Madhuri Dixit, Bollywood Actress

Madhuri Dixit, one of the Most Respected and talented actresses have successfully established her own identity on the silver screen in Bollywood. Considered as one of the biggest stars in the Hindi Film Industry, Madhuri Dixit has ruled the silver screen throughout the late 1980s and 1990s. This glamorous lady was born on 15 May 1967 in Mumbai, India. She was born as Madhuri Shankar Dixit to Shankar and Snehlata Dixit, of a Marathi Brahmin family. Dixit got educated at the attended Divine Child High School and University of Mumbai and wanted to be a microbiologist. She has been trained in Kathak. In 1999, Madhuri Dixit married Shriram Madhav Nene, a UCLA-trained cardiovascular surgeon and has two sons, Arin and Raayan. She has also appeared as a judge in a reality show on dance, Jhalak Dikhla Jaa.

Madhuri Dixit made her acting debut in `Abodh` in 1986. After a few roles where she played in a supporting caste, she shot to limelight with the film `Tezaab` in 1988. She then went on to become the queen of Bollywood with huge box-office hits with films such as `Ram Lakhan` in 1989, `Parinda` in 1989, `Tridev` in 1989 and others. The decade of 1990s saw few of the finest movies of Bollywood. Madhuri starred in the Bollywood blockbusters Dil(1990) with Aamir Khan, Saajan (1991) with Salman Khan and Sanjay Dutt, Beta(1992) with Anil Kapoor, Khalnayak (1993) with Sanjay Dutt, Hum Aapke Hain Kaun (1994) with Salman Khan, Anjaam (1994) with Shahrukh Khan and finally Dil To Pagal Hai happened in 1997 with Shahrukh Khan.

In 2002, She starred in Sanjay Leela Bhansali`s runaway success Devdas with Shahrukh Khan and Aishwarya Rai. The film was featured at the Cannes Film Festival. She next ventured in "Lajja" in which she was appreciated. Her next movie was Aaja Nach Le. Apart from Bollywood Madhuri also appeared as a judge of the dance reality show Jahlak Dikhlaja 4. She also appeared in MF Hussain`s Gaja Gamini which was his ode to womanhood and his muse of the time, Madhuri Dixit. Apart from being a successful actress, Madhuri is also an ace dancer, having danced in many hit numbers like Ek Do Teen, Dhak Dhak, Chane Ke Khet Mein, Didi Tera Devar Deewana, Choli Ke Peechhe, Mera Piya Ghar Aaya, Maar Daala and many others.

Awards and Honours of Madhuri Dixit

Filmfare Awards
1991: Filmfare Best Actress Award for Dil
1993: Filmfare Best Actress Award for Beta
1995: Filmfare Best Actress Award for Hum Aapke Hain Kaun...!
1998: Filmfare Best Actress Award for Dil To Pagal Hai
2003: Filmfare Best Supporting Actress Award for Devdas
2011: Filmfare Special Award for Completing 25 years in the Indian film industry

Star Screen Awards
1994: Star Screen Award Best Actress for Hum Aapke Hain Kaun...!
1995: Star Screen Award Best Actress for Raja
1997: Star Screen Award Best Actress for Mrityudand
2002: Star Screen Award Best Supporting Actress for Devdas

Honours and Recognitions
1997: "Kalabhinetri" award by the Government of Andhra Pradesh
2001: National Citizen`s Award
2001: Forbes named Dixit among the Top Five Most Powerful Indian Movie Stars.
2007: "Bollywood`s Best Actress Ever"
2008: Padma Shri, India`s fourth highest civilian award by the Government of India
2008: Honoured at IFFLA Indian Film Festival of Los Angeles

 

She has also received other awards such as Zee Cine Awards, IIFA Awards and others.

