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- Duration: 4:03
- Updated: 04 Jul 2013
- published: 30 Oct 2012
- views: 156110
- author: Pik As
Love built this passion
Wrath wrought it strong
Know your place, noble one
Go harvest Babylon
Can't hold down this cardinal pain
cannot bear this searing flame
Hate myself raging mad
fear myself as my day turns black
"Can you imagine how it feels
when I come to you
Can you imagine how it feels
when I'm unleashed, when I'm pure"
it's the spirit of necrofilian age
to praise lifeless to praise decay
broke my rapture took away the pain
turned to lifeless, wicked, lame
"Can you imagine how it feels
when I come to you
Can you imagine how it feels
when I'm unleashed, when I'm pure"
So pure...
Rejoice you men!!!
"Why so soft,
O' my brothers...
So pliend and yelding... how can you one day triumph with me..."
Rejoice in sweet submission of murder, of conceit
How can you ever triumph with me?!?!
I'd rather be wretced and broken
Than join into your fraudulent joy
I'd rather leave my will unspoken
Than stain it in your sick vaudeville
Petrified spirits, oblivion of past
Vulnerable whisper, cheap kiss for a second
Thought
Unchained,
Unpredictably
Drifting
Wider
Spaces,
Beyond
Limitations
Spirit
Did I hear that Voice
or was it just a hallucination?
And what about those Shapes (Allies)....
For fourteen Days I haven't slept
Still my Shadow the secret of my life kept
By going through a long period of Depression
I reached a permanent state of enlightment
I'm the Master above you bunch of slaves
I'm the Demiurge, creator of this universe
Master of not-doing
I, myself not fooling
The God of not-being
Everything as it is seeing
Near my death I saw
the white Gate of Death calling
There I didn't fall in
Let Self die
Loosen Souls Dimension
In craving for the second sight
I possess the privilege of pain
perpetual motion of perpetual unrest
never ending search for the innermost ring
realms where you're a dweller
are sacredness beyond belief
ecstasy of purifying flame
once mortal flesh now divine
"worship me you loathsome ones
untouchable is the unholy one
wolflike vigour of bearsome mind
ecstasy beyond your serpent tongues"
Blind men of saturated age
praise tradition of fraudulent faith
I never shook the wolf off me
never forsake the lion within
In craving for the second sight
I possess the privilege of pain
perpetual motion of perpetual unrest
never ending search for the innermost ring
realms where you're a dweller
are sacredness beyond belief
ecstasy of purifying flame
once mortal flesh now divine
It's the ring of the Lupus
and I'm within
howling with brother kyon
to Sirius and beyond
Nile drawn in the velvet of skies
in the sign of Dragon
We'll all pass thru' the gate
on the golden ring of Saturn
On a journey to a Mother star
to the shores of primeval sea
No lord no other than mine. No me without my lord
Out of lord deliverance. Deliverance of Golden Cage
No evil not without lust. No lust not without need
No need without fear. Out of terror gods breed.
No rest for the one that seeks!!!
Is it Hope? Is it Fear that drives me?
Wicked are the weak in their meekness
And Hope - the evil they adhere to
No rest for the one that seeks!!!
Desperate one - haunted me!
No rest for Seeker! So many souls to skin!!!
No Evil without Lust. No Lust without Need
No Need without Fear. Soul skinner fear within
Fear of Truth - Mother of Deception,
deception - Father of Lies
Brothers of Mischief - Brothers of Lie -
Dream of Reason - Triumph of Will
"Thus Spake Elektra. In the Heart of Darkness. Under the Sun of Torment.
To the Capitals of the World. In the Name of the Victims.
I Shall Push Out All Seed I Have Taken Within Me.
I Shall Turn the Milk of My Breasts to Deadly Venom.
I Shall Take Back the World I Gave Birth to.
Suffocate the World between My Thighs. Bury It to My Shame.
Down with the Bliss of Submission. Long Live Wrath, Contempt, Mutiny, Death.
When a Woman Walks Across the Bedroom.
With Butcher's Knife in Her Hand, Then You Shall Know The Truth".
(According to Heiner Muller, slightly modified
I searched You there
in the reek of the night
In my hour of need
You bereaved me of thy consolation
Mercy I sought I never found in you
Where were you!?!?!
Prayed for You in my plight
Lonely roaming In search of you
You turned the Lion loose into the Night
On the back of the Pale
He loves me like a beast loves its prey
I'm only passing thru'
no one may stay
Ride cowboy, Ride, for one last time
The Lion is on the loose
Five days travelled
Wakened in the land of the black desert
Rotten corpses everywhere
Endless fields, rising fear
Endless fear
Moves me on
Time has gone
Past is here
Moonlight twists my mind
Perfect silence surrounds me
Dreams turn to nightmares
The black walls of death
Ritual of horrid monsters
The cult of the evil or your sick imagination
Fear - Pain - Darkness
On the altar under the sun
You may believe though he'll never come
Across the emptiness
To soothe your loneliness
To fill the hearts so hollow
To ease the seeking souls
On a rock under the sun
You may believe though
They'll never come
Across the emptiness
To soothe your loneliness
To fill the hearts so hollow
To ease the seeking souls
In here somewhere
Turning and turning again
Idols in the making
We're not the ends of everything
In here nowhere
Turning and turning again
A spirit in time
A soul craving to be recognised
Forever wrecked on the shores of solitude
The rapture of the sun the calm of the moon
On the edge of emptiness
Once meaningful is meaningless
One wonderous beast no more no less
How I wish
That all those gentle words
Would pour out of my lips
How my sincere thoughts
Would tenderly capture
Your yet clear mind
How my strong arms
Would carry you thru
All those dim valleys
Hear me, hear me
Try to stay away
I'm to be your doom
Oh how I wish
I was the one
I used to know
No reason for you to wither
With my wicked hollow soul
Still the memory of what we had
Will always be with me
For your beloved place
Sweet kiss of Hemp
l want to be eternally dazed
Forever and ever and ever
Sweet Lady Babylon
In lips She is Sweet
Of Spirit of Venus...
I feel my dream is so deep
Shout to the wind and let
Lady Babylon touch yourself
Who can be right and who can be wrong
How the time hunts your life
Great secret is going to
Ruin your consciousness
Grey beauties of my sleep
Reaching for better tomorrow
Crying the deeds of yesterday
Taking me into lockers of my dreams
Shining water's wild song
Towards the Seas of Chance
Sitting on a shore
Letting the chance come over
l see all thoughts Veiled dark
And the eyes behind the veil
Reflection of my face
Like the surface of dark lake.
Shadows of my nightmares I left back
Let us fly to the rain
As if it was easy
Exciting kiss of art
Runs through emotions
To the land of truth
From one delight to another
Purest in him is the urge to kill
A secret dream, a supressed will
In the night of the mind
The beast still howls
Calling him into the deepest night
Into the deepest night
Above the pits of woe
Shines himself the morningstar
Gives him the urge, gives him the might
To darkest wonders, to darkest arts
True prowess, fulfillment as man
Devours the one to become one
Takes to not to be taken
Whoever that takes shall be given
From the distant lakes to a gloomy dream
Friends of cosmos dive into the sea of worlds
Last ray of sunlight disappears and ritual begins
Shadows of the arctic mountain surrounds primitive people
Excited rhythm becomes absorbed by the shaman
Extreme suitability of emotional and instinctual forces
Wisdom of silence
Stillness of the dark
From self to cosmos
There are worlds beyond imagination
Worlds in space, aeons so strange
Honoured ancestors, the noble,
the mighty, the wise of the earth
We shall overcome the doctrine
of the demented nazarene
For the law of the strong
Water gives a sigh
My hair seems to be seized by the wind
But I must continue this trip never looking back
Whirl absorbed, water gives a sigh
Through's are reserved, water is darkening
Gray blow is my home
Nice weather was, is and will be today
Now I'll transpire, gray blow is my home
Still I am doomed to be in this walls of myself
They prevent my words
Master taught me taught me well
To read the heavens the signs of sky
To know the Earth to know the Air
To see things already there
Found my way thru' turmoil of times
A covenant made shine or decay
After god now free
In rapture?
In harmony?
The infidel indulge in greed
Rotten blossoms of rotten seed
After god now free Leviathan?
