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User talk:Shshshsh/Preity ZintaAn list of reviews Zinta received, including an analysis of what the majority view is, can be found on this page. Zinta is particularly known in the Indian media for her straightforwardness and forthright manner, and for her penchant for publicly speaking her mind, be it about her on-screen or off-screen life or raising a voice against any social injustice. Between 2006 and 2008 Zinta made three consecutive appearances at the Cannes Film Festival. At first she attended the 2006 Film Festival along with filmmaker Karan Johar to represent the Hindi film industry and promote Johar's then-forthcoming Kabhi Alvida Naa Kehna, which featured Zinta in a leading role.[1] For the next two years, she returned to Cannes as the brand ambassador of Chopard, the maker of luxury watches and jewellery.[2]
Zinta starred as Chand in ...., a young Punjabi woman who, post marriage to an Indo-Canadian, migrates to Toronto and finds herself a victim of domestic abuse. The film explored magical realism and mysticism through Chand's isolation and suffering, as a result of which she creates an alternative reality (escapes into a world of fantasy) of imagination to survive. she creates an alternative reality to survive and in order to create. As the film was to be shot entirely in Punjabi, a language that was totally alien to Zinta, she was required to learn it, which she did in a crash course of 50 days.[2]slaphinduinterview Deepa Zinta plays Chand, a young Punjabi woman who migrates to Toronto for an arranged marriage with an Indo-Canadian and becomes a victim of domestic abuse. The film follows Chand's isolation and suffering thorugh its depiction of Release and after: interviewthe star useful: [6][7][8][9][10][][][] Speaking of her hunger for "a new kind of acting challenge," Zinta described Mehta as one director she had been longing to work with. Zinta described Mehta as one director she had been longing to work with, expressing her belief that the film would fulfill her hunger for "a new kind of acting challenge." Zinta described Mehta as one director she had been longing to work with, particularly at a time when she was "hungering for a new kind of acting challenge." While some critics questioned the length of her role, with Nikhat Kazmi dismissing it as a "", The Indian Express... Zinta next starred in Samir Karnik's Heroes, a road movie about two final-year film students who, as a part of their assignment, travel a thousand miles across North India to deliver three un-posted letters written by army personnel who lost their lives during the 1999 Kargil war to their families. The story unfolds the journey of these students in three chapters and follows how they meet and are inspired by the by the familys of the soldiers. Zinta is featured in the first chapter as Salman Khan's war widow, Kuljeet Kaur, a woman who becomes the sole breadwinner of the family and single-handedly raises her son. In preperation for the role, Zinta attended Anupam Kher's acting school to learn the dialect and mannerisms of a Punjabi woman.[11][12][13][14]. She subsequently played a variety of character types; her film roles along with her screen persona have credited her with changing the image of a Hindi film heroine. She subsequently played a variety of character types; her film roles along with her screen persona contributed to a change in the concept of a Hindi film heroine. Follwed by a relatively low phase in her career and critically negative responses, Zinta, in an attempt to reinvent herself, turned towards art cinema in 2007.. These accomplishments... but were followed by several failures, but were followed by a relatively low phase, after a relatively low phase she got her first international film role .... These accomplishments have established her as a leading actress of Hindi cinema,[5][6] but were followed by several failures. After a relatively low phase, she started appearing in arthouse films, known in India as parallel cinema, in order to challenge her acting abilities. She played her first international film role was in the Canadian film Heaven on Earth, for which she was awarded the Silver Hugo Award for Best Actress at the 2008 Chicago International Film Festival.[7] These accomplishments established her as a leading actress of Hindi cinema, but were followed by a relatively low phase when a couple of her releases failed to do well. In an attempt to reinvent herself, she started appearing in arthouse films, known in India as parallel cinema. She played her first international film role was in the Canadian film Heaven on Earth, for which she was awarded the Silver Hugo Award for Best Actress at the 2008 Chicago International Film Festival. After taking a two-year break from movies, Zinta returned in 2012 with... Armaan. Zinta said her character helped/let her give vent to all her frustrations. [15][16] To do
HWOn her 34th birthday in January 2009, Zinta adopted 34 girls from the Mother Miracle orphanage in Rishikesh.[22] In Januray 2010, Zinta went to the US to attend a short management course at Harvard Business School in Boston. As part of the executive course, she studied negotiating and deal-making.[23] Rationale for fair use in Preity ZintaIt is believed this image is covered by the U.S. fair use laws because:
SRKKhan's film roles have ranged from psychopatic killers and obsessive lovers to comic and tragic characters to historical and literary figures to action heroes, but he has mostly been recognised for his roles in contemporary romantic dramas.[24][25] Known for his humorous nature and quick wit, Khan [26]
