Virus, Charlie, Bangalore Days, Maryan and Koode etc. However, the name Menon has not been used on any of his identity cards or school documents. Malayalam actress Parvathy Thiruvothu also known as “Parvathy Menon” but She objected that she has never used the name “Menon”. She has won 2 times Filmfare Award for Best Actress Malayalam, 2 times Kerala State Film Award for Best Actress and IFFI Best Actor Award (Female) for movie Take Off. Usha Kumari, both are lawyer by the their profession and has a brother Aum Thiruvoth (Karunakaran). Malayalam actress Parvathy Thiruvothu made her Malayalam film “ Out of Syllabus” in 2006. Parvathy Thiruvothu is an Indian film actress and model who primarily works in Malayalam, Telugu and Tamil films, She was born on 7 April 1988, in Kolikode (Kozhikode), Kerala, India. She has worked on more than 40 Malayalam films. Malayalam movie actress Manju is one of the leading Malayalam actress and worked in many successful south Indian movies like “Thooval Kottaram, Sallapam, Ee Puzhayum Kadannu, Asuran, Lucifer and Odiyan” etc. She has won 6 times Filmfare Award for Best Actress – Malayalam and also National Film Award. Warrier started her film career with Malayalam film “Sakshyam” in 1995.

#Anu sithara old pics serial

She first appeared in the Malayalam television serial Moharavam, which was telecast on Doordarshan. Kerala actress She is one of the most successful actresses of Malayalam film industry. She was born on 10 September 1978, in Nagercoil, Kanyakumari, Tamil Nadu. Shooting for the movie was an amazing experience.Manju Warrier is an Indian film actress and dancer who mainly works in Malayalam films. We just finished the shoot, dubbing is ongoing. So, I consider myself very fortunate to be a part of Mamaangam. "Period dramas are rare in Malayalam cinema. Malayalam cinema is focusing on movies with great scripts nowadays as well," she added.Īnu said she is very excited about her next movie Mamaangam, a period drama, starring Mammootty in the lead role. As long as the script is good, then I'd take it up. I am not very keen on being a 'heroine' in all the movies. Presently, I am looking at how comfortable I am with the script as well as the character. Now I'd like to focus on doing Malayalam movies. "Earlier, to get a foothold into the industry I would take up any movie. And this one was definitely interesting." Speaking about her future projects, Anu said she intends on focusing on Malayalam cinema at the moment. "I got to learn from them," she added.Īnu called her role in Subharathri, "an extremely different character." She said, "I usually take on characters I am very comfortable with. She added, "Dileep is an actor I have been seeing since my childhood, it's probably because of that, and because he made me feel so comfortable, that I felt like I was acting opposite someone I've known for a very long time." Anu also said she enjoyed the opportunity to learn immensely from senior actors such as Siddique, KPSE Lalitha, and Nedumudi Venu to name a few. However, ahead of the shooting, he had called, and we spoke about the movie." "It's my first movie with Dileep, and honestly, I was initially stressed out about starring opposite him. Speaking about her own character Anu said, "Sreeja is someone who is obsessed with her husband, kids she lives in a small little bubble of her own. It is relatable and connects with viewers with the simplicity and the social message that needs to be heard." Co-starring Dileep, Siddique, Asha Sharath, and a legion of other veteran actors, Subharathri is also the first time the 23-year old is starring opposite Dileep.Ĭritics in Kerala are calling director KP Vyasan's Subharathri a story that stays away from the stereotypical portrayal of Muslims. She added, "It's a wonderful movie based on human goodness. "If I reveal even a tiny detail, even a character sketch, I will ruin the movie for viewers," laughed the actor. In a candid chat with City Times ahead of the movie's release today, the actress was extremely secretive about the movie's plot. Subharathri or 'Goodnight' is a movie packed with much-needed goodness, according to its leading lady Anu Sithara.

[currylangs]

telugu vocab: film

movie:  చిత్రము, సినిమా [chithramu, sinima]  role: పాత్ర [paatra] actress: నటి [nati] actor: నటుడు [natudu] director: దర్శకుడు [darsakudu] direction: దర్శకత్వం [darsakatvam] music: సంగీతం [sangeetham] songs: పాటలు [paatalu] music director: సంగీత దర్శకుడు [sangeetha darshakudu] lyricist: కవి [kavi] singer (male): గాయకుడు [gayakudu] singer (female): గాయకురాలు [gaayakuraalu) composer: స్వరకర్త [svarakarta] dance: నాట్యం [natyam] dancer (female): నర్తకి [nartaki] dancer (male): నర్తకుడు [nartakudu] writer: రచయిత [rachayita] light: వెలుతురు [veluthuru] sound: శబ్దము, ధ్వని [sabdamu, dvani] sound effects: ధ్వని ప్రభావాలు [dvani prabhaavaalu] visual effects: దృశ్యమాన ప్రభావాలు [drusyamaana prabhaavaalu] story: కథ [katha] 

notable people:

directors

l. v. prasad: actor & director in/of some of the first telugu films (i.e.: bhakta prahlada (actor) and pelli chesi choodu (director)

k. v. reddy: director of mayabazaar and patala bhairavi

ram gopal varma: director of kshana kshanam, gaayam, and other bollywood films

s. s. rajamouli: director of  baahubali 1 & 2, eega, magadheera

k viswanath: focused mainly on stories relating to classical dance and music; notable films: swarnakamalam, sagara sangamam

pasupuleti krishna vamsi (known as krishna): also producer and choreographer; notable films include ninne pelladatha and antahpuram

playback singers:

ghantasala: one of the first composers and playback singers in the telugu film industry

s. p. balasubramaniam: also music director, producer and dubbing artist; has recorded over 40,000 songs

p. susheela: recognized by the guinness book of world records for singing the most songs in the most languages

s. janaki: also composer, has recorded ~48,000 songs in 17 languages

  actors

savitri: also director and singer, made 250 movies in 5 languages, considered one of the first superstars of the south indian film industry, also called “mahanati” (great actress); notable films include mayabazaar and devadasu

jamuna: leading actress of 50s and 60s, along with savitri

bhanumathi: also writer, singer, music director, and director; widely known as the first superstar of south indian cinema; notable films include malleswari and tenali ramakrishna

