#meena actress movies

[xuasii]

[inmyworldblr]

Meena Kumari

[themoonismelting]

Pakeezah (1972), India

[rajeevpradhan]

[hotvintagepoll]

Propaganda

Eva Gabor (It Started with a Kiss)— Not only was she incredibly hot, she voiced The Duchess in Disney's The Aristocats.

Meena Kumari (Sharada, Dil Apna Aur Preet Parai, Sahib Bibi Aur Ghulam)— Meena Kumari was Indian actress and poet, regarded as the "Tragedy Queen of Bollywood" due to her legendary performances in emotionally charged roles. Using words from her biographer: "She had many dimensions — she read poetry, had many literary friends, [and] aspired to the higher life." Meena had an incredibly difficult life, and translated this pain into her volatile acting performances. She is an artist beloved and revered by her fans.

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Meena Kumari:

[bollywoodirect]

Remembering Nalini Jaywant, one of Hindi cinema's most versatile and beautiful actresses of yesteryears, on her 98th birth anniversary today (18/02/1926). Blessed with an extraordinarily serene face, as innocent as a cherub's, Nalini Jaywant was a huge star in the early fifties. Along with Suraiya, Nargis, Madhubala and Meena Kumari, she was right at the top. Making her debut in the 1941 film ‘Bahen', Nalini Jaywant was first noted in the 1948 hit, ‘Anokha Pyaar', a love triangle that also featured Dilip Kumar and Nargis. She had to die in the end and there was a not a dry eye among the audience. Her first major hit was ‘Samadhi' with Ashok Kumar, a pairing which lasted for 12 more films. It was also remembered for the jazzy number, ‘Gore Gore O Baanke Chhore'. Among her other successful movies with Ashok Kumar, were ‘Sangram', ‘Nau Bahar,' ‘Kafila', ‘Mr X' and ‘Naaz' which was shot mostly in Egypt. The star was much in demand for her versatility, which she exhibited in light, romantic films with an entertaining music score such as ‘Munimji,' ‘Hum Sab Chor Hain', ‘Naujawan' and ‘Jadoo'. Mo wonder, she was accorded the No 1 female star status in 1954 and a 1950 Filmfare poll judged her as the ‘Most beautiful star of the Year.' ‘Kala Pani' fetched her a Filmfare Award. Nalini appeared in around 60 films, ‘Bombay Race Course' -released in 1956- was her last as heroine. Though Nalini made a comeback in 1983 in ‘Nastik' as hero Amitabh Bachchan's mother, later she simply disappeared from the movie scene, the media and public glare. In the end, her long years of film stardom did not matter, and no one seemed to care. On 20, December 2010, Nalini Jayawant died of a heart attack, alone and forgotten in a small bungalow in Mumbai's Chembur suburb, where she had lived in seclusion for more than two decades.

[dobaara]

hello! feel free to ignore this, but i've been seeing your poems on my dash and i was wondering if you'd like to share a bit about the thought process behind them, your inspirations/influences and how you got started. did you start writing and then study form, or the opposite? or did you not study form at all? also, how long have you been writing? i'd really like to get started with poetry as well but i feel like everything i write is forced and stilted. if you have any advice, i'd love to hear it! if not, that's totally fine of course. have a great day.

hii hello how are you?! thank you for asking me this, I'd love to tell you more! <3

okay so I started writing mainly to try and cope with my trauma and try to heal from it, it still does hurt but I'm glad I decided to write about it, it made the pain a little easier to digest. And I mainly wrote stuff in the genre of heartbreak and sadness (let me tell you, this one poem I wrote that was a mix of the first seven minutes of one of my favorite movies and my own experiences that I wrote three years ago is still one of my favorites to this date) and I found that I quite enjoy writing in that genre, I think it was my way of coping with stuff, which seems ironic but at that time I feel I was truly in my element. My friends all started calling me "Tragedy Queen" like the actress Meena Kumari because I was the most cheerful person who wrote about gut-wrenching stuff. And I started writing at the start of 2020 maybe in Jan (I used to joke around with my friends saying my writing was so bad it bought a virus to my country, god I should have shut up) and at that point of time writing was an escape for me, I did not learn any form, I just wanted to write what I felt and honestly did not think of anything else. I still remember the first poem I wrote (I cringe so hard while reading it now)

And now if you'll see, I write a lot about love, both romantic and platonic because it's what I've been yearning about all these years. If you do check my poems out you'll see that there's always an undertone of longing in some of my poems. For me this shows a lot of healing because after everything I faced where I genuinely hated myself to a place where I couldn't write about love (again both platonic and romantic), happiness and contentment without breaking down at least thrice and havjng my hands shake, this shows a lot of moving forward for me (holy shit I have never acknowledged this before now oh mu god) I still do write a lot of heartbreak because I feel heartbreak has become like a bubble, a comfort space for me. My friends still call me Tragedy queen from time to time, but now I think I kinda like that title now. And it's not like I've completely changed, I'm still insecure of my writings and hate them on the occasional day but I've slowly learned to love it and myself too.