Khan's film roles have ranged from psychopatic killers and obsessive lovers to comic and tragic characters to historical and literary figures to action heroes, but he has mostly been recognised for his roles in contemporary romantic dramas. For his early portrayals of several negative characters, Khan was credited with introducing a new image for leading actors in Hindi films and paving the way for other actors to play parts of this sort. His proceeding features, however, saw him play mostly romantic heroes, which remain his most popular. Khan is known in the media for his humorous nature and sharp, quick wit, features which have also contributed to his screen persona and been considered his trademark style. Though lauded for his charismatic personality, he has been the subject of considerable criticism, often accused of repeating himself and overacting. ShabanaAzmi is an Indian actress of film, television and theatre. She is one of the leading actresses of parallel cinema,[3][4] and her performances in films in a variety of genres have generally earned her praises and awards including five wins of National Film Award for Best Actress.[3][5] In addition to acting, Azmi is a noted social activist. She is married to Indian poet Javed Akhtar. KendalKendal's film appearances were few; she appeared in a total of six films: two American productions (), three Indian (), and one British film (). She played British women in her films, though all of them centered around and took place in India. Kendal's film roles were received well, but her most applauded work was in ""'s "", for which she was awarded a ... and was nominated for a .... KajolIndia today Sapnay interview director DKNasir Husain was like one big picnic - "Forking in Manzil Manzil 'for Nasir Husain was like one big picnic. But I am not my best in these routine song-and- dance kind of roles. I don't feel very comfortable. Sunny, as a co-star, didn't react to me at all for two days. Initially, we discussed even our kissing scene very technically." "Basically, acting today has boiled down to overacting. And you can't always prevent this. The directors push you till you do it their way. But I have come to the conclusion that they are right. For instance, I thought I was ugh in Insaniyat Ke Dush- man but the film is a hit and a dance which is a source of embarrassment to me has the audience whistling furiously! I've received maximum fan mail for this film, in which I thought I spoke my lines like I'm ready to take the next flight out. There was not even the semblance of a performance. But ultimately, the director proved to be right. I was wrong. Raj Kumar Kohli has taught me to be loud with conviction. This was missing from my performance earlier." "A friend of Ramesh Sippy who was also a friend of mine knew that I wanted to act again. He conveyed my desire to Ramesh who then wove a story around me. Maria was conceived with me in mind. The decision to act again rose from a desire to prove to myself that I was not a failure. I wanted to know whether I was capable of being an actress. Also, I had to earn, though this was not uppermost in my mind at the time. Ramesh Sippy first took a screen test. I was shivering, literally shivering, when I gave this test. I thought that that was the end of my career, that I'd never be able to make it as an actress again. And everybody who saw the screen test thought Ramesh Sippy had gone mad to sign me. They thought I looked disastrous. I don't know how he had the confidence to sign me, I really don't know. But he was another perfectionist." "I signed films like Pataal Bhairavi because they were paying me very well. Really excellent money. The southern productions did me in totally. With them only quantity matters, quality is irrelevant. I shudder even now when I think of those films. As an artiste I got totally corrupted. But I would sign such a film even today if the money is good. But I would sign such a film even today if the money is good. I have established myself as an actress, so such films won't damage my reputation as an artiste. A film for which I got tremendous critical acclaim was Aitbaar. But when shooting for this film I was a bag of nerves. This worked to my advantage as it lent my performance the right shade of tautness, without my realising it. As a director, Mukul Anand let me do exactly what I wanted to. He is very easily satisfied, hardly asks for retakes. Half the time I didn't know what I was doing but this confusion worked for the character. I knew what she was. She loved her husband immensely — partly I identified with her — but was unable to get his love. Her confidence was zero, like mine." "After three years of near-frustration in my career, I bagged Mahesh Bhatt's film Kaash. This film changed my whole outlook. After all those professional brickbats, when Mahesh asked me to do his film I think I got one of the biggest highs of my career. Working for Mahesh has been the most satisfying phase in my entire career as an actress. If I can imbibe even 25 per cent of what he has taught me, I feel I will be made as an artiste. Kaash is a film I empathise with. "Iam sure we are going to produce even better results' in this film because now we are very comfortable with each other. We understand each other. Nineteen eighty-six was for me a good year. Apart from having the satisfaction of acting. Apart from having the satisfaction of acting in films like Kaash, I finally got the sweet taste of commercial success with films like I nsa niv.it Ke Dushman doing well at the box office. People may question the validity of my doing these films but I have now come to terms with them. The grand finale of '86 was the Filmfare award for Saagar. I think all my efforts were vindicated. Years of hard labour finally got their reward. My past is now firmly behind me. My today is so beautiful 1 can't ask for anything more, can I? I have two lovely children, a fantastic lover..."