Harmony?
After god painless shame
Of vulgar hordes greed enthroned
After god
Mother unveiled
Mysterious beauty now in shame
Search for rest one peaceful place
Calm between light and shade
Somewhere in two-light world
The inner circle of hell
Here lies
Pathetic, shameless
Whole depth of emptiness
After god we're lost
(Blissmaster's Ball in the Hall of Twilight) opus 36, Bb-minor
And the visionary paints
black on black grey on grey
it's sad farewell and chronos won't wait
never to return to your dustbound shrine
all that you gathered buys you no time
spirit of unrest fear of the sublime
grave mystery of mortal's life
in the end will the spirit ever rise?
If freedom becomes your dungeon
reach deep within yourself
for the soul of hidden erotic
to set self recklessly free
for who's right and who's wrong
in a merry-go-round of passion
in the House of Truth and Lie
only fear of self annihilates the soul
Touch and like a torch I'll burn
cast upon your endlessness
lightning moment of rapture
my hour of passion and grace
joyfully I shall perish
in longing for your bliss
All those minor deaths I've died
All those times I've rested
weary upon your eternity
exhausted by your tenderness
flame of lust extinguished in the ocean of love
Here is the wisdom: life is coming and going
and becoming of the ones into one
When essence cast's shadow to see the ground,
Colours mix in hallucinations
I see a tree on a hill
It asks "Are you ready to become physically hardened?"
The answer includes a question
I experience things in it's entirety
Not as one after another
This vision is possessed by autumn
Oh, beauteous one Goddess of all men
She has a violent craving for me
I'm the minister of enraged copulation
Supporter of violent passion
I grew out of childlike anima to find
True personal love
Is it me who has Covetous Glance ?
Think Clearly with no forbidden thoughts
Everything is acceptable
Your animus is personification
of Dream Warrior
With four Left Hand Path symbols
"Come o lonely warrior or drown"
...Her divine body clothed with pleasure
"Come..."I watch Her charm with delight
Together we raise the veil of shadow
Two subjects, one will connect to Cosmos
I am the woman and you are the man
Covetous Glance
Opium Odor
Lyrics by Jarkko Toivonen
The day was clear
Unknown feeling
You wake up and time stops
You leave your body
New dimension under sun
Leave earth far behind
Only in dreams you see it
Alone...
Spectrum through you
Bombastic experience
What you see you can't believe
Echo from universe
View disappeared
Now you're alone
This is twilight
See ultimate things
I'm the masters apprentice
Time of earth has ended
O'youth seek not others
for you're seeking hell
waste not young life in vain
Sight of flesh so tender
only brings heartache and pain
It's all mirage in desert of vanity
"O'youth seek not others
but yourself - Seek well!
Only silence may reveal true warriors heart"
Seek not - be one to be sought for
whatever is brought to you - you take
"Never thank for pleasures not asked for"
In solitude the strong shall flourish
In bloom is loner's heart
Envy not others - it's their part
O'youth take my word
true wisdom is voice of tranquil heart
Those restless in youth are never truly born
Sitting still in circle of time
watching days to break, moons to rise
Alive - still yet to be born
With my Ally I'll return - Newborn!
"Dream my earthly child dream
The eagle and the serpent
will guard your sleep"
Riding with the drum
flying on the whirling wind
on the crest of clouds
the worlds where I'm the Dweller
I'm trying to visualize the dream where Gadrel stands tall
Gaze bends in purple wind
My emotions come slower
Sight of my experience arrived!
Power of storms shows the vision
Covering the past
Call of attractive genius
Return to my everlasting consciousness
The consequence of needlessness is direct and dominating
The dream needs the one to escort the self through every essentiality
Ideal self: creative and lunatic
Real self: multicoloured
Oh, come to my dream Lilith
Was it the wind or whispers of mind
lnside me
Rumble of thunder eating my soul
In a distance
Storms and earthquakes finally begin
Closing fast
Bolt of lightning lights up the sky
Confused minds begging for mercy
Darkness surrounds this unreal world
Horizon alters red, it sparks blood
and all burns
Black shadow in the sky once was the sun
Goddess of Air makes us scream with fear
The voice of crying wind heralding the end
Blood in the sky...
Light and shadow join each other...
At last comes silence
New days dawn, all begins again
Wind is crying
I feel the power, power of death
Growing fast
Is this the wind or a whisper of god
I'm inside of giant arche hydra
Lord of dreams passed me here
this warm slime - realm of fear
There's only one solution, use explosives,
Detonate the way out
I failed, rabid stream of worms covers me
Horrible lifeforms, I can't stand it
Oxygen is running out, I can't breath
My thoughts are slowly fading away
I sail trough colossal visions
Visions of other dimensions
Beautiful trip through eternity
I travelled through everything
Forbidden side of the universe
Earthly limitations disappeared
Strange hymn, echoing softly
Rhyme from transspace
Malformation past, present, future
I have unchained this desecrated trinity
This is my release to all lifeforms
World has melted into flow of thoughts
Secret hopes are hidden inside my maelstrom
Pale face in the depths of reality
For ever and ever, Life's a stroll in minor key
Sympathy of cosmic powers
Rest in the arms of sky
Self-sacrificing volition
Lost into chasm of lies
Burned into collective trance
Flagrant embrance of timeless dance
Burned into collective trance
Flagrant embrance of forgotten land
In the rapture of night
The wind is blowing thru' the head
Looks blindly lashing
Deadly shapes take their final step
Rapacious dawn
Sends night into damnation
To face itself, to born to die
To feel its spirit, to discern a world
When truth turns its head
Karma retires into its face
When truth turns its head
Silence is only what you can say
When truth turns its head
End of civilisation
When truth turns its head
I feel madness in here!
Religious zealots are psychotic cowards
They blindly believe in the tyrant god,
new aeon coming
Depth ever deepening, darkness darkening still
Folly for wisdom, quilt for innocence
Anguish for rapture and hope for despair
My mind opened, I came into being
I can see in the dark
Huge creature following me
Lightning and vibration of scene
The heritage of the brotherhood
I remember only a shape of colour
Slowly goes the night
On earth surrounds darkness
From space moonlight throws back
And clearly no one is no one in here
Somewhere outside of circle, questions, whispers
This is my place, I know, strange power
I must continue my trip eastern, hail
Fire: Strongest of everything
Air: And the whispers will be
Earth: The seal of destiny
To a big circle arrived I
But why? I don't know
I look: But I can't see
I listen: But I can't hear
I sniff: But I can't smell
The lightning from the deserted sky
I'm one of them
(I see) Flagstones surrounding me
(I hear) Screams fill my mind
(I smell) Stench of Ishtar
Blow from abyss,
struggle of soul, blood from sacrifice
Harmony of power,
materialism is lost souls win
I had rejected everything, except myself,
No prayer, no god
You arrived to valley
of Endless black memories
Bloodlust starts
You notice the smell of death
Time may end, serenade will start
Procession of Black Doom
Dark shadows swallow you
Review to reality
Exclamation breaks
Fog has descended
You feel the power of
Allies of eagle
You will loose your mind
Second attention
Is too much for you
Without the Nagual
Death will Pay
I looked thru misty eyes of future
Warped truth of plastic culture
Sublime thoughts barred into black concrete
Technical suicide tragicomic it will be
Petrified spirits
Oblivion of past
Vulnerable whisper
Cheap kiss for a second
Envy brings the cause
Blindness executes
Drive has its weapons
In playground of power
Echo of deep emotions split the paradox
Touch of speaking nature is it lost?
Candels of wasted life well burning
Questions of blazing consciousness calling
Glance carves visions of eternity
Meaning rides on the crest of dreams
Tomorrow caressing the waves of the universe
From my past into the river of depression
Fatefull numbers caught around my way
Mutilating my past through eternity
Life is like a chinky steel ...