I don't think so I'm in any place to give you advice because I'm still a learner but my advice would be to read poems often. I'm not saying that you have to read one poem per day but that's a nice habit that I'm glad I have. And along with that some time before, I used to write four-five lines everyday as a warmup! (I lost that habit because of uni but thank you for reminding me of it) and also when you do write stuff, realise it's for yourself, I forgot to keep that in mind and tried writing for maybe posting it on here or anywhere else and I genuinely hated what I wrote so do keep that in mind!

happy writing!! <33

— ghazal ♡

[aboutanancientenquiry]

Meena Kumari in “Chalte chalte yunhi koi” (“Pakeezah”, 1972)

Meena Kumari (1933-1972), one of the greatest Indian actresses of the last century, in an iconic scene and song from the classic Indian movie Pakeezah (The Pure One-1972, written, directed, and produced by Kamal Amrohi). 

Meena Kumari plays in this movie Sahibjaan, a tawaif. The tawaifs were courtesans who catered to the nobility of the Indian Subcontinent in the Mughal and post-Mughal eras and were trained in music, danse, theater, and Urdu literature. An orphan, Sahibjaan lives since her childhood in a kotha (brothel), but she wants to escape from her fate.

According to the website of the University of Iowa ( https://indiancinema.sites.uiowa.edu/pakeezah ):

““I’ve seen your feet; they’re very lovely. Don’t set them down on the earth—they’ll get soiled.” This metaphorical warning-note, penned by a romantic stranger and left between the toes of a sleeping woman in a railway compartment, forms a much-underscored motif in this classic courtesan film—the final collaboration between the great actress and dancer Meena Kumari and her former husband, actor and director Kamal Amrohi. Like MOTHER INDIA, this film coexists with its own legend involving the offscreen lives of the director and star, who planned it together in the late 1950s but whose marriage broke up around the time that filming began in 1964. Kumari (who was also a talented Urdu poet under the pen name Naaz) then purportedly became an alcoholic, but eventually came back to complete the film shortly before her premature death in 1972; aficionados may try their luck at identifying—from Kumari’s pained and sometimes mask-like face—which scenes were shot when. The central theme of the film is the struggle for respectability of a tawai’if, an Indo-Islamic courtesan trained in poetry, music, and dance—a glamorous “public woman” whose career was to be an elegant companion (and potential lover) to affluent men, but for whom a “respectable” marriage and home was out of the question. Her beautiful feet—apart from being an erotic fetish—represent her mastery of the art of North Indian classical dance or Kathak, which tawai’if’s preserved and nurtured for several centuries. The “earth” that such feet must perforce touch, however, is ruled by patriarchal society with its crippling double-standards, which decreed that respectable women (who lived in parda or seclusion) could seldom be interesting to men, and that interesting women were seldom respectable. All courtesan fiction struggles with this divide, which forms a principal theme of one of the earliest and most famous Urdu novels, Mirza Mohammed Hadi Ruswa’s UMRAO JAN ADA (1905; itself later filmed several times; see notes on UMRAO JAAN). PAKEEZAH offers another variation on the theme.”

See also about Pakeezah the paper of Richard Allen and Ira Brashkar Pakeezah: Dreamscape of Desire, on https://www.academia.edu/36264030/Pakeezah_Dreamscape_of_Desire

In the iconic scene of this video Sahibjaan/Meena Kumari sings and dances for the “villain” of the movie, an aristocrat (Nawab) named Zafar Ali Khan (played by Kamal Kapoor), who wishes to own her. The ambiguities and dynamics of the situation and of the relationship between the two are depicted in excellent way in this scene, which takes place at the Gulabi Mahal (Pink Palace) of Luchnow. According to the paper of Allen and Brashkar:

“The Gulabi Mahal (the Pink Palace) at Lucknow evokes a more rarified atmosphere. In Amrohi’s imagination, the space of the kotha is here fused with the idea of a Greek temple where the central colonnaded performance space doubles as a space of worship to the divine feminine, and discrete spaces are orchestrated in a theatrical hierarchy from the outer court with its fountains at the entrance to the inner sanctum sanctorum, which houses the bedroom of the courtesan, essentially off limits to all but the chosen client, and separated from the main performance space by a lighted causeway between reflecting pools of water.The Pink Palace is a sublime temple of femininity, whose fountains, atriums, reflecting pools form a microcosm of artifice that rivals that of the natural world. Indeed, even the moon appears artful in this landscape and the saturated deep blue sky, a studied backcloth to the whole.”

But, as the same article continues a bit further, the Pink Palace is also a prison for Sahibjaan:

“Meanwhile, for Sahibjaan whose desire for self-fulfillment has been awakened, the Pink Palace becomes a prison. In a metaphor that recurs in the film, and echoes throughout the genre, she is likened to a bird in a gilded cage from which she yearns to escape...

...The quality and texture of her performances for him [the Nawab] are now markedly different from her earlier ones. Gone is the vivacity and vibrancy of an Inhin logon ne or a Thade rahiyo as she mournfully sings the haunting Chalte Chalte, which articulates her desire for freedom and happiness.Yet it also returns us to the pathos of her entrapment in a manner that evokes the equation of the courtesan and the flickering flame that opens the film. At the conclusion of the performance, as she sings Yeh chiraag bujh rahein hain / Mere saath jalte jalte (These lamps are fading / As they burn with me), she hears the screech of a train whistle. It is impossible initially to discern whether it is somewhere physically off-screen or within her mind.The camera cranes upward from the floor to the red chandelier, recalling the red aalta of her feet.The lights darken as the escalating screech of the train whistle resounds through the performance space, taking over the song and abruptly bringing the dance to an end. When the camera cranes down again, the dancers have disappeared from the floor.The camera then tracks forward towards the fountains that abruptly stop playing as the whistling ends. It is as if the space in which she dwells, her erstwhile tomb, is now cut to the measure of her desire. She rushes to the balcony to see the train she has seen before, but this time it is motionless, silhouetted against the sky, almost as if waiting for her to come to her balcony before it can leave.Though real, the train appears as if in a vision, so detached is the spectacle from the space she inhabits.What is finally required for Sahibjaan to escape her sealed world is a transformation of environment and character of a magnitude that challenges the tone in which the film has hitherto been cast.”

The lyrics of Chalte chalte yuhni koi were written by the Urdu poet Kaifi Azmi (1919-2002) and its music was composed years before the release of Pakeezah by Ghulam Mohammed (1903-1968). Although Meena Kumari was also a singer, the voice in the song is of the great Indian singer Lata Mangeshkar (1929-2022).

Unfortunately I couldn’t do anything with the advertisements at the end of the video.

I have found on the net the following transliteration and translation of the lyrics of Chalte chalte yuhni koi:

Chalte chalte, chalte chalte    While walking, while walking

Yun hi koi mil gaya tha    I met someone by chance

Yun hi koi mil gaya tha  I met someone by chance

Sare raah chalte chalte   Walking around the path

Sare raah chalte chalte    Walking around the path

Wahin thamke reh gayi hai  Right there it stood still

Wahin thamke reh gayi hai   Right there it stood still

Meri raat dhalte dhalte    This night of mine, which is fading away

Meri raat dhalte dhalte     This night of mine, which is fading away

Joh kahi gayi na mujhse      What I was unable to say

Joh kahi gayi na mujhse     What I was unable to say

Woh zamaana keh raha hai      The world is saying that

Woh zamaana keh raha hai    The world is saying that

Ke fasana                                A story

Ke fasana ban gayi hai     A story has been created

Ke fasana ban gayi hai      A story has been created

Meri baat chalte chalte      From those words of mine

Meri baat chalte chalte   From those words of mine

Yun hi koi mil gaya tha    I met someone by chance

Yun hi koi mil gaya tha    I met someone by chance

Sare raah chalte chalte      Walking around the path

Sare raah chalte chalte      Walking around the path

Yun hi koi mil gaya tha    I met someone by chance

Sare raah                               Around the path

Chalte chalte, chalte chalte     While walking, while walking

Sare raah                                Around the path

Chalte chalte, chalte chalte       While walking, while walking

Chalte chalte, chalte chalte          While walking, while walking

Yun hi koi mil gaya tha            I met someone by chance

Yun hi koi mil gaya tha            I met someone by chance

Shab-e-intezaar aakhir             The night of waiting

Shab-e-intezaar aakhir              The night of waiting

Kabhi hogi mukhtasar bhi            Will after all shorten soon

Kabhi hogi mukhtasar bhi           Will after all shorten soon

Yeh chirag                                    These lamps

Yeh chirag bujh rahe hai              These lamps are dying

Yeh chirag bujh rahe hai               These lamps are dying

Mere saath jalte jalte                 As they burn alongside me

Mere saath jalte jalte                 As they burn alongside me

Yeh chirag bujh rahe hai              These lamps are dying

Yeh chirag bujh rahe hai                These lamps are dying

Yeh chirag bujh rahe hai               These lamps are dying

Yeh chirag bujh rahe hai                These lamps are dying

Yeh chirag bujh rahe hai                 These lamps are dying

Yeh chirag bujh rahe hai               These lamps are dying

Mere saath jalte jalte                   As they burn alongside me

Mere saath jalte jalte                  As they burn alongside me

Yun hi koi mil gaya tha                   I met someone by chance

Yun hi koi mil gaya tha                I met someone by chance

Sare raah chalte chalte                Walking around the path

[indiejones]

INDIES TOP 136 FILMS OF SOUTH ASIAN CINEMA’S 2 GREATEST ACTRESSES - MEENA KUMARI (77 FILMS) & SUCHITRA SEN (59 FILMS) !

A separate Indie playlist, to honour the 2 most popular, highest acclaimed, & widely regarded greatest of all actresses, of the entire Indian & South Asian diaspora – Meena Kumari & Suchitra Sen ! 2 very different actresses in style & school, yet that imbibed the same core depth & ability to penetrate audience imagination & leave them blessed with new vibrant spirit & higher ethos, & even greater admiration for the feminine energy in art. That combined with their eclectic body of work encompassing, one imagines an entire spectrum of female art & life in society at it’s very finest. And even where Hindi audiences at Indies may’ve had a fair taste of Meena jis’s work already, from the various decades lists on Indies Yt page, a great time to view it all in never-before singular artist-based perspective, as well as get enlightened on, in Indie reckoning, the 2nd greatest screen-pair of Indian cinema, Uttam Kumar & Suchitra Sen, the eternal royalty of Bangla cinema for no lesser than 3/4th century, a screen-pair that single-handedly redefined Bangla cinema & raised it to the highest respect & hysterical adulation back in 1950s & 1960s, amassing a veritable treasure house of ‘soul cinema’, a diamond era in Bengali motion art, that saw them competing for highest accolades with no lesser than Satyajit Ray’s brand of ‘life-defining movies’, a divine screen-pairing with Uttam that btw forms nearly 3/4th of Suchitra ji’s life work too. Watch the greatest, in their finest!