Filmography of Madhuri Dixit

Year Film
1984 Abodh
1985 Awara Baap
1986 Swati
1987 Mohre, Hifazat, Uttar Dakshin
1988 Khatron Ke Khiladi, Dayavan, Tezaab
1989 Vardi, Ram Lakhan, Prem Pratigyaa, Ilaaka, Mujrim, Tridev, Kanoon Apna Apna, Parinda, Paap Ka Anth
1990 Maha Sangram, Kishen Kanhaiya, Izzatdaar, Dil, Deewana Mujh Sa Nahin, Jeevan Ek Sangharsh, Sailaab, Jamai Raja, Thanedaar
1991 Pyaar Ka Devata, Khilaaf, 100 Days, Pratikaar, Saajan, Prahaar
1992 Beta, Zindagi Ek Jua, Prem Deewane, Khel, Sangeet
1993 Dharavi, Sahibaan, Khalnayak, Phool, Dil Tera Aashiq, Aansoo Bane Angaray
1994 Anjaam, Hum Aapke Hain Kaun...!
1995 Raja, Yaraana
1996 Prem Granth Kajri, Paapi Devta, Raj Kumar
1997 Koyla, Mahaanta, Mrityudand, Mohabbat, Dil To Pagal Hai
1998 Bade Miyan Chhote Miyan, Wajood
1999 Aarzoo
2000 Pukar, Gaja Gamini
2001 Yeh Raaste Hain Pyaar Ke, Lajja
2002 Hum Tumhare Hain Sanam, Devdas
2007 Aaja Nachle

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Sunny Leone's Sparkly Grumpiness!

Sunny Leone is currently working with Naseeruddhin Shah for 'Jackpot'.
The two-film-old actress is already having reliability issues. It has been reported that the actress reaches late on the sets, making all the others Wait.

Watch: 'Chennai Express' Achievement Punch

Shah Rukh Khan is one happy man. Riding high on the amazing achievement of Chennai Express, SRK hosted a night of frolic and fun for the complete crew of the film.

'No Stress' Before Release of 'Once Upon...'

Actor Imran Khan says he has no reason to worry about the release his upcoming film 'Once Upon A Time in Mumbai Dobaara', which will be hitting the theatres a week after Shah Rukh Khan starrer 'Chennai Express'.

Imran's next film 'Once Upon A Time in Mumbai Dobaara' (August 15), which is releasing a week after 'Chennai Express' (August 9).

"Chennai Express is release a week before Once Upon A Time... So I don't see the stress. When the market has grown, the exhibitors have multiplied tenfold in the past few years and there are huge number of theatres that are out there," Imran told reporters.

"The fact is films nowadays do majority of their business in the first weekend and by the time you get to the second weekend it is old. So it's not even a competition," he said.

Imran plays a goon of 80s in the sequel of 2010-hit film 'Once Upon A Time in Mumbai'. The film directed by Milan Luthria, also stars Akshay Kumar and Sonakshi Sinha.

Imran feels the perks of being an actor is to wake up every morning and work opposite the most beautiful women of this country.

Though the holy month of Ramzan is on, Imran says he cannot fast being in the profession. "You have to maintain the lifestyle that an actor maintains and with your workouts and everything you will collapse and die. So I am not able to fast," he said.

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Sari: Celebrity Inspiration

Need More Proof that neon is a big trend right now?
Look no further than Deepika Padukone in her acid green Arpita Mehta Sari, which the star wore during the promotions for Chennai Express.

“Neon is Huge right now," says Vogue fashion director Anaita Shroff Adajania, who styled the actress for the film's promotional tour. "It's been creeping into ethnic wear for a while, often in the form of a single streak of colour on a neutral lehenga or sari. Though, if you’ve ever visited the local markets in Mumbai, you’ll realize that Maharashtrian women have been wearing bold neon saris for a while now.”

Padukone’s look, she adds, was meant to be a fresh spin on day wear. Trend-setter Sonam Kapoor was the first to get her hands on Masaba Gupta’s first collection for sari label Satya Paul. Actresses Kajal and Priyanka Chopra both took the plunge in Manish Malhotra.

What's the Quickest way to be on trend this Festive Season?
Wear a neon Sari.

Priyanka Chopra kicked off the trend wearing Manish Malhotra.

Shazahn Padamsee Walked the Lakme Fashion Week Ramp in an Archana Kochhar lehenga Sari.