Twisted branch of my life feed my pain
I protect myself behind others dreams
Artistic analyse of cruel fate
Equilibrium on the stairs of past
Stairs painted by blood of my heart
Fury lightning inside my head
I'm turning towards mysteries of originality
The way is blocked by sorrow
I'm looking into the room of emptiness
Heroine is locked inside the casket of oblivion
Time forgot me in the Circle of Shadows
Neverending Way
Neverending Day
Like wept mother, so wept son
entered the world not welcomed
tears shed in pain never dry
all my days I behold her cry
"Nothing you say
worth hearing
All that you do
brings me back to you
The absence of love I'm sensing
Is it me is it you
makes me bitter makes me hate
And I hate
AND I HATE!!!"
Sucked not love but bitterness
in her arms out of her breast
As the black world fell apart
fear built house in an unborn heart
Wise is the one who dares to hear
Demons howling in his head
At the gate my allies come
Strike dead the evil ones
In wilderness...
Wolves howl me my lullaby
Crow shrieks a fairy tale
Owl speaks wise thoughts
in my head, in my sleep...
"dream my earthly child dream
the eagle and the serpent
will guard your sleep"
Out of the house across the yard
To the garden where memories are cast
seek beloved the dearest one
I see the gate I no longer run
Now drum is broken and hell is loose
In a tree of wisdom they put a noose
Chaos I Breath it's my last sigh
Stop fooling me, Stop teasing me
I’m dangerous
Just let me be, just set me free
I’m dangerous (so dangerous)
Don’t think we’ll go very far, I know what kind of boy you are
Chorus
I will never love you never be your toy
You wicked boy (wicked wicked boy)
I will never love you never jump for joy
You wicked boy
Na,na,na,na
Your’e a wicked, wicked boy
Na,na,na,na
Your’e a wicked, wicked boy
Quit stalking me, quit calling me
I’m treacherous
Get off my back, get back on track
I’m treacherous (so treacherous)
You really are quite bizarre, I know what kind of boy you are
Chorus. (+ Your’ea wicked, wicked, wicked, wicked boy)
I will never love you, never love you
Don’t cry for more
I will never love you, never love you
Don’t cry for more
Na,na,na,na
Don’t cry for more
Na,na,na,na
Don’t cry for more
You said; "Don't get me wrong
I'm kinda hard
But this love will make you strong
(And) For that, you will thank me later
Knowing I was, right all along"
Chorus
Sorry doesn’t make it right to say
Anything and all you like to tell me
Sorry doesn’t mean it is OK
For you to give (me) what could be
Something painful I can do without
I don’t even know what it’s about
Sorry doesn’t take you all the way
(I’m) sorry but I will not stay
(I) never, told you my fear
(I) was too afraid
Never showed a single tear
I shed, 'cause you wouldn't hold me
Told me, things I wanted to hear
Chorus
All the things you said
All the bitterness
And all the things you did
Still I know I’m blessed
I don’t know where I’d be without you
Cause, I don’t know if I’d be someone true
I wanna say I forgive you
I want a day
That I can say that I lived through
(And) got around to
Live for the moment
Every second
Feeling the present
And every hour
Feelings are stronger
Not much longer
Knowing what I know
I let the hate go
(And) feeling the love grow
Just like water flow
(But) still, I’m, sorry for your words
Chorus
That I never wanna hear you say
All the things you like to tell me
(And) Words doesn’t mean it is okey
For you to give what could be
Something painful I can do without
I don’t even know what it’s about
Words doesn’t take you all the way
(I’m) sorry but I will not stay
Boy, you´ve got the hopes and wishes for tonight
written in your eyes
Don't speak, I won't hear, the music is so high
don't even try
Just get your cute ass over here
and move with me
can you feel the music
and the romance
you really get to know me
In the end it's all about how you dance
Yeah, you need to show me
you know how to do it slowly
Oh! Skip a beat now and take me for a ride
And don't be shy
yeah, I'm thinking you're dying to know if I want you
tell me don't you
So get your cute ass over here
Oh, I don’t wanna waste no more time of mine,
And I just cant take no more,
Oh, I had enough of contradictive lies and your foolish pride for sure,
Oh, every day you just do about anything only to get through your way,
Oh, there’s so many people like you that never change never learn from yesterday,
Ah, let me be the best I can, without you all up in my business and
Trying to tell me what to do, I don’t need no more people like you,
Trying to shake the ground I stand on, do whatever, I’ll still be holding on,
Chorus
I’m that girl that you talk about;
no matter where I go I’m the talk of the town,
I’m fed up, fed up, fed up,
I’m that babe that you love to hate,
no matter what you say I still won’t change,
I’m fed up, fed up, fed up…
Oh, Why you always have to be fake on me, and put up with a show,
Oh, cant you see you´re only wasting all the time, trying to mess up my flow,
Bridge + chorus…
Think again before you, come on strong and judge me to,
You don’t even know me, so why are you acting like you do
Think again before you, come on strong and judge me to,
You could never handle one day in my shoes
I feel convicted
You’ve got me addicted
Give me the injection
I need more protection
You’ve got my body and soul
Under control
There’s nothing to it
Just go ahead and do it
With you I’m so so seductive
Keep it coming, you make me go crazy
With you I’m so so attractive
Shake that ass, you’re bone lazy
With you I’m so so seductive
Like a devil, always malicious
With you I’m so so attractive
So delicious
Like I predicted
You’ve got me addicted
Passion, Restricted
I need more protection
You’ve got me melting like ice
No more candy just spice
There’s nothing to it
Just go ahead and shake it
Chorus
You bring nothing but confusion
Bad boys give a girl illusions
I go crazy when you call
OH OH it's quite erotic baby
OH OH the way you caught me baby
Rock it, roll it, squeeze it, tease it, touch it, swing it good
OH oh let's get a room baby
Shoot if you wanna honey shoot I'm above ya
Shoot cowboy and I´ll tell you I love ya
Chorus
From passion to crescendo back up my innuendo
Skip the pressure fling the shame let your mind flow
I lend you and keep you if the pleasure beats the pain am I insane ah
OH OH you think you hooked me baby
OH OH well I'm no rookie baby
Try to fool me, cheat me, cool me, love me, do me good
OH OH let's get a room baby
Smooth let me know you baby smooth just like I do
Smooth tough boy and I´ll tell you I love ya
Chorus
Never wanna tell you baby you're irresistible
Guess you're trying to get down with me yeah it's unfakeable
I'm not just a passenger babe I'm at the steering wheel
Let me down, Let me down so slow
I know why you need to let this go, little one
When she sinks she sinks so low.
I know why, you need to let this go
I am burning in my skin
Why? You need to let me in
I run through the night, afraid of all those sights
I relight the fires but you must put them out
The lights go down, it comes to me so close
I´m fallin´ down, but I need to let you know
and everyone when it hits, I know
I fold right up, but I need to let this go.
You need to let me know
I am burning in my skin
Why? You need to let me in
I run through the night, afraid of all those sights
I relight the fires but you must put them out
put them out
put them out
OUTRO
so deeply tucked away
pulled up again
so deeply tucked away
pulled up again
so deeply tucked away
Verse 1:
Come a little bit closer, you want to,
Touch me feel me, like I do you,
The only promise, I’ll ever make,
Truthful, honest, make no mistake,
Bridge:
The love I share with you will never change,
Because I love, I really love it,
Chorus:
You´re all over me, like I´m all over you,
I know we’re meant to be, there’s no doubt about it,
All my fantasies become reality, when you’re close to me
I can’t live without it,
Push it, push it,
Verse 2:
As we go on, can we believe,
To love each other, faithfully
The only promise, but not the least,
Truthful, honest, reality
Bridge:
The love I share with you will never change,
Because I love, I really love it,
The way I feel about it is just the same,
Because I want it, and now I’ve got it,
Stick:
You know, thinking about it, just want you close,
That’s the way it is, just you and me,
Chorus…
End chorus:
You know I really want it,
Like you I step right on it,
When you make me push on it,
You know I really want it,
Like you I step right on it,
Let me tell you a story 'bout this boy I met
With gentle moves he tried to get
my name and my number and my full address
Just to treat me right
He would buy me flowers
He would safely take me home
Put his arms around me
And make love to me all night long
And now were
Together and now youre
Here beside me and
Everything that I
Want is you
First night that I spent with you
Time stood still all around us
Feeling your presence all around
Never believed it could be you and me
Together but now you’re
Here beside me and
Everything that I
Want is you
Chorus
(I’ve) never met a boy like you before
So I’ll never let you go
Your’e the one that makes me feel so good
Were staying together
Keep it forever
(I) never knew a love like this before
And I pray that it stays for good
Your’e the one and only boy for me
So were staying together
(And) Keep it forever
Never felt so good with someone else but you baby
I know I can get it right this time
Never had a greater love than this my baby
Oh, oh, oh oh
Talk, talk, talk some real sense to me
Hey, hey, heard you were into me
You are, more my type
Take a chance tonight
I´ve got you where I want you
Love is not a question right now
Chorus:
I need a lover, not a friend
I need some time to make mistakes
I wanna just lure you and lure you and lure you in
I need a mystery indeed
I´ve gotta fill my own greed
I wanna just lure you and lure you and lure you in
Take a number and wait for me
Poor Boy, can't you just get the hint
Patience, wait in line
You ain't worth my time
I need a lover not a friend,
i need some time to make mistakes
i need some time to make mistakes
i need some time
i need some time
Bellydancer, belly bellydancer,
Stripteaser, strip- stripteaser.