anjali devi: also producer; acted in ~350 films in telugu and tamil; notable films include lava kusa and anarkali

kanchana: acted in all four south indian industries + hindi cinema; notable films include aatma gowravam and daana veera soora karna

manorama: has starred in over 1000 films

brahmanandam: comedic actor, starred in 1000+ films

sunil: comedic actor

akkineni nageswara rao (anr): leading actor of the 40’s and 50’s, founder of annapurna studios; notable films include devadasu (in which he played the titular character) and mayabazaar

nandamuri taraka rama rao (ntr): leading actor of the 40’s and 50’s, later became chief minister of the state of andhra pradesh; notable films include ramudu bheemudu (in which he played both titular characters) and mayabazaar

samarla venkata ranga rao (s.v.r): character artiste; notable films include mayabazaar

suryakantham: character artiste

chiranjeevi: one of the first “mass”/action heroes of telugu cinema; notable films include gharana mogudu and rudraveena

venkatesh: leading actor of the 80′s/90s; notable films include kshana kshanam and swarnakamalam

krishna: also producer and director; credited with several “technological firsts” (i.e.: color flilm, 70mm film) and the introduction of the western/cowboy genre to telugu film

nagarjuna: son of anr, another leading actor of the 90s; notable films include geetanjali and ninne pelladatha

sobhan babu: leading actor of the 70’s; notable films include jeevana jyothi and nartanasaala

mohan babu: leading actor of the 70’s/80’s; notable films include pedarayudu and kondaveeti donga

rao gopal rao: actor in khaidi and challenge; later joined the rajya sabha of andhra pradesh

sridevi: considered the first female superstar of indian cinema; notable telugu films include kshana kshanam and jagadeka veerudu atiloka sundari

tabu: actress; now mostly active in bollywood films; notable telugu films include ninne pelladatha

jayasudha: a leading actress of the 80’s/90’s; notable films include adavi ramudu and thoti kodallu; now plays supporting roles

jayaprada: a leading actress of the 80’s/90’s; notable films include sagara sangamam and adavi ramudu

bhanupriya: leading actress of the 80s, also trained in classical dance; notable films include sitaara and swarnakamalam

silk smitha: actress; became a sex symbol due to the promiscuity of most of the roles/movies she took on

[growhunter407]

Telugu Tv Serial Actor Balaji

Born

Dande Swapna Madhuri

20 August 1981 (age 39) Other namesMadhuOccupationActressYears active2002–presentSpouse(s)

​

(m. 2009)​

Children2

Madhumitha (born Dande Swapna Madhuri on 20 August 1981) is an Indian actress, who has appeared in films in various South Indian industries, frequently in Tamil and Telugu films. She has appeared in Puttintiki Ra Chelli, Kudaikul Mazhai, Aanivaer and Arai En 305-il Kadavul.

Career(edit)

Madhumitha started her acting career under her birth name Swapna Madhuri with the 2002 Telugu filmSandade Sandadi (2002) doing a pivotal supporting role. She continued playing supporting roles in a couple of Telugu films like Manmadhudu (2002) along with Akkineni Nagarjuna and Sonali Bendre, Ammailu Abbailu (2003) and Puttintiki Ra Chelli (2004) sharing screen space with Arjun and Meena, with the latter in particular becoming a high commercial success, running for 275 days in theatres.(1) She then got introduced to the Tamil film industry by R. Parthiban in his film Kudaikul Mazhai (2004), enacting the lead female role and changing her screen name to Madhumitha, named after her character in the film.

Though the film wasn't a major success,(1) Madhumitha received several offers from Tamil directors. She played leading roles in several Tamil films like Amudhey (2005), Englishkaran (2005) opposite Sathyaraj and Namitha. She was appreciated for her performance in Englishkaran. Review by India glitz.com quoted, 'Madhumitha dominates the film. After her debut venture Kudaikul Mazhai, she has got a good scope to act, and she has used the opportunity well'.(2) Her next release was, Naalai (2006), which, however, did not fetch her any recognition, despite being moderate successes.(1) She then appeared in the 2007 Tamil independent filmAanivaer, a film about the Sri Lankan Civil War, in which she enacted the role of a journalist. Since the film was released in many Western Tamil diasporal regions, she became widely noticed by the Tamil audience, winning accolades for her performance.(1) In 2008, she appeared in the Tamil comedy filmArai En 305-il Kadavul, directed by Simbudevan, acting along with comedy actors Santhanam and Ganja Karuppu. She was next seen in Yogi, opposite director-turned-actor Ameer Sultan, Madhumitha's role was unanimously praised with a reviewer from Rediff.com citing that 'Madhumitha, taking on a role even experienced actresses might balk at and coming out trumps' Her performance as a young mother living in the Chennai slums, was critically praised,(3)(4) winning her a nomination for the Best Supporting Actress Award at the 3rd Vijay Awards. Solla Solla Inikkum, got released post marriage, which failed to achieve commercial success. Post her marriage, she played supporting roles in Venkat Prabhu's Biriyani and the Telugu films Uu Kodathara? Ulikki Padathara?, Maine Pyar Kiya and Bhale Bhale Magadivoy.

Personal life(edit)

Madhumitha married her longtime boyfriend, actor Siva Balaji on 1 March 2009 at Kalinga Function Place in Hyderabad, Telangana.(5)Siva Balaji was her co-actor in her film Englishkaran.(6)(7) They have two sons, Dhanvin and Gagan.(8)(9)

Ekta Kapoor’s Balaji Telefilms Upcoming TV Shows & Serials 2020 & 2021 With Release Date, Cast Details & Poster:-Hello guys, if you are searching for the Balaji Telefilms Upcoming TV Shows & Serials 2020 & 2021 List. Then your search has been ended with a great result.

#Laharientertainmentchannel#teluguserialactresswifeandhusbands#Tvactorswifeandhusbands Telugu Tv Serial Actors real life Husband and Wife TELUGU SERIAL Act.