Voila ! - 1. .Pakeezah (1972) 2. .Sahib Bibi Aur Ghulam (1962) 3. .Daaera (1953) 4. .Bhabhi ki Chudiyan (1961) 5. .Baiju Bawra (1952) 6. .Musafir (1957) 7. .Grihadaha (1967) 8. .Sandhya Deeper Sikha (1964) 9. .Uttar Falguni (1963) 10. .Deep Jwale Jaai (1959) 11. .Phool aur Patthar (1966) 12. .Dil Ek Mandir (1963) 13. .Dil Apna Aur Preet Parai (1960) 14. .Bahu Begum (1968) 15. .Dushmun (1971) 16. .Datta (1976) 17. .Mamta (1966) 18. .Daana Paani (1953) 19. .Aarti (1962) 20. .Chitralekha (1964) 21. .Fariyad (1971) 22. .Saat Pake Bandha (1963) 23. .Nabaraag (1971) 24. .Devi Chaudhurani (1974) 25. .Majhli Didi (1967) 26. .Devdas (1955) 27. .Harano Sur (1957) 28. .Har Mana Har (1972) 29. .Bheegi Raat (1965) 30. .Sagarika (1956) 31. .Alo Amaar Alo (1972) 32. .Hospital (1960) 33. .Chaowa Paowa (1959) 34. .Megh Kalo (1970) 35. .Smriti Tuku Thak (1960) 36. .Mere Apne (1971) 37. .Sharada (1957) 38. .Sanjher Pradip (1955) 39. .Noorjehan (1967) 40. .Suryatoran (1958) 41. .Champakali (1957) 42. .Amar Bou (1956) 43. .Baharon ki Manzil (1968) 44. .Kaajal (1965) 45. .Madhosh (1951) 46. .Trijama (1956) 47. .Bhalobasa (1955) 48. .Shapmochan (1955) 49. .Ekti Raat (1956) 50. .Sabar Uparey (1955) 51. .Agni Pariksha (1954) 52. .Halaku (1956) 53. .Footpath (1953) 54. .Bhagaban Srikrishna Chaitanya (1954) 55. .Chandranath (1957) 56. .Parineeta (1953) 57. .Magroor (1950) 58. .Bombai ka Baboo (1960) 59. .Bandhan (1956) 60. .Subhoratri (1956) 61. .Indrani (1958) 62. .Kamallata (1969) 63. .Yahudi (1958) 64. .Ghazal (1964) 65. .Miss Mary (1957) 66. .Pinjre ke Panchhi (1966) 67. .Baadbaan (1954) 68. .Chirag Kahan Roshni Kahan (1959) 69. .Farishta (1958) 70. .Sajghar (1955) 71. .Sahara (1958) 72. .Chandan ka palna (1967) 73. .Mejo Bou (1955) 74. .Pranay Pasha (1978) 75. .Aladdin Aur Jadui Chirag (1952) 76. .Gomti ke Kinare (1972) 77. .Rajlakshmi O Srikanta (1957) 78. .Chandni Chowk (1954) 79. .Satta Bazaar (1959) 80. .Zindagi Aur Khwab (1961) 81. .Kinare Kinare (1963) 82. .Priyo Bandhabi (1975) 83. .Benazir (1964) 84. .Shilpi (1956) 85. .Sarhad (1960) 86. .Adl-e-Jehangir (1955) 87. .Ora Thake Odhare (1954) 88. .Shatranj (1956) 89. .Savera (1958) 90. .Main Chup Rahungi (1962) 91. .Shararat (1959) 92. .Sanjh aur Savera (1964) 93. .Akeli Mat Jaiyo (1963) 94. .Abhilasha (1968) 95. .Bipasha (1962) 96. .Ilzaam (1954) 97. .Saptapadi (1961) 98. .Bandish (1955) 99. .Ek Hi Raasta (1956) 100. .Azaad (1955) 101. .Naya Andaz (1956) 102. .Madhu (1959) 103. .Veer Ghatotkacha (1949) 104. .Balaygras (1954) 105. .Laxmi Narayan (1951) 106. .Bahana (1960) 107. .Purnima (1965) 108. .Shri Ganesh Mahima (1950) 109. .Rukhsana (1955) 110. .Mem Sahib (1956) 111. .Chand (1959) 112. .Pathe Holo Deri (1957) 113. .Ardhangini (1959) 114. .Sanam (1951) 115. .Jagir (1959) 116. .Saat Phere (1970) 117. .Jawab (1970) 118. .Hanuman Patal Vijay (1951) 119. .Grihaprabesh (1954) 120. .Tamasha (1952) 121. .Char Dil Char Rahen (1959) 122. .Naulakha Haar (1953) 123. .Jeeban Trishna (1957) 124. .Kohinoor (1960) 125. .Piya Ghar Aaja (1948) 126. .Dhuli (1954) 127. .Main Bhi Ladki Hoon (1964) 128. .Sadanander Mela (1954) 129. .Hamara Ghar (1950) 130. .Annapurnar Mandir (1954) 131. .Sharey Chuattor (1953) 132. .Pyar Ka Saagar (1961) 133. .Maraner Parey (1954) 134. .Saat Number Kayedi (1953) 135. .Aandhi (1975) 136. .Kajori (1953)

[celebritydecks]

Nico Parker

Nico Parker Parents, Movies, TV Shows, Wiki, Biography, Age, Height & Net Worth

Nico Parker is a talented English actress and gained fame with her debut in Tim Burton’s ‘Dumbo’ (2019) and her role as Sarah Miller in ‘The Last of Us’ (2023) on HBO. We’ll explore her incredible life, professional background and personal life.