Tell me what you like ´cause I like what I’m seeing though,
This is for my peeps in the club,
the super freaky chicks that´ll be teasing the thugs,
Who make them drop down to their knees on the rug,
saying please give me love
When they reach for a hug,
but we don’t give a fuck about that we keep dancing,
Unbutton the skirt and flirt with the handsome,
boy I can see you’re envying me,
Badgirls of the world like you and me
I know I´ve got that something, something,
that makes you wanna go bumping, bumping,
All night long, there’s nothing wrong, so baby
Me and my girls like clubbing, clubbing,
so ain’t no need to be frontin’, frontin’,
Bring it on, so bring it on, bring it on,
Step 1, better show that,
Step 2, better know that,
Step 3, Cut the games I ain’t looking for a player,
Step 4 Now you know that,
Step 5, are you ready so
5,4,3,2,1 come on-
Chorus:
If you want it come get it, watch me take my clothes off,
I know how to make you feel alright,
if you really really want it, come and get it,
you can look but don’t touch, when I tease you up,
I’m your extravaganza, gogodancer,
if you really really want it, come and get it,
Ain’t in it for some hugging, hugging,
All I want is some real good loving, you make me hot,
you make me wild, baby
Why don’t you come a little bit closer, closer,
I’ve been around, let me show ya, show ya,
how it’s done, I’m the only one, baby,
Step 1, better show that,
Step 2, better know that,
Step 3, Cut the games I ain’t looking for a player,
Step 4 Now you know that,
Step 5, are you ready so
I see you standing there, whispering to your friend
watching me in a way I directly understand.
I can see what you’re thinking and it looks good
If you want your fantasy to be real,
all you need to do is to get your ass over here.
I can see what you need
I need it to
Get it on, you have to give me some.
(On the carpet)
Get it on, don’t let me wait too long.
(Let’s get started)
Make it quick, flip me.
Shake my world, let us have some fun.
My time is ticking, you’d better take your chance.
Get it on boy, I see you want some action. Let us dance.
I can give what you need, I will do it good.
It’s getting late, time is almost out. Do it fast.
Hold me close, is the way that I suggest.
I can feel you now.
Can you feel me?
Get it on, you have to give me some.
(On the carpet)
Get it on, don’t let me wait too long.
(Let’s get started)
Make it quick, flip me.
Shake my world, let us have some fun.
Kiss me now
Kiss me now
Kiss me now
If you like it hot
Don’t stop
Come on, get on top
Would you like a piece of it?
Would you like to taste a bit?
Get into the mood
Get it right
Get it all tonight
Is it what you want baby?
This is what I want baby
(Lookin hot)
You’re right about that
(Don’t you stop)
Can you keep it up boy?
(Show me what you’ve got)
Just come and take me
(Get ready to rock)
Here we go
Chorus:
Don’t you waste a precious minute
Take me to the limit
Do you wanna feel me shiver?
You know I can deliver
Don’t you waste a precious minute
Take me to the limit
Do you wanna feel me shiver?
You know I can deliver
You make me shiver, yeah
You make me sh-sh-sh-shiver
You make me shiver, yeah
Wanna be my superstar
And shine
All the time?
Let me take good care of you
Let me steal a kiss or two
If you want to play with a pro
Get down
Feel the flow
I can make you toss and turn
I will rise from the dust of my past
I will run to you whose arms are open
The tears well up within me, to you alone I cry
With this life I've been so foolish
I have tried and I've fallen so short.
Im so far off I cant even see the end.
The tears well up within me
to you alone I cry.
We're loosing this battle,
we've forgotten why we're here.
Growing tired of running the wrong way.
When its dark and im tired let not my voice fail me, for there it is felt the most.
To you alone I cry.
We will answer in time and all I ask of you,
save me from this and i will follow after you.
The time for wallowing in self deceit has past, its time to remember the heights we once knew.
I am broken, I can't be found.
I am drowning in my own disbelief.
I am broken and torn,
I won't be found anymore.
I fear now my life has vanished from the earth.
I don't want to be alone anymore,
I'm crushed and broken on this floor.
I know you won't forget me, Lord.
Won't you come near and make me yours?
I have been found and there's no doubt of where my life will go from here.
I can't take back the words as I move forward again, I won't...
Don't leave me here tonight!
Please, just stay till morning.
I have been found and there's no doubt of where my life will go from here.
I am broken and torn, I won't be found anymore.
I fear now my life has vanished from the earth.
No more pain, free from shame, I am not forgotten.
I have been found, and there's no doubt of where my life will go from here.
Don't leave me here tonight!
Let there be light!
It is not myself.
You stubborn fool you will not open your eyes to see,
the light I have to give you life and to set you free!
I wish I could tell you everything you seem to know, but it won't mean a thing.
It's not myself, not of myself.
I cannot do this on my own.
It's not myself, not of myself.
I bow beneath your throne.
You will not survive (something life or death lol)
I wish you'd turn to the one who holds your every breath.
Open your eyes if you will!
Heal thyself, if you can!
It's not myself, not of myself.
I cannot do this on my own.
It's not myself, not of myself.
I bow beneath your throne.
This is your last chance, turn back, turn back.
This is all you have...Let it go, let it go!
Fall on your knees!
Bow down your head!
Now raise your voice, for here comes your...salvation!
(Absolutely nobody in the band but caleb know what he is saying here...)
He opened my eyes, now I see!
Sometimes I fail to see You or to hear Your voice,
how have I fallen so far this time?
Searching the seams for a tear, looking for my way,
This land has never been so dry.
Evil, evil, wretched me!
Who will save me from this body of my death?
I've come so far, it's been so long since I've found you've touched my life.
How could I have fallen so far, fallen so long...
Oh, save me! Oh God, save me!
I am drowning in my pain.
Oh God, save me!
(Only the pain of) being without you has invaded my soul and held me captive.
Where have You been so long, and how long till I'm free?
I cry out for you, do you hear me?
-Have I ever left you? Have I ever held you back from anything other than your own destruction?
I will rescue you, I will set you free.
Where have I been so long? Just turn around and see!-
(Dunno about this part)
Oh God, I'll never leave you. Oh God, I'll stand right by your side.
I will never stray from you.
When you're on your own
How long until you lose it
When you're on the run
How fast you gonna go
When you're in the rain
Who will give you shelter
When you need an answer
Who is gonna know..
You can't drag me down
You can't drag me down
You can't drag me down
You can't drag me down
I'm looking into your eyes one more time
Maybe somebody else to stand the line
I can feel your heart beat into mine it's a sign
You throw words like knives into me
Is this what our life is meant to be
It might be the time to set me free
You can't drag me down
You can't drag me down
Just too strong for you to beat me
You can't drag me down
You can't drag me down
Your words can't touch me now
You can't drag me down
You can't drag me down
Igniting energy surrounds me
You can't drag me down
You can't drag me down
When my feet don't touch the ground
You can't drag me DOWN!
You can't drag me down
Down down down down down
Down down down down down
Down down down down down
Down down down down down
Anil or Anıl may refer to:
This page or section lists people that share the same given name. If an internal link led you here, you may wish to change that link to point directly to the intended article. |
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2007) |
Anil Gupta (born 1974, UK) is a comedy writer and producer. He has produced many shows on radio and television including Goodness Gracious Me, the spoof chat show The Kumars at No. 42, The Office and Bromwell High.[1]. He wrote the Cinderella episode of the 2008 comedy drama series Fairy Tales and ElvenQuest.