Balaji Telefilms is an Indian company which produces Indian soap operas, reality TV, comedy, game shows, entertainment and factual programming in several Indian languages.Balaji Telefilms is promoted by Ekta Kapoor and Shobha Kapoor and is a public company listed at Bombay Stock Exchange and National Stock Exchange of India.Its notable works include, Kyunki Saas Bhi Kabhi Bahu Thi, Kahaani.

Filmography(edit)

YearFilmRoleLanguageNotes2002Sandade SandadiTelugu2002KalusukovalaniAnjali's friendTelugu2002Rendu Gundela ChappuduTelugu2002ManmadhuduSwapnaTelugu2002Nuvve NuvveAnjali's FriendTelugu2003Ammailu AbbailuRanjaniTelugu2003DhamTelugu2004Puttintiki Ra ChelliLakshmiTelugu2004Kudaikul MazhaiMadhumithaTamil2005Keelu GurramTeluguCredited as Swapna Madhuri2005AmudheyNancyTamil2005Boyy FriendLekhaMalayalam2005EnglishkaranSandhyaTamil2006NaalaiCharuTamil2007AanivaerSandhyaTamil2007Naanu Neenu JodiGowriKannada2008Arai En 305-il KadavulMahishasuramardhini (Mahi)Tamil2009Solla Solla InikkumRadhikaTamil2009YogiRajasulochanaTamilWon- Vikadan awards for Best Supporting Actress

Nominated, Vijay Award for Best Supporting Actress

2011Thoonga NagaramTamilSpecial appearance2011Kadhal MeipadaAishwaryaTamil2012Uu Kodathara? Ulikki Padathara?VisalakshiTelugu2013BiriyaniVaralakshmiTamil2014Maine Pyar KiyaMalathiTelugu2015Bhale Bhale MagadivoyGayathriTelugu2019Vinaya Vidheya RamaNandanaTelugu2019Buddhan Yesu GandhiBharathiTamilFilming2019GarjanaiTamilFilming

References(edit)

^ abcd'Having a ball'. The Hindu. Chennai, India. 18 April 2008. Archived from the original on 9 November 2012. Retrieved 25 April 2011.

^'Tamil Cinema News | Tamil Movie Reviews | Tamil Movie Trailers - IndiaGlitz Tamil'. Archived from the original on 14 December 2013. Retrieved 14 December 2013.

^'Archived copy'. Archived from the original on 21 February 2014. Retrieved 25 June 2013.CS1 maint: archived copy as title (link)

^'Yogi: Not original, but not bad either'. Archived from the original on 29 May 2012. Retrieved 4 January 2012.

^'Siva Balaji and Madhumita's Marriage Ceremony'. indiaglitz.com. Archived from the original on 6 March 2009. Retrieved 19 July 2009.

^'Madhumitha Betrothal Function'. indiaglitz.com. Archived from the original on 20 February 2009. Retrieved 19 July 2009.

^'Madhumitha to wed her lover'. Oneindia. Archived from the original on 9 July 2012. Retrieved 19 July 2009.

^'Siva Balaji family, childhood photos – Shiva | Celebrity family wiki'. Archived from the original on 2 April 2015. Retrieved 25 March 2015.

^'Archived copy'. Archived from the original on 3 April 2015. Retrieved 25 March 2015.CS1 maint: archived copy as title (link)

External links(edit)

Madhumitha on IMDb

Madhumitha (as Swapna Madhuri) on IMDb

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Madhumitha&oldid=987317914'

Akul Balaji, born as Akula Balaji, is an Indian actor, dancer and TV host who works in Telugu and Kannada languages. Download set a light 3d studio keygen torrent. He was born on February 23, 1979 in Kodur, Andhra Pradesh, India. He started on acting and hosting TV shows and he is almost ten years in the Kannada Film Industry. He became popular when he co-host the Asianet Suvarna’s reality show, Pyate Hudgir Halli Lifu along with Kannada actor, Sudeep Sanjeev. Akul was the son of Akula Bhaskar Rao and Sarala Devi. When he was 16 years old, he moved to Bangalore and trained at the classical Indian dance form, Bharatanatyam and participated in the Natya STEM Dance Kampni as a modern dancer. Then he studied Kathak from Dr.

Maa Tv Serials Telugu

Jul 4, 2017 - TV anchor and actor 'Thadi' Balaji. The case was registered against Mr. Balaji under the provisions of Tamil Nadu Prohibition of Women. Akul Balaji (born Akula Balaji on 23 February 1979) is an Indian film actor, television host, dancer who has worked in both Kannada and Telugu languages. He started his career by acting and hosting shows in television and is almost. New faces require urgent to work in hindi tv serial/movie.call/whats-app.

Telugu Tv Serial Actor Balaji Rao

Telugu Tv Serial Actor Balaji Telugu

In 2004, he dabbled in the adaptation of Evam Inderjit under the direction of. Then, he did acting workshop by Indian director, Mahesh Dattani.

[gokul2181]

It has given me the validation I always wanted as an artiste: Swasika Vijay

New Post has been published on https://jordarnews.in/it-has-given-me-the-validation-i-always-wanted-as-an-artiste-swasika-vijay/

It has given me the validation I always wanted as an artiste: Swasika Vijay

The Malayalam actor has won the Kerala State Film Award for the Best Character Actor (Female) for her role in ‘Vasanthi’

Swasika Vijay has not yet come to terms with the fact that she is now a Kerala State Film award winner. She was adjudged the Best Character Actor (Female) at the 50th Kerala State Film Awards announced recently for her titular role in Rahman Brothers’ Vasanthi, which also won the awards for the best film and the best script.

With compliments still pouring in, Swasika is on cloud nine. “Until the winners were announced we had no expectations for the film, let alone an award for me. I was thrown off balance when my name was announced. It seems unreal,” says Swasika.

Vasanthi is the journey of a woman, an orphan who leaves home only to be caught in the ups and downs of life. The narrative is about the men she encounters, her relationships and, finally, her emergence as a survivor. “She becomes strong, emotionally and mentally. The movie is experimental in that the story is told through a creative blend of theatre and cinema,” she adds.

Swasika heard the story in 2016 from actor Siju Wilson, also the producer of the movie. The shoot was completed in 2018 itself. After a preview show early this year, it was ready for a theatre release when the pandemic forced cinemas to shut down.