Nico Parker Wiki / Biography

Nico Parker was born on December 9, 2004, in Kensal Rise, London, England to parents who have had successful careers in the film industry. Her mother is the renowned actress Thandiwe Newton and her father is the well-known film director and screenwriter Oliver Parker.Nico grew up in North West London’s vibrant city Kensal Rise. She is surrounded by her younger brother, Booker Parker and older sister, Ripley Parker. Her uncle is Jamie Newton and her grandfather is Nick Newton. Jamie Newton gained notoriety as an EPK cameraman in Blitz (2011) and One Day (2011).

Career

Nico’s professional journey has been extraordinary. She made an impact in the film industry between 2019 and 2021 when she appeared as Milly Farrier in Tim Burton’s “Dumbo.” She played the older daughter of circus performers Holt and Meena Farrier in this touching story.

After making an outstanding debut, Nico performed in the HBO miniseries “The Third Day” (2020) with well-known actors Naomie Harris and Jude Law. She played Ellie, a young lady who was missing on a remote island and embarked on a quest to find him. Nico was officially nominated for the British Independent Film Award‘s Best Actress category for her performance.

Her career took off when she co-starred with her mother Thandiwe Newton in the science fiction film “Reminiscence” (2021) which is directed by Lisa Joy. Nico played Zoe in this surreal thriller, a young lady who uses Hugh Jackman‘s character as a memory hunter to find her missing spouse.

For More Information visit us our Website : celebritydecks

[puppiesandnightlock]

Don't you get that Illumination hates Suki? And so do most of the viewers? That's why they won't let her back in the third film, let her sing canonically (inspite of her actress being a singer and songwriter), or had her appear in the Mario crossover promo?

The Sing movies only cater to teens. That's why we have more of Johnny, Ash, Nooshy and Meena.

i think ur more better equipped to take this up with @joethetoonfanandoutcast, anon.

[inmyworldblr]

Meena Kumari in Phool Aur Patthar (1966)

[themoonismelting]

Pakeezah (1972), India

[rajeevpradhan]

ACTRESS MEENA KUMARI IN MOVIE CHIRAG KAHAN ROSHNI KAHAN

[hotvintagepoll]

FINAL POLL OF ROUND 3

Propaganda

Glynis Johns (Mary Poppins, The Court Jester)—LISTEN, I'd let that woman's voice with all its gravely hoarseness (positive) wash over me all goddamn day, but if that's not enough she managed to play the straight woman to Danny Kaye's jester, all with her cleavage so plunging it might as well have been catapulted into the ocean right after Basil Rathbone

Meena Kumari (Sharada, Dil Apna Aur Preet Parai, Sahib Bibi Aur Ghulam)— Meena Kumari was Indian actress and poet, regarded as the "Tragedy Queen of Bollywood" due to her legendary performances in emotionally charged roles. Using words from her biographer: "She had many dimensions — she read poetry, had many literary friends, [and] aspired to the higher life." Meena had an incredibly difficult life, and translated this pain into her volatile acting performances. She is an artist beloved and revered by her fans.

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Glynis Johns:

She walks the line between sexy and cute. Her best role for me is in "The Court Jester as Maid Jean. She's fantastic as the soft but tough captain of the outlaw band and she looks stunning in every gown she wears throughout the film. And of course we can't forget her iconic turn as the suffragette mother, Mrs. Banks, in Mary Poppins! Also shoutout to her distinctive and beautiful voice, kind of smoky and husky. Extremely hot and set her apart from many of her peers."

"She was amazing in Mary Poppins (the Suffragette song is severely underrated) and apparently she was Welsh? National pride! And she advocated for arts funding in Wales, which is very cool. Also, she died recently (RIP) making her one of the last survivors of the Golden Age of Hollywood, according to Wikipedia. Also also, she just has a cheeky energy I like? And her eyes are beautiful!"

"She had this wonderful wit and charm to her no matter the role and the most distinctive, striking voice!"

"I mean, incredibly beautiful and talented, can do drama can do comedy. And she was a mermaid."

"Like Bette Davis she has eyes to die for. Unlike Bette Davis you felt comforted by them, even when she was batting her eyelashes at you. Would glady go to Downing Street with her and throw things at the Prime minister"

"Listen, listen. I was raised on Mary Poppins and "Votes for women! (step in time)" single-handedly taught me how to be a feminist. Also The Court Jester is one of my favourite movies of all time and she is UNBELIEVABLY gorgeous, charismatic, funny, and clever in it. She knocks several men out. Absolute icon."