This article about a writer or poet from the United Kingdom is a stub. You can help Wikipedia by expanding it. |
This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (October 2010) |
Anil Kapoor | |
---|---|
Anil Kapoor at the San Diego Comic Con in San Diego, California (24 July 2009) |
|
Born | [1] Chembur Mumbai, Maharashtra, India |
24 December 1959
Occupation | Actor, Producer |
Years active | 1979–present |
Spouse | Sunita Kapoor (1984–present) |
Children | Sonam Kapoor, Rhea Kapoor, Harshvardhan |
Parents | Surinder Kapoor (father) Nirmal (mother) |
Relatives | Boney Kapoor (brother) Sanjay Kapoor (brother) |
Anil Kapoor (Hindi: अनिल कपूर; Punjabi: ਅਨਿਲ ਕਪੂਰ; born 24 December 1959)[1] is an Indian actor, producer and director who has appeared in many Bollywood films and more recently international films.
He won his first Filmfare Award, in the Best Supporting Actor category, for his role in Yash Chopra's Mashaal (1984). Kapoor earned his first Filmfare Best Actor Award for his performance in N. Chandra's Tezaab (1988) and later again for his perfornance in Indra Kumar's Beta (1992). He also starred in many other critically and commercially successful films, including Woh Saat Din (1983), Meri Jung (1985), Janbaaz (1986), Karma (1986), Mr. India (1987), Virasat (1997) for which he won the Filmfare Critics Award for Best Actor, Biwi No.1 (1999), Taal (1999) for which he won his second Filmfare Best Supporting Actor Award, Pukar (2000) for which he won his first National Film Award for Best Actor, No Entry (2005), and Welcome (2007).[2]
Kapoor's first role in an international film was in Danny Boyle's 2008 Academy Award-winning film Slumdog Millionaire, for which he shared the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. His performance in the eighth season of the action series 24 generated rave reviews from the American press.[3][4] Globally, Anil Kapoor is one of the most recognised Indian actors.[5] He has also appeared in the 2011 film Mission: Impossible – Ghost Protocol.
Contents |
Anil Kapoor was born to film producer Surinder Kapoor and his wife Nirmal. He attended Our Lady of Perpetual Succour High School - Chembur, in the Chembur suburb of Mumbai, and then St. Xavier's College, Mumbai.[6] Kapoor's elder brother, Boney Kapoor, is a film producer, while younger brother, Sanjay Kapoor, is also an actor.
In 1984, he married Sunita Kapoor (née Bhambhani). He has two daughters and a son, Harshvardhan. Kapoor's elder daughter is actress Sonam Kapoor. Rhea Kapoor attended school in New York and is now a producer in Mumbai. He is a practicing and devout Hindu. He is a distant relative of Raj Kapoor. He grew up in Raj Kapoor's house with former Bollywood actor Rajiv Kapoor.[citation needed]
Kapoor made his Bollywood debut with Umesh Mehra's Hamare Tumhare (1979) in a supporting role. After a few minor roles in films such as Hum Paanch (1980) and Shakti (1982), he got his first leading role in the 1983 Hindi film, Woh Saat Din. Kapoor later tried acting in Tollywood and Sandalwood, and appeared in Bapu (artist)'s Telugu film Vamsa Vriksham and Mani Ratnam's Kannada debut film Pallavi Anu Pallavi released in 1983.
Next, he appeared in Yash Chopra's drama Mashaal (1984) as a tapori, for which he won his first Filmfare Award in the Best Supporting Actor category. His tapori persona and stubble look was considered unconventional at the time, but would later become more fashionable in India many years later.[7] Kapoor's 1985 releases included Yudh and Saaheb.
Going on to deliver huge commercial success with films like Meri Jung (1985), a career-defining role of an angry young lawyer fighting for justice, which eventually established Kapoor's credential as a mature actor and both audience and critics gave their thumbs up to his performance. Kapoor played a comic tapori in Karma (1986), the biggest hit of the year.[8] Also in 1986, Kapoor played the role of a care free playboy in the hit Janbaaz, costarring Feroz Khan.[9][10] Kapoor's other release of 1986 Insaaf Ki Awaaz was a box office hit.[11] In the same year Basu Chatterjee directed Chameli Ki Shaadi and he displayed his crackling flare in comedy.[12]
Kapoor generated wide applause from audience of all walks of life for his title role in Shekhar Kapur's sci-fi film Mr. India (1987), the biggest hit of the year.[13] The film became one of his biggest box office hits and shot him to superstar status.[14] Anil kapoor was equally impressive in Mahesh Bhatt directed film Thikana.[15] In 1988, he was rewarded with his first Filmfare Best Actor Award for his rivetting performance in the hit film, Tezaab, the biggest blockbuster of 1988.[16] Anil proved to be the only saving grace even in flops like Ram-Avtar.[17] The following year he delivered more mega commercial and critical successes with Ram Lakhan (which became the second highest box office earner of 1989)[18] and the audience went berserk with the song One Two Ka Four. In the highly acclaimed film Parinda, Kapoor played his role with conviction, and his biggest achievement was displaying the vulnerability of his character so perfectly.[19] In Rakhwala, Kapoor played a tapori again and the film was declared a success.[14][20] Kapoor excelled in his eccentric portrayal of an autistic person in the 1989 hit, Eeshwar and this film proved his versatility as an actor.[21]
The year 1990 saw him play a dual role, as twin brothers in the highly successful Kishen Kanhaiya and in the same year he further attained reasonable box office success with Ghar Ho To Aisa.[22] Kapoor came up with a critically acclaimed performance in Awaargi. Many critics called that his best performance ever.[23] This was followed by a restrained yet striking performance as a middle age man in Yash Chopra's romantic drama Lamhe, a landmark film of Indian cinema and Yash Chopra's best work to date. It was the first film in which he appeared without a moustache. Although the film was a box office failure in India, it proved to be a success overseas. Kapoor's 1991 release, Benaam Badshaah was accorded above average status at the ticket window.[24]
In 1992, Kapoor received his second Filmfare Best Actor Award for his hard-hitting performance in Indra Kumar's Beta — the biggest blockbuster of the year — opposite Madhuri Dixit.[25] Kapoor was highly impressive with his comic act in Khel and his comic timing was one of the highlights of the film.[26] In 1993, Boney Kapoor's much delayed mega-budget, Roop Ki Rani Choron Ka Raja was a disaster at the box office and damaged Kapoor's reputation as the industry's biggest star at the time. The only major success in these years was Laadla with Sridevi, a film produced by Nitin Manmohan.[27] Kapoor gave a splendid performance as a simpleton lover in the hit musical 1942: A Love Story. His 1995 release, Trimurti (film) was a box office disaster, though Kapoor's performance was creditable.[28] Kapoor came up with a decent performance in the average performer Gharwali Bharwali.[29]
After a few box office failures, he had box office success with films like Loafer (1996),.[30] In Judaai, Kapoor's depiction of a loving husband twisted between his two wives was appreciated and this film fared well at the box office.[31] Deewana Mastana (1997), Biwi No.1 (1999) and Hum Aapke Dil Mein Rehte Hain (1999) were box office hits.[32] Kapoor’s unusual characterization of a zealous, crooked musical superstar in Taal (1999) shocked both audience and critics alike.[33] He also won rave reviews for his superb performance in Virasat, a remake of the Tamil film, Thevar Magan (1992), in which Kamal Hassan had played Kapoor's role. He also starred in the unsuccessful Jhooth Bole Kauwa Kaate, which was legendary filmmaker Hrishikesh Mukherji's last commercial release, along with Juhi Chawla. He shaved his moustache once again for the film, in the second half, where he played actor Sajid Khan's wife and his delightful comic timing was a real treat to watch.