Getting recognised

Familiar to the Malayali audience as a serial artiste, television anchor, dancer, stage performer and model, Swasika feels that the recognition will help her in the long run. Even though she has been around in the industry for nearly a decade now, character roles have eluded her. Also, it has been a back and forth journey between cinema and television. “The award has given me the validation that I always wanted as an artiste. It ought to clear the doubts about my work,” she says.

A native of Muvattupuzha, Swasika, a dancer, had set her eyes on cinema. “My family has zero connection with the entertainment industry. But they supported me whole-heartedly when they realised that I was serious about acting,” she says. Eventually she had her début, that too in Tamil, in Vaigai (2009). A few Tamil movies later, she started working in Malayalam. Among her early projects were Prabhuvinte Makkal, Cinema Company and Ayalum Njaanum Thammil.

Later, she switched over to television. “While the mini-screen is considered a stepping stone to movies, I took the other way round. I was even advised not to do television because once you are labelled a serial artiste, it would be difficult to get into cinema. They were right to some extent,” she says.

(From left) Shabareesh Varma, Swasika and Siju Wilson in a promotion poster of ‘Vasanthi’, which won three awards at the 50th Kerala State Film Awards   | Photo Credit: Special arrangement

Although she got a good role in Kattappanayile Rithwik Roshan (2016), the movies that followed didn’t help her career. In the meantime she became a favourite of the television audience through serials such as Chinthavishtayaya Seetha and Seetha. “I had almost given up hope of getting meaty roles in cinema. That was when, last year, I became part of two big projects — Porinju Mariyam Jose and Ittimaani Made In China,” she says.

The artiste recalls how she lost a few roles because of her looks. She recounts how a “reputed female actor” commented on a television show about “my acne and long nose” and how she didn’t look like a heroine. “I was in class eleven then and those remarks devastated me. I had my battle with pimples for a long time. However, after a point I stopped bothering about it. Now, at the age of 28, I keep doing my job with the same pimpled face and long nose! In fact, in Vasanthi, I haven’t used make-up in several scenes,” she laughs.

She will soon be shooting for a film with State award-winner Suraj Venjaramoodu, which will be directed by M Padmakumar. She has also been doing short films and is currently anchoring the show Red Carpet on Amrita TV.

Swasika admits that she is inspired by the career trajectory of artistes such as Asha Sharath and Lena, who’ve successfully forayed into cinema from television. “I don’t know if I will get the kind of roles they have done or are still doing. But I am hoping for the best,” she signs off.

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Andrea Jeremiah Latest Hot Photo Shoot

Andrea Jeremiah Latest Hot Photo Shoot - Andrea Jeremiah is an Indian actress, playback singer, musician and dancer. She works predominantly in the Tamil and Malayalam film industries. She began her career as a playback singer, and has subsequently appeared in films. Jeremiah is a prominent female face in Tamil and Malayalam film industry. At the age of 10, she was a member of Jackson Five-style Troupe. Jeremiah was active in theatre during her college and appeared in many stage plays. During college, she also formed a company ‘The Show Must Go On’ to promote theatre. She got offers for films during college days but she turned them down as she was not interested in films. Her maiden play was Nagamandala. She also sang for Vettaiyaadu Vilaiyaadu and played the lead role in movie Pachaikili Muthucharam . In 2010 she appeared in Aayirathil Oruvan. In 2011 she played supporting role in multi starer movie Mankatha in 2011. In 2013 she entered Malayalam Cinema doing Annayum Rasoolum, a romantic film. She also worked with Kamal Hasan in Vishwaroopam and also doing its sequel. South Indian Actress Andrea Jeremiah Latest Hot Photo Shoot Read the full article

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Adah Sharma Latest Hot Style photos Gallery

Adah Sharma Latest Hot Style photos Gallery - Adah Sharma was born in a Tamil Brahmin speaking family raised in Mumbai, Maharashtra. Her father S. L. Sharma, who hailed from Madurai, Tamil Nadu, was a captain in the merchant navy and her mother, a native from Nattupura (bordering Palakkad), is a classical dancer. The film was commercially successful and her performance in the film earned her rave reviews, garnering her a Filmfare nomination for Best Female Debut. She then took a hiatus and returned in 2011 with the movie Phhir. She has since starred in other Bollywood feature films including Hum Hai Raahi Car Ke and Hasee Toh Phasee. She recently made her debut in the Telugu cinema with the movie Heart Attack. Bollywood Actress Adah Sharma Latest Hot Style photos Gallery Read the full article

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Dating Articles From AMAZINES.COM

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Panasonic’s GH5s Is actually Perfect For Video Shooters And No One Else.

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In the overdue 1980s, the director Yash Chopra's modification of heart-his selection to quit creating mad films, and rather focus on the affection factor in stories-inaugurated a brand new pattern for dancing in Bollywood. ( HealthDay)-- Smoking scenes in youth-rated motion pictures doubled in number between 2010 as well as 2012, as well as have gone back to the same level as a years ago, depending on to a new report.

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A Closer Look at Indian Theater – Past and Present

     While Bollywood, the modern-day Hindi language Indian cinema industry, has received a somewhat true, but not fully fair popular stereotyped image of fluffy shallowness by people who have obviously not watched the full gamut of its productions, the Indian drama industry is lesser known (Downs, 428).  Although the author of this paper has seen very well-written, non-formula, non-stock character movies being produced in Bollywood and thinks that the art form is highly undervalued, it is all the clearer after searching through the scarce references available on Indian theater, that this art form is direly under appreciated by all.

    When thinking about the historical Sanskrit dramas that were in vogue in ancient India, Kalidasa is as close to a household name of a playwright that one can come up with.  Other playwrights included Shudraka, Bhasa, Bhavabhuthi and Harsha (Indian Theatre – Art and Culture for UPSC, 00:02:15-00:02:35).  Upon a closer rereading of an English translation of his famous play Shakuntala, some very intriguing elements come to light.  Since the story for this play was derived from the epic war tale The Mahabharata and thus was well known to the common man, Kalidasa’s embellishments to the story would be unknown to someone who had not read his version.  Kalidasa tries to make the king in the story more likable by adding elements of amnesia to explain for his cruel public rejection of the girl Shakuntala whom he had secretly married.  He also included many more small characters to prolong and flesh out the story to make it more entertaining.  This reminds one of Shakespeare who had used elements from previous literary works, such as Greek mythology, adding his creative talents to produce a novel product (Kalidasa and Ryder, 102-107).