"I love Glynis Johns. Most of the reason is The Court Jester where she's a sensible and capable foil to whatever what going on with Danny Kaye at the time. She was also the first star I based an OC on. An OC that I still have to this day! Anyway here have some YouTube links love u bye"

Mermaid clip:

Court Jester (sharing a bed trope):

Court Jester (seducing the king):

"VOTES FOR WOMEN! Well, votes for this woman. Please."

Meena Kumari:

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Ankita Dave Wiki, Biography, Age, Height, Weight, Family, Net Worth

Ankita Dave Wiki: Ankita Dave is an Indian actress, model, and influencer born on July 15, 1993, in Rajkot, Gujarat, India. She is primarily known for acting in the Hindi web series "ZID". This Ankita Dave biography will explore the actress's early life, career, family, boyfriend, web series, and more. So let's get started. Ankita was raised in a Brahmin family in Gujarat, where her mother's name is Sonal Dave, and her brother's name is Gautam Dave. She completed her graduation from the University of Mumbai. Ankita Dave Wiki Ankita Dave's Web Series List: Ankita Dave's Movies List: Ankita Dave's Music Videos List: In 2019, Ankita acted in the Hindi web series "Singardaan" as 'Gupta Ji's Daughter'. Following that, she appeared in the web series "Nagar Vadhu" in 2021. In 2022, she acted in the web series "Matkani Ke Matke" as the character 'Matkani' on the OTT platform 'Rabbit Originals'. Her performance in this role received much praise. Currently, Ankita is quite active on her social media handles and charges up to INR 1 lakh to promote products on her social media. Additionally, she runs a modelling agency called AD Production, which provides actors and actresses for movie shoots, video songs, brand promotion, photoshoots, and events.

Ankita Dave

Ankita Dave Wiki

NameAnkita DaveProfessionActress, Model and InfluencerNationalityIndianCasteBrahminYears Active2017 to PresentAnkita Dave CareerDebutIn 2019 - The web series (Singardaan)AwardsNoneAnkita Dave's Personal LifeNick NameAnkitaBorn (Date of Birth)July 15 1993Age (as of 2023)29 YearsBirthplaceRajkot, Gujrat, IndiaGenderFemaleZodiac SignAriesHometownMumbai, Maharashtra, IndiaHobbies/HabitsNature Lover, Animal Lover, TravellingFood HabitNon-VegetarianSchoolNot KnownCollegeUniversity of Mumbai (B.Sc in Mathematics)Education QualificationGraduateAnkita Dave Family, BoyfriendMotherSonal DaveFatherNot KnownSister/BrotherGautam Dave (Brother)Marital StatusUnmarriedAffair/BoyfriendNoHusband/SpouseNoDaughter/Son/ChildrenNoRelativesNot Known PubliclyFriendsNot Known PubliclyAnkita Dave Body MeasurementsHeight152 cm 1.52 m 5 ft 0 inWeight50 KG 110 lbs (pounds)Eye ColorBrownHair ColorBrownFigure Size36-28-36Dress Size38 (EU)Shoe (Feet) Size9TattoosYesDistinctive FeaturesSmile & ConfidenceAnkita Dave Social MediaInstagramInstagramFacebookNot KnownTwitterNot KnownYouTubeNot Known

Ankita Dave's Web Series List:

- 2019: Singardaan - Gupta Ji's Daughter - 2020: ZID - Lead - 2021: Mere Angane Main - Lead - 2021: Nagar Vadhu - Pavitra - 2021: Teri Khata - 2021: Chicken Curry - Lead - 2021: Siddhu - 2022: Gaachi - Ratna - 2022: Matkani Ke Matke - Matkani - 2022: PathShala 2 - Basanti - 2022: Kangan - Sabbo - 2022: Khaki - 2022: Charmsukh (Chawl House – 3) - Meena - 2023: Rajneeti - 2023: GOLU

Ankita Dave's Movies List:

- 2022: Goa Trip

Ankita Dave's Music Videos List:

- 2021: Bahane - 2022: 3 Rules - 2023: Wajood Mera - 2023: Yeh Dil In 2021, Ankita launched her official app for her fans, where she shares exclusive images, glamour videos, and more. Fans can also chat with her directly through this app. The Ankita Dave Official App can be installed from the Google Play Store, developed by ArmsPrime Media Pvt. Ltd. Although many people attempt to find her app free, we recommend downloading only the official version from the app store. Read the full article