Kapoor's first release of 2000 was Bulandi (2000 film), in which he played a double role, showing restraint and maturity as the elder Thakur.[34] He won his first National Film Award in the Best Actor category for his role in Rajkumar Santoshi's critically acclaimed Pukar in 2000. Kapoor again tasted critical and commercial success with Hamara Dil Aapke Paas Hai in 2000.[35][36] Kapoor stole the show as Rajeev in the much delayed, Karobaar, a film directed by Rakesh Roshan, where Kapoor’s dialogue delivery was appreciated.[37] He delivered a powerhouse performance in Shanker's Nayak which is considered to be his best performance by many.[38][39][40][41]
In 2002, Kapoor gave an excellent performance in the role of a fat man in Badhaai Ho Badhaai, a takeoff from the Hollywood hit, Nutty Professor.[42][43] He notched up yet another glorious performance in the Indra Kumar directed film Rishtey.[44][45] In Om Jai Jagadish, he gave an amazing performance.[46] Kapoor shared the screen with Bollywood legend Amitabh Bachchan for the first time in Armaan, and underplayed his character of a neurosurgeon superbly.[47][48]
In his 2003 release, Calcutta Mail, he delivered one of his best performances. His character was defined with ample scope to perform in this screenplay-driven performance and in spite of the strong supporting cast, this really came out as Kapoor's one-man show.[49][50] He ignited the silver screen with an authoritative performance in Musafir.[51][52] Kapoor gave an incredibly restrained performance as the stricken husband in the thriller My Wife's Murder, which he also produced.[53][54][55][56] Anees Bazmee's super-hit comedy No Entry (2005), followed for Kapoor that year. The film went on to become the highest grossing film of the year.[57] He was also in the film Bewafaa, playing a rich businessman who is forced to marry the sister of his wife after she passes away in childbirth.
Kapoor played a grey character with finesse in the 2005 thriller, Chocolate.[58][59] Anil's first release of 2007 Salaam-e-Ishq: A Tribute to Love was a box office hit in overseas though a flop in India.[60] Anees Bazmee's Welcome, which released on 21 December 2007 and was declared the biggest success of the year.[61] Kapoor's understated performance in Subhash Ghai's Black and White was highly lauded.[62][63][64] His first release in 2008, Abbas Mustan's thriller, Race became a box office hit. Vijay Krishna Acharya's, Tashan marked Anil's comeback to Yash Raj Films but failed to do well at the box office.
His most recent films were his first English-language film, Slumdog Millionaire, which was released on 12 November 2008, and Yuvvraaj, which was released on 21 November 2008. Yuvvraaj, with Salman Khan and Katrina Kaif in the lead roles, failed to do well at the box office. On the other hand, Slumdog Millionaire has won a number of international awards and received rave reviews from critics, costing only US $15 million to produce, but pulling in more than $352 million worldwide. In January 2009, he attended the 66th Golden Globe Awards ceremony along with the team of Slumdog Millionaire, which won four Golden Globe Awards. Kapoor demonstrated his well-known enthusiasm after Slumdog won the Academy Award for Best Picture (one of eight awards). also received a nomination for Best Ensemble at the Black Reel Awards of 2008 and has won the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture.
In 2010, Kapoor starred in the eighth season of the American television series 24, portraying Omar Hassan, President of the fictional Islamic Republic of Kamistan. In October of that year he was cast to play a villain in both Mission: Impossible – Ghost Protocol (released in December 2011) and Power.[65] Power was to be directed by Rajkumar Santoshi but was shelved due to unknown reasons. Other projects that he currently has in the pipeline include Cities (a Hollywood project co-starring Clive Owen and Orlando Bloom), Mr. India 2, the sequel to No Entry, Priyadarshan's Tezz with Ajay Devgn, Race 2 and Sanjay Gupta's Shootout at Wadala. He has also signed Khiladi 786, that is scheduled to release during Diwali.[66]
In 2002, Kapoor produced his first film, the comedy Badhaai Ho Badhaai, in which he also starred in. It was followed by My Wife's Murder (2005), and Gandhi, My Father (2007). Gandhi, My Father focuses on the relationship between Mahatma Gandhi and his son Harilal Gandhi (2007) and was awarded the National Film Award - Special Jury Award / Special Mention (Feature Film). He produced the movie Shortkut: The con is on starring Akshaye Khanna and Arshad Warsi. In 2010, he produced the movie Aisha, starring his daughter Sonam Kapoor and Abhay Deol in the lead roles. The film performed moderately at the box office, grossing Rs. 15.50 crore in its theatrical run.[67] He has acquired the remake rights for the American TV success, 24, reportedly for an amount of INR 100 cr. It took him about 1.5 years to license the rights to create an Indian rendition of the popular TV show.[68] Kapoor will be stepping in the protagonist's (Jack Bauer) role as well. Kapoor played the role of President Hassan in the 8th season of the original series aired on Fox Network.
Anil Kapoor has on rare occasions contributed to the soundtracks of his movies, as a singer. One of his first playback songs was the title track of the 1986 Bollywood comedy Chameli Ki Shaadi. The song was comedic in nature and depicted the love story of the titular Chameli and her lover Charandas, played by Kapoor. Chameli was portrayed by Amrita Singh. In the same decade, he was credited on the song "Tere Bina Main Nahin Mere Bina Tu Nahin" for the film Woh Saat Din. He is also credited on the song "I Love You" from Hamara Dil Aapke Paas Hai. In 2008, Kapoor provided a rhyme-like-dialogue to introduce his character in Yashraj's Tashan. His theme was titled "Bhaiyaji ka Tashan". Interestingly, his co-stars in the movie also had their introductions incorporated in the soundtrack, which was composed by Vishal-Shekhar. Akshay Kumar 's theme was titled "Bachchan Pandey ka Tashan". Kareena Kapoor 's was "Pooja ka Tashan". Saif Ali Khan was credited for "Jimmy ka Tashan". he had one full album"WELCOME" as a co-singer with SALMA AGHA in 1986.the album was scored by BHAPPI LAHIRI.it is rollicking album which exemplifies his singing prowess.