    One of the most interesting and unexpected twists to this new product is the prologue.  Here, Kalidasa, after offering the traditional benedictory prayer, starts off with the drama manager announcing to the actress what she needs to do to engage audience attention (Kalidasa and Ryder, 3-4).  This behind-the-scenes element put into the actual play makes the play slightly less representational because it is talking about the audience and how the play needs to be performed, right in front of the audience. Yet, it is definitely not presentational, for the fourth wall of these actors not realizing an audience is watching, is even more pronounced by such a revelation.  One is not sure of many other dramas that includes such elements, or where in the history of theater this element is drawn from.  

    Another look at short dramatic stories, culled from The Hitopadesha, a moralistic collection of fables, had an interesting element of stories within stories, also found in some translations of The Ashtavakra Gita.  Many of these stories used an anthropomorphized version of animals to share a piece of wisdom with the viewer (Kalidasa, 6-56).  Moving away from the most ancient versions of Indian theater, one will find a plethora of different folk traditions in various regions of the country.

    These performances, called ras, nautanki (Uttar Pradesh), or tamasha (Maharashtra-female lead) resembled the vaudeville acts of the West, due to the “jumble” effect.  The unity of audience and actors is a highly prized ancient element often found in village productions (Anand, The Popular Theatre).  Bhand pather of Kashmir uses local instruments such as surnaik, nagaara and dhol.  Swang, yatra, bhaona (Assamese), krishnattam (Kerala state of India), mudietto (Kerala, religious play), koodiyattam (Sanskrit theater in Kerala), yakshagana (Karnataka state, mythological stories from Ramayana and Mahabharata), ramman (from Uttarakhand, an UNESCO tradition done with masked Bhandari dancers), raas-leela (Krishna plays), bhaavai (Gujarat), maach (Madhya Pradesh), and therukoothu (Tamil Nadu, for rain goddess) are a few more of the innumerable folk theatre forms found in India.  The dashavataara is another style of folk theatre found in the Konkan and Goa region of India with masks of papier mache or wood worn on actors’ faces; it portrays the ten incarnations of god, as per Hindu religious beliefs (Indian Theatre – Art and Culture for UPSC, 00:05:25-00:13:35).

    The British invasion led to political pressure to eliminate traditional arts.  In instances such as the Indigo Revolution, where people wanted to protest poor working conditions, the arts had to use smart methods, such as using mythology to veil the real message of the play, to display their antipathy towards suppression (Indian Theater during British Raj, 00:02:37-00:02:48).   Dinabandhu Mitra was one playwright who tried to use the arts to create social change with his play Nil Darpan, or The Indian Planting Mirror, about the plight of indigo plantation workers (Indian Theater during British Raj, 00:00:10-00:01:51).

     A National Theater in Calcutta was created, but was soon banned by the British government and in 1876 Viceroy Northbrook created the Dramatic Performances Act to suppress any play that sparked anti-government sentiment (Indian Theater during British Raj, 00:01:53-00:02:35).  What is new in this?  From the Roman Catholic Church to modern-day governments, people in power have feared the power of the arts to overthrow them.  The Progressive Writers’ Association and the Indian People’s Theatre (the cultural wing of the Indian Communist Party) (Contemporary Indian Theatre) were two big associations that furthered the movement of Indian theater.   Often, they incorporated the folk traditions with modern western dramatic structure, infusing new life into dying art forms (Anand, “The Hindustani Theatre”).  

  “According to the Natyashastra (compiled probably between 2000 BCE and 2nd century CE) of Bharata, an exhaustive treatise on the art of performance, drama was a gift from the gods to the humans” (Contemporary Indian Theatre).

    Thus, early Indian drama had much religious mythology interwoven with it, whether it be Sanskrit drama or folk drama; however, with the advent of the British and the proscenium stage, social activism via theater took front stage (Indian Theater during British Raj, Contemporary Indian Theatre, and Anand).  Exemplifying that the world has become a global village, the Theater of the Oppressed, originating from the Brazilian Augusto Boal, took root in India; on the planet Earth, Kolkata, the famed cultural hub in India, claims the largest number of actors in their Theater of the Oppressed group.  Techniques taught by Mr. Boal are used to bring to life pressing social issues in the hopes of creating an activist audience (India Matters and Theater of the Oppressed).

    In true east meets west fashion, Naatak, an American based Indian theater company, produced a play in 2016 parodying remarks by a politician in Indian about the crowded conditions of where widows go to stay in India (Ramachandran).  Political theater includes street plays that are currently being staged in India, regarding a gamut of issues from domestic violence to mental health and more. Safdar Hashmi, murdered while staging one of his plays, is still praised today by people who participate in his organization in Delhi; those who dare to care often must sacrifice their lives (Documentary – Theatre of the Street, 00:06:50-00:09:08).

    Along with these noble elements, there were groups, notably the Parsis who vulgarized theater to make profit. When Gujaratis rose to correct this situation, their commercial instinct overtook them also, leading them to follow in the footsteps of the same Parsis they had despised (Anand, The Parsis and the Gujerati Theatre).

    Prithvi Raj Kapoor, the forefather of one of Bollywood’s most famous film families, created productions that are still not given their due by the modern population, a failing not peculiar to Indian theater alone, but attributable to the demise of theater globally with the advent of a plethora of digitized entertainment options (Anand, The Hindustani Theater).  

    In Maharashtrian theater (a subset of Indian theater, Marathi being the regional language), a worker wrote a play Dada, which resonated with the working class, as it was a true of the people by the people production and motivated them to improve their lives.  Along with these refreshing uses of the art form, Mama Varerkar, another Marathi playwright, wrote plays fusing Ibsen and Shaw’s styles with Indian content (Anand, The Marhatti Theatre in Bombay).