Mini Mathur goes bright in a Masaba Gupta neon Sari

Kajal took a more Subtle Approach with neon accents on a charcoal Manish Malhotra Sari.

Deepika Padukone wears a Neon Arpita Mehta Sari.

Dipannita Sharma mixes quirky and neon with this Masaba Gupta Sari.

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Bollywood Box-Office Report of the Week

This Week's New Releases include EROS's Tusshar, Ranvir and Vishakha starrer BAJATEY RAHO, Prateik-Amyra's ISSAQ, NASHA featuring Poonam Pandey and the Tanuj Virwani (veteran Rati Agnihotri's son) debut vehicle LUV U SONIYO. It is obvious that the front runner is going to be BAJATEY RAHO, thanks to the good buzz and catchy music, with ISSAQ doing decently in the Hindi belt.


Last Friday saw two major releases-Nikhil Advani directed D-DAY and Tips Films' RAMAIYA VASTAVAIYA. As predicted, during the opening weekend the front runner turned out to be the Girish-Shruti starrer RAMAIYA VASTAVAIYA netting 14-15 crore while D-DAY netted 11-12 crore.

Moving on, UTV Motion Pictures Rakeysh Omprakash Mehra directed BHAAG MILKHA BHAAG saw a great first week as it collected 7 crore from Bombay (collections from other cinemas unreceived), 80 lakhs from Ahmedabad, 40 lakhs from Surat, 41.50 lakhs from Baroda (collections from 4 cinemas unreceived), 15.25 lakhs from Rajkot, 1.75 crore from Pune, 34 lakhs from Nasik, 17.25 lakhs from Goa, 8.25 lakhs from Belgaum, 7.50 crore from Delhi city, 1 crore from Noida, 65 lakhs from Ghaziabad, 33.50 lakhs from Kanpur, 66 lakhs from Lucknow, 11.75 lakhs from Agra, 17.50 lakhs from Allahabad, 6.15 lakhs from Meerut, 4 lakhs from Aligarh, 8.50 lakhs from Dehradun, 1.50 crore from Gurgaon, 23.75 lakhs from Faridabad, 8.50 lakhs from Kurukshetra, 10.25 lakhs from Panipat, 56 lakhs from Chandigarh, 30 lakhs from Jalandhar, 20 lakhs from Amritsar, 30.65 lakhs from Ludhiana, 11.75 lakhs from Bhatinda, 9 lakhs from Ambala, 5.50 lakhs from Jammu, 1 crore from Calcutta, 2.20 lakhs from Darjeeling, 7 lakhs from Siliguri, 6.50 lakhs from Dhanbad, 6.75 lakhs from Ranchi, 13.65 lakhs from Bhubaneshwar, 10.50 lakhs from Guwahati, 65.50 lakhs from Nagpur, 21.50 lakhs from Jabalpur, 30.75 lakhs from Raipur, 80 lakhs from Indore, 14.50 lakhs from Gwalior, 41.55 lakhs from Bhopal, 1.50 crore from Jaipur (collections from 3 cinemas unreceived), 14 lakhs from Ajmer, 7 lakhs from Bikaner, 25 lakhs from Kota, 24.50 lakhs from Udaipur, 60 lakhs from Hyderabad, 15 lakhs from Aurangabad (collections from 2 cinemas unreceived), 2 crore from Bangalore, 6 lakhs from Mangalore, 5.75 lakhs from Vijayawada, 9 lakhs from Visakhapatnam, 3.65 lakhs from Madras, 2.50 lakhs from Coimbatore and 4.25 lakhs from Kochi. Netting 53 crore during the opening week from India, BHAAG MILKHA BHAAG is a hit, and given the second week run, chances are that it may end up as a super hit. The Farhan-Sonam starrer, BHAAG MILKHA BHAAG, has also impressed in the overseas (very good in the US) grossing and#163;186,000 from UK $1,100,000 (approx.) from the US till the second weekend (19-21 July).