Year | Film | Role | Other notes |
---|---|---|---|
1979 | Hamare Tumhare | Vipin | |
1980 | Ek Baar Kaho | ||
Hum Paanch | Cameo appearance | ||
Vamsa Vruksham | Telugu film | ||
1982 | Shakti | Ravi Kumar | |
1983 | Pallavi Anu Pallavi | Kannada film | |
Woh Saat Din | Prem Pratap Patailawale | ||
1984 | Mashaal | Raja | Winner, Filmfare Best Supporting Actor Award |
Andar Baahar | Raja | ||
Laila | Kumar Deshraj Singh | ||
Love Marriage | |||
1985 | Saaheb | Suni Sharma | |
Yudh | Public Prosecutor Avinash and Junior (Double Role) | ||
Mohabbat | Shekhar | ||
Meri Jung | Arun Verma | Nominated, Filmfare Best Actor Award | |
1986 | Kahan Kahan Se Guzar | ||
Pyaar Ka Sindoor | |||
Chameli Ki Shaadi | Charandas | ||
Aap Ke Saath | Vimal | ||
Janbaaz | Amar Singh | ||
Pyar Kiya Hai Pyar Karenge | Anand | ||
Karma | Johnny/Gyaneshwar | ||
Insaaf Ki Awaaz | |||
1987 | Itihaas | ||
Mr. India | Arun Verma/Mr. India | ||
Hifazat | Ram Kumar/Raj Kumar | ||
Thikana | Ravi | ||
1988 | Kasam | ||
Ram-Avtar | Avtar | ||
Vijay | Arjun | ||
Sone Pe Suhaaga | Ravi Kumar/Joginder | ||
Tezaab | Mahesh Deshmukh (Munna) | Winner, Filmfare Best Actor Award | |
Inteqam | |||
1989 | Ram Lakhan | Inspector Lakhan Pratap Singh | |
Joshilaay | Karan | ||
Eeshwar | Ishwarchand Vishnunath Brahmanand | Nominated, Filmfare Best Actor Award | |
Rakhwala | |||
Abhimanyu | Mannu/Abhimanyu America Puri /Abdul Jabbar |
||
Aag Se Khelenge | Inspector Ravi Saxena/Raja Saxena | ||
Kala Bazaar | Vijay | ||
Parinda | Karan | India's official entry to the Oscars | |
1990 | Awaargi | Azad | |
Kishen Kanhaiya | Double role Kishen/Kanhaiya | ||
Ghar Ho To Aisa | Amar | ||
Jeevan Ek Sangharsh | Karan | ||
Amba | Afzal | ||
Jamai Raja | Raja | ||
1991 | Jigarwala | Amar Singh | |
Benaam Badsha | Deepak | ||
Pratikar | Krishna Srivastav | ||
Lamhe | Virendra Kapoor (Viren) | Nominated, Filmfare Best Actor Award | |
1992 | Beta | Raju | Winner, Filmfare Best Actor Award |
Zindagi Ek Jua | Harikishan alias Harry | ||
Humlaa | Shiva | ||
Khel | Devdas/Arun Kumar | ||
Heer Ranjha | Deedho/Ranjha | ||
Apradhi | Shiva | ||
1993 | Roop Ki Rani Choron Ka Raja | Ramesh Verma/Romeo | |
Guru Dev | Guru (Gaurav) | ||
1994 | Laadla | Raju | |
Andaz | Ajay | ||
1942: A Love Story | Naren Singh | Nominated, Filmfare Best Actor Award | |
Mr. Azaad | Azaad | ||
1995 | Trimurti | Anand Singh/Sikander | Nominated, Filmfare Best Supporting Actor Award |
1996 | Rajkumar | Rajkumar | |
Loafer | Ravi Kumar | ||
Mr. Bechara | Anand Verma | ||
1997 | Judaai | Raj | |
Virasat | Shakti Thakur | Winner, Filmfare Critics Award for Best Actor Nominated, Filmfare Best Actor Award |
|
Deewana Mastana | Raj Kumar (Raja)/Inspector. Bansi Rao | ||
Chandralekha | Malayalam film, Cameo | ||
1998 | Kabhi Na Kabhi | Rajeshwar (alias Raja) | |
Gharwali Baharwali | Arun | ||
Jhooth Bole Kauwa Kaate | Shanker Sharma/Ramanuj | ||
1999 | Hum Aapke Dil Mein Rehte Hain | Vijay | |
Biwi No.1 | Lakhan | Nominated, Filmfare Best Comedian Award | |
Mann | Raj | Special appearance | |
Taal | Vikrant Kapoor | Winner, Filmfare Best Supporting Actor Award | |
2000 | Bulandi | Dharamraj "Dada" Thakur/Arjun Thakur | |
Pukar | Major Jaidev Rajvansh | Winner, National Film Award for Best Actor Nominated, Filmfare Best Actor Award |
|
Hamara Dil Aapke Paas Hai | Avinash | ||
Karobaar: The Business of Love | Rajiv | ||
2001 | Lajja | Raju | |
Nayak | Shivaji Rao Gaekwad | ||
2002 | Badhaai Ho Badhaai | Raja | |
Om Jai Jagadish | Om Batra | ||
Rishtey | Suraj Singh | ||
2003 | Armaan | Dr. Akash Sinha | |
Calcutta Mail | Avinash | ||
2004 | Musafir | Lucky | |
2005 | Bewafaa | Aditya Sahai | |
My Wife's Murder | Ravi Patwardhan | ||
No Entry | Kishen | Nominated, Filmfare Best Comedian Award | |
Chocolate | Advocate Krishan Pundit | ||
2006 | Humko Deewana Kar Gaye | Karan Oberoi | |
Darna Zaroori Hai | Karan Chopra | ||
2007 | Salaam-e-Ishq: A Tribute To Love | Vinay | |
Welcome | Sagar Pandey aka Majnu Bhai | Nominated, Filmfare Best Supporting Actor Award | |
2008 | My Name is Anthony Gonsalves | Himself | Cameo |
Black & White | Special appearance as Rajan Mathur | ||
Race | Inspector Robert D'Costa (R.D.) | ||
Tashan | Lakhan Singh Ballebaaz (Bhaiyyaji) | ||
Slumdog Millionaire | Prem Kumar | Winner, Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture | |
Yuvvraaj | Gyanesh Yuvvraaj | ||
2009 | Shortcut: The Con is on | Himself | Special appearance in song "Mareeze Mohabbat" |
Wanted | Himself | Special appearance in song Jalwa | |
2010 | 24 | Kamistan President Omar Hassan | Series Regular (Season 8) |
No Problem | Inspector Arjun Singh | ||
2011 | Mission: Impossible – Ghost Protocol | Brij Nath | |
2012 | Tezz | Arjun | Post-production |
Shootout at Wadala | Inspector Isaque Bagwan | Filming | |
Power | Balraj | Delayed/Halted | |
2013 | Race 2 | Inspector Robert D'Costa (R.D.) | Filming, (Releasing on January 25, 2013) |
Wikimedia Commons has media related to: Anil Kapoor |
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Dimple Kapadia | |
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Born | Dimple Chunnibhai Kapadia 8 June 1957 |
Occupation | Actress |
Years active | 1973; 1984–present |
Spouse | Rajesh Khanna (1973–1982) (separated) |
Children | Twinkle Khanna Rinke Khanna |
Dimple Chunnibhai Kapadia (born 8 June 1957)[1] is an Indian film actress. She made her acting debut at the age of 16, playing the title role in Raj Kapoor's teen romance Bobby (1973). In that same year she married Indian actor Rajesh Khanna, and retired from acting. Kapadia returned to the film industry in 1984 after her separation from Khanna. One of her films of that period include the drama Saagar (1985). Both films won her the Filmfare Award for Best Actress.[2]
Regarded as a sex symbol, Kapadia was keen to avoid being stereotyped and expand her range of acting roles.[3] She subsequently took on more serious parts in parallel films and received acclaim for her performances in such films as Kaash (1987), Drishti (1990), Lekin... (1990), and Rudaali (1993), which earned her a National Film Award for Best Actress and a Filmfare Critics Award for Best Actress.[4] She followed with supporting roles in Gardish (1993) and Krantiveer (1994), the latter of which garnered her a fourth Filmfare Award.
Kapadia continued working infrequently through the 1990s and the 2000s. She played a minor part in Dil Chahta Hai (2001) and was noted for her portrayal of the title role in the American production Leela (2002). Some of her later film credits include leading roles in Hum Kaun Hai? (2004), Pyaar Mein Twist (2005), Phir Kabhi (2008) and Tum Milo Toh Sahi (2010), and supporting roles in Being Cyrus (2005), Luck by Chance (2009), Dabangg (2010) and Patiala House (2011).
Kapadia is the mother of Twinkle Khanna and Rinke Khanna, both of whom had worked in films before settling down.