    Navanna is a memorable piece of Indian theater, particularly Bengali (another regional language), created around the time of the Bengal famine, showing a mirror to society about its conditions.  Of course, most readers would have heard of the great Indian bard, Rabindranath Tagore, the first Indian to win the Nobel Prize in literature; he too tried to free himself via his literature from the British Raj (Anand, The Bengali Theatre) with works such as Chitra and The Post Office (Indian Theatre – Art and Culture for UPSC, 00:14:32-00:14:35).

  Because Kolkata had been one of the entry points for the East India Trading Company, Bengalis had to work hard to overcome the influx of English theatrical conventions that had been set up, as well as try to regain their roots to the village (Anand, The Bengali Theatre).

    In Andra Pradesh, it is said the highest number of itinerant performers existed.  There were five types of theater present there: burrakathas (bardic recitals and folk songs), harikatha (narration of epic stories and Pauranas), veedhi natakans (open-air dramas, including the use of the dance form Kathakali), straight plays, and choruses. A play about the downfall of Hitler has apparently been written and popularly viewed in this style.  Local folk dances in this state, as elsewhere, are incorporated into the storytelling performances (Anand, The Andhra Theatre).

    Mulk Raj Anand points out the reality of the Indian population; while being avid consumers of theatrical arts, particularly the cinemas, the vast majority of the population consider this a “dirty” profession, to be spurned by “good” people.  Historically, this moral view was life-giving for the playwrights, as religious sentiment pervaded the dramas and inspired them.  How times change!  (Anand, Puritanism and Decadence).

    In today’s time, Ms. “Veenapani Chawla transfers ‘classical techniques of breath control to contemporary theatrical practice’” which involves asking gurus of martial arts and other traditional theatrical arts to teach her special breathing techniques.  Then, she incorporates that process into theatrical performances.  (Theatre: Classical meets Contemporary, 00:11:35-00:11:53).  The richness of India’s theater tradition informs Bollywood productions; surely, there is more than superficiality beneath the surface of these thousands of years old performing arts.  What is global and what is national are slowly blurring boundaries. From Bharat Muni’s Natyashastra (treatise on the dramatic arts) to nationalist playwrights such as Aurobindo Ghose to the modern day Film City and Whistling Woods or Pruthvi Theater, Indian theater has come a long way. Enjoy a production in your region today and experience Indian vitality!

                                                Works Cited

 Anand, Mulk Raj.  The Indian Theatre.  Kindle ed., Bronson Press, August 26, 2016.

 “Contemporary Indian Theatre: An Overview.” Asia Society,

http://asiasociety.org/contemporary-indian-theatre-overview?page=0,0.

Accessed 2 January 2017.

 “Documentary – Theatre of Street (The Jan Natya Manch) Directed by Priti Negi.”, YouTube, uploaded by Priti Negi, 2 October 2015.  www.youtube.com/watch?v=g3c9IEMVuOQ.

 Downs, William Missouri, Lou Anne Wright and Erik Ramsey.  The Art of Theatre: Then and Now.  Third ed., Wadsworth Cengage Learning, 2013, pp. 428-429.

 “India Matters: Theatre of the Oppressed.”  YouTube, uploaded by NDTV, 9 December 2010.

www.youtube.com/watch?v=mcb7Ykn7caU.

 “Indian Theatre – Art and Culture for UPSC”, YouTube, uploaded by NEXTGEN IAS, 25 July 2015.

www.youtube.com/watch?v=WEORjWwpshQ.

 “Indian Theater during British Raj.”  YouTube, uploaded by Danielle Markowitz, 7 June 2011, www.youtube.com/watch?v=V4cmK0kUCVI.

 Kalidasa.  Works of Kalidasa.  Kindle ed., The Perfect Library, September 17, 2013, pp. 6-56.

 Kalidasa and Arthur William Ryder.  Translations of Shakuntala and Other Works. Kindle ed., E.P. Dutton & Co., May 12, 2012, pp. 1-107.

 “Kutiyattam, Sanksrit Theatre.”  YouTube, uploaded by UNESCO, 28 September 2009.

www.youtube.com/watch?v=sHGfu-wdVfw.

 Ramachandran, Vignesh.  “San Jose Indian theater company tackles social issues on stage.” Knight Foundation,

www.knightfoundation.org/articles/san-jose-indian-theater-company-tackles-social-issues-stage.  Accessed 3 January 2017.

 “Theatre: Classical meets Contemporary.”, YouTube, uploaded by India Foundation for the Arts, 17 February 2014.  www.youtube.com/watch?v=We_ZRpDGd6E.

 “Theatre of the Oppressed.” Wikipedia, 30 Nov. 2016.  

https://en.wikipedia.org/wiki/Theatre_of_the_Oppressed.  Accessed 2 January 2017.

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#Throwback To The 70s: Bollywood’s Most Women Empowering Era

New Post has been published on https://healingawerness.com/getting-healthy/getting-healthy-women/throwback-to-the-70s-bollywoods-most-women-empowering-era/

#Throwback To The 70s: Bollywood’s Most Women Empowering Era

Ah, the 70s. The era of Dum Maaro Dum and Jawani Jan-E-Man. While Bollywood baddies like Amitabh Bachchan, Rishi Kapoor, and many others dominated the big screens, actresses were not far behind. Many of Bollywood’s leading ladies took cinema to great lengths by playing bold roles and were not afraid to show some skin in a country that expected it’s actresses to hide behind their ‘Ghoonghat’. Here is a list of actresses who defied societal pressures and won the hearts of millions through their incredible acting chops:

1. Rekha

rekha.fc / Instagram

Bhanurekha Ganesan was born on October 10, 1954, to popular Tamil actor, Gemini, and popular Telugu actress, Pushpavalli. As a child, Rekha’s family life was extremely tragic and she had to start acting in South Indian films from a very young age as her family was not well off. Her inability to speak Hindi, darker complexion as well as weight made it a little difficult for her to get roles in Bollywood initially. She made her debut in Bollywood during the 1970s with Sawan Bhadon under the name of Rekha and the movie blew box office records making her an overnight success. The actress received widespread acclaim and enjoyed success throughout the decades and her roles won her a lot of fame and attention.