Checking out Sanjay Dutt's POLICEGIRI, the film sank in the second week (barring a few single screens) collecting 15 lakhs from Bombay (collections from other cinemas unreceived), 2 lakhs from Ahmedabad, 4.15 lakhs from Surat, 1 lakh from Baroda, 1.75 lakhs from Rajkot, 1.50 lakhs from Pune, 1.50 lakhs from Nasik, 2.50 lakhs from Delhi city, 2.50 lakhs from Kanpur, 2 lakhs from Lucknow, 1.50 lakhs from Allahabad, 2 lakhs from Nagpur, 4 lakhs from Jabalpur, 2.15 lakhs from Raipur, 5 lakhs from Indore, 2 lakhs from Bhopal (collections from 2 cinemas unreceived), 6 lakhs from Jaipur (collections from 5 cinemas unreceived), 1.50 lakhs from Ajmer, 1 lakh from Udaipur, 2 lakhs from Hyderabad and 1.50 lakhs from Aurangabad. Adding another 3 crore POLICEGIRI has netted 18 crore in two weeks from India and has failed at the box-office.

Meanwhile Vikramaditya Motwane's Ranveer, Sonakshi and Adil starrer, LOOTERA crashed in the second week collecting 70 lakhs from Bombay, 12 lakhs from Ahmedabad, 7 lakhs from Surat, 5 lakhs from Baroda, 2 lakhs from Rajkot, 25 lakhs from Pune, 2.15 lakhs from Nasik, 1.50 lakhs from Goa, 57.50 lakhs from Delhi city, 10 lakhs from Noida, 5 lakhs from Ghaziabad, 3.75 lakhs from Kanpur, 7 lakhs from Lucknow, 1 lakh from Agra, 1.50 lakhs from Allahabad, 6.50 lakhs from Gurgaon, 1.15 lakhs from Faridabad, 3.50 lakhs from Chandigarh, 1.65 lakhs from Jalandhar, 1.15 lakhs from Amritsar, 25 lakhs from Calcutta, 1 lakh from Siliguri, 2 lakhs from Bhubaneshwar, 2.15 lakhs from Guwahati, 3 lakhs from Nagpur, 1.15 lakhs from Jabalpur, 2.50 lakhs from Raipur, 4.50 lakhs from Indore, 2 lakhs from Gwalior, 2.50 lakhs from Bhopal, 10 lakhs from Jaipur (collections from 2 cinemas unreceived), 1.50 lakhs from Kota, 1 lakh from Udaipur, 11 lakhs from Hyderabad and 22.55 lakhs from Bangalore. With 4.50 crore during its latest outing LOOTERA has netted 28.50 crore in two weeks from India and is a below average fare. LOOTERA has done reasonably in the overseas (good in US) grossing and #163;120,000 from UK (approx) and $585,000 from the US till the third weekend (19-21 July).

Concluding with the Sonam, Dhanush and Swara starrer, RAANJHANAA, the film is ending its winning run as it collected 20 lakhs from Bombay (collections from other cinemas unreceived), 2.65 lakhs from Ahmedabad, 2.15 lakhs from Surat, l.55 lakhs from Baroda (collections from 4 cinemas unreceived), 1.55 lakhs from Rajkot, 6.50 lakhs from Pune, 1.50 lakhs from Nasik, 16.25 lakhs from Delhi city, 5 lakhs from Noida, 2 lakhs from Ghaziabad, 3.65 lakhs from Kanpur, 6 lakhs from Lucknow, 1.25 lakhs from Allahabad, 4 lakhs from Gurgaon, 1.75 lakhs from Chandigarh, 5.15 lakhs from Calcutta, 3.50 lakhs from Nagpur, 2 lakhs from Raipur, 3.75 lakhs from Indore, 5 lakhs from Jaipur, 1.50 lakhs from Udaipur, 6 lakhs from Hyderabad and 5.50 lakhs from Bangalore. With another 2 crore, RAANJHANAA has netted 60 crore in four weeks from India and is a super hit. The film has also done very well in the overseas (good in US) grossing and#163;150,000 from the UK and $890,000 from the US.