KSSKonkona Sen Sharma (Bengali: কঙ্কনা সেন শর্মা Kôngkôna Shen Shôrma; born 3 December 1979) is an Indian actress. She is the daughter of actress and filmmaker Aparna Sen. Acknowledged as one of the talented actresses in India, Sharma appears primarily in Indian arthouse and independent films, and her achievements in the genre have established her as one of the leading actresses of contemporary parallel cinema. Making her debut as a child artist in the film Indira (1983), Sharma debuted as an adult in the Bengali thriller Ek Je Aachhe Kanya (2000). She first gained attention with the English-language film Mr. and Mrs. Iyer (2002), which was directed by her mother, and received the National Film Award for Best Actress for her performance in the film. Her appearance in the drama Page 3 (2005), her first Hindi film, got her wider recognition from audiences, and she has since starred in a number of Hindi, English and Bengali films, most of which have garnered her critical praise rather than commercial success. (maybe "These films include) Her performances in 15 Park Avenue and Dosar met with acclaim, and she (S was noted/earned reviews for her performances in 15 Park Avenue and Dosar and) won two consecutive Filmfare Awards for Best Supporting Actress for her performances in Omkara (2006) and Life in a... Metro (2007), respectively. Her performance in the former won her a second National Award under the Best Supporting Actress category. Her later film projects include leading roles in mainstream Hindi films such as LBC and WUS, and Iti Mrinalini, directed by her mother. ... misc: Koirala is mostly recognised for her acting prowess, and while most of her films have not done well commercially, critics have noted... NutanNutan (Marathi: नूतन) (4 June 1936 – 21 February 1991) was an Indian actress. She appeared in more than 70 Hindi films in a career spanning over four decades. Regarded as one of the finest female actors in the history of Hindi cinema,[6][7] Nutan was noted for playing unconventional parts, and her performances often received praise and accolades.[8] Nutan started her career at the age of 14 in the 1950 film Hamari Beti, directed by her mother Shobhna Samarth. She subsequently starred in such films as Nagina and Humlog (both 1951). Her role in Seema (1955) garnered her wider recognition and a Filmfare Award for Best Actress. She continued playing leading roles through the 1960s until the late 1970s and went on win the award on four other occasions for her roles in Sujata (1959), Bandini (1963), Milan (1967) and Main Tulsi Tere Aangan Ki (1978). Some of her other films of this period include Sone Ki Chidiya (1958), Anari (1959), Chhalia (1960), Tere Ghar Ke Saamne (1963), Saraswatichandra (1968), Anuraag (1972) and Saudagar (1973). In the 1980s, Nutan started playing character roles and continued working until shortly before her death. She portrayed mostly motherly roles in such films as Saajan Ki Saheli (1981), Meri Jung (1985) and Naam (1986). Her performance in Meri Jung earned her a sixth and last Filmfare Award, this time in the Best Supporting Actress category. Nutan holds the record of five wins of the Best Actress Award at Filmfare, which was held only by her for over 30 years until it was matched by her niece Kajol in 2011; she is overall the most-awarded actress in the female acting categories at Filmfare, with six awards alongside Jaya Bachchan.[9] Nutan was married to filmmaker Rajnish Behl from 1959. She died of cancer in 1991. Her son, Mohnish Behl is a character actor in Hindi films.
ReviewsJPKHH - [30] Chachi 420 - [31] Aflatoon - [32] PKTDK Khalid [33] PTHHT [35] Zakhm [36] Raveena Shool Zubeidaa HT fire DH
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