2. Zeenat Aman

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Zeenat Aman was born on November 19th, 1951. She was an only child and her folks separated when she was very young. An alumnus of Saint Xavier’s school in Bombay, Zeenat won a grant to study in California. Zeenat was the third decision for the addict ‘Janice/Jasbeel’ character in Dev Anand’s Hare Rama Hare Krishna which also featured himself and Mumtaz. Zeenat portrayed the ganja smoking, free-spirited character of Janice/Jasbeel. The film was a monumental hit and Zeenat won the Filmfare Award for Best Supporting Actress. Zeenat proceeded to change the Hindi film industry. She was one of the few actresses who rejected bouffants, donned a bob, rarely wore saris or bindis and carried off a bikini in an era when western clothes were still considered taboo. Her characters were always bold, independent and modern.

3. Hema Malini

evergreenbollywood / Instagram

Born to Tamil parents in a small district of Tamil Nadu, she first performed as a dancer in a 1961 Tamil film. Initially deemed “too skinny” by many regional film directors, Hema persevered and was paired with Raj Kapoor in Sapnon Ka Saudagar only 4 years after getting rejected. Sadly, the movie was a flop. However, the actress persevered and went on to star in nearly 155 films. From that point, there has been no turning back for the lady who was popularly known as the “Dream Girl” of Bollywood. She was among the first Bollywood leading ladies to wear shirts and bell bottoms in Hindi films.

4. Parveen Babi

qadero / Instagram

Brought up in Junagadh, Parveen was noticed by eminent B.R. Ishara at Ahmedabad University, and he asked her to audition for his film, Charitraheen. Her co-actor was none other than Salim Durrani, the famous Indian cricketer. Parveen Babi lit up the cinema with her enchanting looks and powerful characters from the 1970s. Some of her critically acclaimed hits with megastar Amitabh Bachchan are, Kala Pathar, Namak Halal, Deewar, and Amar Akbar Anthony. She moved to the USA for ten years and seemed to have taken an indefinite break from acting. When she came back to India, she was a changed woman. The once bubbly and talented actress fell into the trap of paranoid schizophrenia and eventually died alone in her Mumbai flat after she suffered a diabetes-related ailment.

5. Shabana Azmi

mughalsandmavens / Instagram

Shabana Azmi was one of the few women to rule the movies of the aptly-titled “Parallel Cinema” during the 1970s and 1980s. Shabana has acted in films by some of India’s most talented directors, including Satyajit Ray, Shyam Benegal, Aparna Sen, Mrinal Sen, and others, where she had channeled strong female leads in Godmother and Mrityudand: The Death Sentence. Shabana Azmi was often paired with Rajesh Khanna and they starred in 7 fruitful movies. She is noted for force on-screen, coordinated by her furious support of women’s rights, minorities, and street urchins off the screen, both through advocacy and in her job as a Parliament Member.

6. Jaya Bachchan

hindustantimes / Instagram

Jaya Bachchan ventured into acting when she was just 15 and acted in a Bengali film called Mahanagar. She gained a solid foothold in Bollywood when her film, Guddi was released. She proceeded to act in numerous Bollywood films, including blockbusters like Bawarchi, Uphaar, Abhimaan, Anamika, Sholay, Jawani Diwani, and Chupke Zanjeer. Her acting career spanned many years but she quit acting after 1981 and only came back for Kabhi Khushi Kabhi Gham.

7. Smita Patil

_prat / Instagram

Smita Patil was an alumnus of the prestigious Film and Television Institute of India and she made her debut in veteran director Shyam Benegal’s Charandaschor. Some of her most prominent roles were in the movies Aakrosh, Manthan, Mirch Masala and Bhumika. Alongside Shabana Azmi, she was one of the prominent faces of the new age, new wave cinema in India. In her movies, her characters represented a sense of feminine intelligence, which was very whimsical in those days, in the wake of living in a male-overwhelmed society. Unfortunately, the actress met her demise at a young age after suffering complications from her delivery. Her son, Prateik Babbar went on to become an actor himself and her legacy lives on through him.

There’s no denying that Bollywood has come a long way since the 70s, but the women of that era seemed to have a charm rarely found in actresses in today’s day and age. Although India was still a young and conservative country, these women defied the odds and changed the face of the industry. Who is your favorite veteran actress? Let us know in the comments below.

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Niharika has a passion for all things art, music and travel. During her spare time she likes experimenting in the kitchen, painting pop culture icons and chasing after random street cats. Her dream is to one day own an amusement park so she can ride roller coasters for free.

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Shri Devi Will Be Remembered in Her Roles

An actress who entertained  us  from  her childhood to till end is amazing  with  her quick and  stunning face expression, yes in latest Bollywood Updates today we  are  talking  about Sridevi a beautiful and talented actress. 

She started her career as a child artist in south movies at the age of 4 years playing the role of god. There used to be references in Tamil households where the epitome of beauty is basically "Sridevi madiri azhaga iruka" ("you look like Sridevi"). Our Sendhoorapoo she was, the address of Tamil Nadu to the rest of this nation. Sadly, the mainstream media actually neglected her immense body of work in Tamil, Malayalam, Telugu and Kannada. She was already a Superstar before even she set foot in the North, not even knowing the Hindi language, typical stereotype Madrasi. But watch the epic Moondram Pirai and you realize how comfortable the Sivakasi-born actress was in her mother tongue. She set her makes everywhere just because of her tallent. It was both a chief contradiction and highlight of her long and illustrious career that despite her language dilemma (charmingly captured in her 2012 comeback vehicle English Vinglish) the actress ended up working in several regional cinemas. Hindi, Tamil, Telugu, Kannada, Malayalam, you name it. Once again, the theme of language rears its head in Sridevi’s life and cinema and today’s Bollywood News in India. 

With ultimate talent, acting, dance, expression her presence on screen is so strong, such a constant that she needs few embellishments to prop her up. She was one of the few women who could well and truly hold her own. She was all kinds of brilliant and I hope her life gave her joy comparable to what she gave us.According the tredniOff role she was a perfect wife and mother of two daughters. 