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Film Review: Saheb, Biwi Aur Gangster Returns

Film Review: Saheb, Biwi Aur Gangster Returns

Cast: Irrfan Khan, Mahie Gill, Jimmy Shergill, Soha Ali KhanDirection: Tigmanshu DhuliaRating: ****1/2
Tigmanshu Dhulia had said in a pre-release interview that ‘Saheb, Biwi Aur Gangster Returns’ is more “opulent and intriguing” than its prequel and he has lived up to his claim. Dhulia weaves a complex tale of love, jealousy and revenge and the taut narrative ensures that it keeps the viewer engaged throughout.
The sequel begins exactly where the first part had ended; Saheb Aditya Pratap Singh (Jimmy Shergill) is wheelchair ridden after he was shot in the last part and Biwi Madhavi Devi is now a MLA but seems to be heading down a path of self-destruction. Enter Gangster Indarjeet Singh (Irrfan Khan) who is looking to settle longstanding scores with the Saheb and is plotting revenge against him. Indarjeet and Princess Ranjana (Soha Ali Khan) are deeply committed to each other but Saheb also has his heart set on the young princess.
It’s an intricate plot but Dhulia never loses the thread, the structures are cohesive and it’s a pleasure to watch each layer unfold. The director has selected a brilliant cast ensemble and it is impossible to sympathise with their brazen manipulation and scheming. Every character in this intriguing tale is grey; they have their own selfish motives, their own insecurities and their own internal conflicts to resolve. Such a complicated story is handled with minimal melodrama, it’s the subtlety of this story that is hugely commendable.
Jimmy Shergill’s seething frustration and pride is palpable and the moment you feel sorry for him, he shows you his arrogant and chauvinistic side. Mahie Gill’s performance is laudable, she is vulnerable and deplorable all at once, it’s fascinating to see her character’s development. Soha Ali Khan gets off to a shaky start but eventually gets her act together. But the star of the film is Irrfan Khan, who belts out a well-nuanced act, flaunting his craft with complete confidence.
The production quality is way better than the first one and Dhulia creates a compelling canvas of a decaying feudal household. The background score is way better than the first one. The only flaw in this otherwise perfect film was the completely superfluous item song by Mugdha Godse. Tigmanshu Dhulia has otherwise scored an ace with ‘Saheb, Biwi Aur Gangster Returns’, the film is a compelling watch.
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Film Review: Kai Po Che

Cast: Sushant Singh Rajput, Amit Sadh, Raj Kumar Yadav, Amrita Puri
Director: Abhishek Kapoor
Rating: ****

Abhishek Kapoor’s ‘Kai Po Che’ based on Chetan Bhagat’s book ‘Three Mistakes of My Life’ is essentially a story about friendship. The story is however, layered with the protagonist’s passion for nurturing sports talent and is set against the backdrop of Gujarat at the turn of the century and depicts some of the key happenings of that time.

Ishaan (Sushant Singh Rajput), Omi (Amit Sadh) and Govind (Raj Kumar Yadav) are best buddies, who have very different career objectives but are inseparable friends. Initially they pool in their resources to start a sports equipment shop and a cricket training ground but soon, differences fester and they drift apart.
Abhishek Kapoor deftly handles the narrative; the first half is an endearing tale of friendship and male bonding as each friend tries to help the other. The second half is a sensitive portrayal of how the Bhuj earthquake in 2001 and then the Godhra riots of 2002 change their lives and relationships forever. Kapoor’s craft lies in the fact that though he has picked an unusual premise, he manages to keep his audience engaged throughout. He builds a beautiful canvas but doesn’t make it formulaic at any point. Even the romantic track is completely understated, never distracting us from the main plot.

Sushant Singh Rajput makes a confident big screen debut; his performance is just right, never overdoing or underplaying his part. Raj Kumar Yadav is convincing as he essays a restrained performance. Amit Sadh’s character has shades of grey but he delivers a credible portrayal. Amrita Puri has a small role but she’s effective.

Amit Trivedi belts out a peppy track with special aces like ‘Shubharam’ and ‘Manja’. An engaging plot and strong performances ensure Abhishek Kapoor’s ‘Kai Po Che’ is a winner all the way.