She played the role of child artist, a great dancer, a stepmother, a mental disorder girl, mature bold lady, and also entertained with naughty romantic roles.  To watch her is to be spellbound by the largeness of her. It is also to fall, just as easily, into the trap of the emptying gaze about which Marilyn Monroe once said: “Men don’t see me. They just lay their eyes on me.” She was a superstar of a time when it must have been crazy hard for women to negotiate their pay, scripts, and power. In fact no one like her in Indian film history has managed to be the most bankable star in all the three languages that make the maximum movies as per the latest updates of bollywood. 

She was among the few female stars in Hindi cinema who could steer a movie’s commercial fate on her own merit. She was perfect in all her role and really done mind blowing work as a actress. The films include Guru, Naaka-Bandi, Chaalbaaz, Banjaran, Khuda Gawah, Lamhe and Gurudev. While in Lamhe and Khuda Gawah, she portrayed the characters of both the mother and daughter, in the rest of the films they are twins. Every time, Sridevi played both the characters distinctly and proved why she was considered as Lady Amitabh Bachchan of the Indian film industry as the bollywood today’s news. Interestingly, Senior Bachchan has played dual roles in 13 films – Mahaan, Don, Aakhree Raasta, Desh Premee, Bade Miyan Chhote Miyan, Sooryavansham, Toofan, Satte Pe Satta, Lal Baadshah, Bemisaal, The Great Gambler and others. With this, Amitabh has done the highest number of double roles in Bollywood.  She has worked with Anil Kapoor, in more than 10 films which include Laadla, Karma, Mr India, Joshilay, Mr Bechara, Sone Pe Suhaga, Joshilay, Heer-Raanjha and Ram Avtar. 

Indian cinema lost a gem of an actress on February 24. Sridevi passed away at the age of 54 in Dubai. Quest everything is available with all Latest Bollywood News in India, bollywood updates, songs lyrics of Hindi songs and more social updates.

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80's Sexiest Bollywood Heroines Poonam Dhillon Poonam Dhillon is an Indian Hindi film, theatre and TV actress. A former Femina Miss India, Dhillon has acted in over 80 films. Madhuri Dixit Madhuri Dixit, also known by her married name Madhuri Dixit Nene, is an Indian actress who is known for her work in Hindi cinema. Dixit has been praised by critics for her acting and dancing skills. Juhi Chawla Juhi Chawla is an Indian actress, model, film producer, and the winner of the 1984 Miss India beauty contest. She has received two Filmfare Awards. Jayaprada Jaya Prada is an Indian film actress and politician. She is the recipient of two Filmfare awards and has starred in Telugu, Tamil, Hindi, Kannada, Malayalam, Bengali and Marathi films. She was a Member of Parliament from Rampur from 2004 to 2014. Mandakini Mandakini is a former Bollywood actress. She is best remembered for her role in the 1985 movie Ram Teri Ganga Maili. Bhagyashree Bhagyashree is Indian actress. She is best known for her debut lead role in the film Maine Pyar Kiya for which she won the Filmfare Award for Best Female Debut. She has appeared in Hindi and a few Kannada, Marathi, Telugu and some Bhojpuri films. Kimi Ketkar Kimi Katkar is a model and actress of Bollywood from the 1980s to the early 1990s. Rekha Bhanurekha Ganesan, better known by her stage name Rekha, is an Indian film actress. Noted for her versatility and acknowledged as one of the finest actresses in indian cinema, Sridevi Sridevi Kapoor is an Indian film actress who has worked in Tamil, Telugu, Hindi, Malayalam and Kannada films. She has been called the first female superstar of Hindi cinema. Meenakshi Seshadri Meenakshi Seshadri is an Indian model, film actress and dancer who mainly appeared in Hindi films.She Was The Highest paid actress of Her Time.She studied in Carmel Convent school chanakyapuri New Delhi. For More Videos : http://goo.gl/8NWCQ0 Follow us on facebook- https://www.facebook.com/PassionateVideo/?ref=hl Music Taken From YouTube Library ----------Others Videos you Can Also Like-------------- Top 10 Bollywood Celebrities Who Went Fat to Fit : https://youtu.be/4XX7wmW71gs 8 Television Couples And Their Love Triangle : https://youtu.be/6HrOI3ZuFO4 10 Unseen Teenage Pictures of Bollywood Celebrities! : https://youtu.be/v822RncN04 Top 10 Plastic Surgery Photos Of Popular Bollywood Actresses - BEFORE & AFTER :https://youtu.be/VFB2qTo0HM4 20 Bollywood Child Actors Who Grew Up Unrecognisable - BEFORE & AFTER : https://youtu.be/wNAPuXVfrK4 Real Life Partners Of Kumkum Bhagya Zee Tv - https://youtu.be/UePSjSvdhuQ Popular Bollywood Actresses Who Married for Money : https://youtu.be/H7J3FDchOuo Top 10 Plastic Surgery Photos Of Popular TV Actresses - BEFORE & AFTER : https://youtu.be/eSUC6r39faw 6 Celebrities Who Lost Their Lives : https://youtu.be/xPLWlm_uYNE TV Actresses Looks Beautiful Without Makeup - PART 3 : https://youtu.be/v9C_kbu2AYo Top 10 Handsome TV Actors With Their Real Life Partner : https://youtu.be/U7HOkyP7__c Top 10 Plastic Surgery Photos Of Popular TV Actresses - BEFORE & AFTER : https://youtu.be/hxGXxnkiPlM Top 10 TV Celebrities Who Had Royal Weddings : https://youtu.be/PNsW4Zy-3uw Kratika Sengar aka Tanushree Real Life Photos - Kasam Tere Pyaar Ki : https://youtu.be/w3lMTUKQPEI 12 Rare School Life Pictures Of Bollywood Celebs. : https://youtu.be/52fMM1LccY0 Hello, This is Moumita Pal Here. I declare that all slideshow belong me. Photos all are taken from Google Image search and using advanced image search option.All images were fairly used during the making of this video for entertainment purposes. We do not mean to victimize anybody emotionally. Thanks to Google for providing this beautiful and related pictures.