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Murder 3: Movie Review

Murder 3 Film Review
***  (Thriller)
Saibal Chatterjee
Friday, February 15, 2013

 

Cast:Randeep Hooda, Aditi Rao Hydari and Sara Loren
Director: Vishesh Bhatt

The baton has been passed to a new generation, but they still seem to be stirring the same old sex- sleaze-and-suspense pot at Vishesh Films.

But don’t let that put you off. Familiarity does have its uses, especially when it comes thickly coated with a few agreeable surprises.

Murder 3, a thriller that vacillates between the taut to the toxic, packs enough punch and panache to keep the audience glued, if not sweep them off their feet.

It tweaks the formula just a tad – it goes somewhat easy on the erotic component of the Murder franchise, opts for a markedly stronger emotional spine, and gives the female characters more than usual space. And there are no maniacs on the prowl.

As a result, the twisted thriller does not feel half as manipulative as the first two films in the series.

If nothing else, Murder 3 has a busy plot that keeps ticking at an even keel. Even the less convincing moments in the film are not allowed to linger longer than is absolutely necessary.

As for the plot, recognizable ingredients are crammed into a characteristically overstuffed storyline that probes the dark, obsessive side of love and lust.

Murder 3 has plenty of visual flair, but at times all its labour might seem wasted on a tale that strains too hard for effect. It is steamy all right but tends to run out of steam at crucial junctures.

The overall structure, borrowed (officially) from a Colombian thriller (The Hidden Face), is shaky, and the surface of the edifice is marred by a deep layer of crumbly rust.

No amount of style can fully offset the lack of constancy in this creaky and derivative construct.

A fashion and wildlife photographer (Randeep Hooda) is dumped by his architect-girlfriend (Aditi Rao Hydari).

On the rebound, he forges a new relationship with a barmaid (Sara Loren) who drives him home after he has had a few pegs too many to drown his sorrow.

The woodwork of the Raj-era bungalow that the shutterbug lives in hides a dark secret.

The man’s ex-girlfriend, who has mysteriously disappeared without a trace, returns to hound the lovers.

The rest is mayhem that turns worse for the duo with each turn of the screw.

The film resorts to all the known tropes of the genre - rattling windows, hissing drainpipes, waves in the bathtub, sudden power outages and swaying chimeras in the shadows. Mercifully, there are no curtains billowing in the wind.

For all its flaws, Murder 3 is most certainly not a film in hopeless freefall. Its lapses are at worst momentary.

Debutant director Vishesh Bhatt, son of producer Mukesh and nephew of writer Mahesh, does his very best to stamp his own style on the proceedings.

He succeeds up to a point, aided primarily by unblemished cinematography by Sunil Patel, a noteworthy background score by Raju Singh, and competent lead performances.

In the first half, Murder 3 is a bit like a haunted house drama. A sinister air hangs over the male protagonist's home and the new woman in his life is frightened out of her wits.

Unfortunately, the fear factor is never more than superficial and it rarely evokes a shudder.

The second half, devoted to the unravelling of the mystery of the missing lady, has a largely mechanical feel until the shock ending salvages the package.

With an actor like Randeep Hooda heading the cast, one thing that the audience can be absolutely sure of is a subtly modulated performance capable of restoring order amid the chaos.

Hooda may not yet possess the star power of an Emraan Hashmi – that is more a reflection on the Mumbai movie industry and the audience than on the actor himself – but is endowed with a smouldering screen presence that burns itself indelibly into the film’s texture.

He plunges into the cesspool of lies, jealousy and betrayal with the sort of effortless conviction that lends the drama a certain degree of firmness even as it wobbles through its many precarious lows.

Hooda is well complemented by an equally good Aditi Rao Hydari, who etches out a tormented woman with just the right measure of fire and brimstone. She conveys a wide range of emotions without having to break into a sweat.

Sara Loren, as the unwanted angle in the love triangle, pales a tad in comparison, but to her credit, rises above the limitations of the script even when only half a chance comes her way.

Murder 3 delivers no grand moments in terms of either style or substance. But the director makes a game effort to give the franchise a makeover, no matter how cosmetic it may appear.

Murder 3 announces the advent of a director who clearly has the chops to make infinitely better films.

New wine in an old bottle but not too bad.