Contents |
Kapadia once said she had always had aspirations to become an actress when she was a child, calling herself "film-crazy".[5] She was discovered at age 13 by Raj Kapoor, who later introduced her in his 1973 teen romance Bobby. While the film was to be Kapoor's son Rishi Kapoor's first leading role, Kapadia was given the title role of Bobby Braganza, a middle-class Anglo-Indian Christian girl.[6] The story follows how Bobby falls in love with Raj (Rishi), the son of a wealthy businessman, and how the two face the disapproval of their parents. Bobby was a major mainstream and critical success, and Kapadia was lauded for her performance, which won her the Filmfare Award for Best Actress (tied with Jaya Bhaduri for Abhimaan). Several of her lines in the film became popular, particularly, "Mujhse dosti karoge?" ("Will you be my friend?").[6] In 2008, Rediff.com ranked her performance in the film as the fourth-best female debut of all-time in Hindi cinema: "An elfin little girl with big, lovely eyes, nobody quite portrayed innocence as memorably as Dimple in her first outing. She was candid, striking, and a true natural... here was a girl who would redefine glamour and grace, and make it look very, very easy indeed."[7] In later years Kapadia would credit Raj Kapoor for her development as an actress: "the sum total of me today as an actress, whatever I am, is Raj Kapoor."[5]
Following the success of the film, Kapadia's modern wardrobe and hairstyle in Bobby, consisting of "knotted polka-dotted blouse and earphone hairstyle", made her a youth fashion icon of the times.[6] Consequently polka-dotted dresses were often popularly referred to as "Bobby Print". V. S. Srinivasan noted, "the sensuous ingenue with her short skirts and the ill-concealed bosom had quite a few hearts thumping away faster."[8] According to Bhawana Somaaya of The Hindu, with this film Kapadia "started the trend of merchandising film memorabilia".[9] Mukesh Khosla of The Tribune reported that Bobby established her as a "cult figure" as she "dictated fashion trends during the time".[10]
By the time Bobby released, Kapadia had married actor Rajesh Khanna in March 1973 at the age of 16, and left the film industry to raise her children.[6]
After Kapadia's separation from Khanna in 1982, she was keen on returning to acting, which she ultimately did in 1984. She later cited her need to prove to herself her own capabilities.[5] The first film she worked on was Saagar, directed by Ramesh Sippy, after a common friend had notified Sippy about her willingness to come back to movies. She first performed a screen test, which according to her was very unsuccessful as she was extremely nervous and "literally shivering" while making it. To her surprise, Sippy ultimately signed her on to play the lead part opposite her Bobby co-star Rishi Kapoor.[5] Scripted with her in mind, the film was intended to be her comeback vehicle, but its one-year delay meant that several of her proceeding projects would be released before, the first of which was Zakhmi Sher (1984).[11] Saagar eventually premiered in August 1985 and was controversial for several scenes featuring Kapadia, including one scene in which she was seen topless for a split second.[12] The film was a critical success and was eventually chosen as India’s official entry to the Oscars that year. Kapadia's performance as Mona D'Silva, a young woman from Goa who is torn between her friend (Kamal Haasan) and the man she loves (Kapoor), won her a second Best Actress award at the Filmfare Awards. A review by Asiaweek labelled her "a delight".[13] Rediff.com noted, "Dimple, caught between a friend and lover, performed solidly and memorably, grounding the two male leads and making the film work."[2] A 1993 issue of India Today wrote, "Saagar was in many ways a paean to her incredible beauty. She looked ravishing: auburn hair, classical face, deep eyes, an aura of sensuality. It was clear she was back."[14]
In 1984 she had a role opposite Sunny Deol in Manzil Manzil, a drama directed by Nasir Hussain. She later said making the film was "one big picnic", though she expressed her lack of comfort performing the "routine song-and-dance" nature of the part.[5] Kapadia's first film of 1985 was Mukul Anand's Aitbaar, a Hitchcockian thriller for which she received positive reviews.[5] Speaking of her performance, she said that during shooting she was "a bag of nerves", which eventually ended up working "to my advantage as it lent my performance the right shade of tautness, without my realising it." Among other films released that year, Kapadia was paired up with Sunny Deol in Arjun, an action film directed by Rahul Rawail and scripted by Javed Akhtar.
Feroz Khan's Janbaaz (1986) told the story of a man fighting the drug menace. The film became known for its steamy love scene involving Kapadia and male lead Anil Kapoor, in which the two also shared a full on kiss, something Hindi movie-goers were not accustomed to in those days.[15] In that same year she acted opposite Saagar co-star Kamal Haasan in her first regional film, Vikram, a Tamil-language sci-fi feature. She played the minor part of Inimaasi, a young princess who falls for the title character, played by Haasan.[16] At that time, she also worked in numerous Hindi films made by producers from the South, including Pataal Bhairavi, which she detested. She has confessed to accepting these roles for financial gain rather than artistic merit during this period, noting, "I shudder even now when I think of those films. As an artiste I got totally corrupted."[5]
"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% of what he has taught me, I feel I will be made as an artiste."
In 1987, Kapadia starred in Mahesh Bhatt's drama Kaash. Kapadia and Jackie Shroff starred as an estranged couple who, during a relentless legal battle over the custody of their only son, learn that the boy is suffering from leukaemia, which makes them reunite to spend together the last months of his life. Before shooting began, she called it "the most serious artistic challenge I have ever faced in my career."[17] Bhatt said he decided to cast her in the role because he was aware of her own marital experience, and he noted that during the making of the film she "came closer and closer to the naked truth," so much that "after a certain point, mentally I couldn't differentiate between Dimple and Pooja. She became the character."[18] Kapadia's performance as Pooja was highly praised by critics.[19] In an article discussing her career's best roles, The Times of India wrote, "As ... [a] long-suffering wife who tries making a living for herself and her young son by working odd jobs, Dimple showed immense strength as a performer. This has to be one of her best and most unrecognised performances."[3] Sukanya Verma from Rediff.com noted, "She rendered her Pooja with stoic determination and touching vulnerability making her character extremely believable and sympathetic at once."[20][21]
In 1988, she played the main protagonist in Zakhmi Aurat, that of a female police officer who gets gang-raped and, after the judicial system fails to convict the criminals, abandons the legal course and joins forces with other rape victims to get revenge by castrating the rapists. The Times of India labelled the film a "B-grade movie", but further noted that "Dimple nonetheless did a very convincing job of portraying her anguish and bitterness at being denied justice."[3] M.L. Dhawan from The Tribune, while documenting the famous Hindi films of 1988, praised Kapadia for "proving her mettle as an actress of intensity and passion."[22] Subhash K. Jha, however, in an article discussing Indian actresses who have played policewomen, wrote that the film "turned into quite an embarrassment for its leading lady."[23]
The three final years of the decade saw the release of several other films featuring Kapadia, but few did well. In 1987, she appeared in two action movies: Rajkumar Kohli's Insaniyat Ke Dushman and Mukul Anand's Insaaf, in which she played a dual role of a dancer and a physician. She worked with Kohli in two more movies in 1988, the horror film Bees Saal Baad and the action drama Saazish. In that same year Mahesh Bhatt cast her again in his action thriller Kabzaa, a critical failure.[24] Ram Lakhan (1989), directed by Subhash Ghai, was a success with both critics and audiences,[25] but Kapadia's role was considered small with one critic saying it did not do "justice to her talent" and another reporting that she "pales into insignificance in the film."[14][26] Other films of this period include Babbar Subhash's Pyar Ke Naam Qurbaan, opposite Mithun Chakraborty, and J.P. Dutta's Batwara.
In the 1990s, Kapadia started venturing more into arthouse films, later citing an "inner yearning to exhibit my best potential."[27] Those films include Drishti (1990), Lekin... (1990), Rudaali (1993) and Antareen (1995). Drishti, a marital drama directed by Govind Nihalani, starred Kapadia and Shekhar Kapur as a married urban couple from an intellectual milieu in Mumbai and followed their trials and tribulations, extramarital affairs, divorce, and ultimate reconciliation after years of separation. Kapadia's part was that of career-woman Sandhya, and for her portrayal she was named the Best Actress (Hindi) of the year by the Bengal Film Journalists' Association.[28] The film was acknowledged as the Best Hindi Film of that year at the annual National Film Awards. In 1993, Frontline suggested that Kapadia's performance in the film should have earned her the Best Actress award at the same function.[29] In Gulzar's Lekin..., she played a restless sprite named Reva, a role she has often cited as a personal favourite and wished would have had more screen time in the film.[30] Referring to it once as "the most fantastic" part of her career, she recalled the working relationship with Gulzar as "a wonderful experience".[31] In order to make her character more truthful, Gulzar did not let Kapadia blink even once during filming, trying to capture an "endless, fixed gaze" which would give her "a feeling of being surreal."[32] Lekin... was popular with critics and Kapadia's performance earned her a third Filmfare nomination.[28]
In 1991, she appeared in Prahaar: The Final Attack, the first directorial venture of actor Nana Patekar, with whom she would collaborate in several other films. The film, co-starring Patekar and Madhuri Dixit, received a welcome reception from critics. Kapadia was noted for her "deglamourised role", but most of the praise went to the performance of Patekar himself.[33] Kapadia starred alongside Amitabh Bachchan in Shashi Kapoor's fantasy Ajooba, an Indo-Russian co-production based on Arabian mythology and set in the Afghan kingdom of Baharistan. She played Rukhsana, a young woman who comes from India to rescue her father, court magician Ameer Baba, from prison. The critical response to Ajooba was mostly lukewarm.[34] She played the protagonist in Haque, a political drama directed by Harish Bhosle and scripted by Mahesh Bhatt. Her role was that of Varsha B. Singh, an Orthodox woman married to an influential politician.
1992 saw the release of Maarg, her third appearance under Mahesh Bhatt's direction. The film was delayed for several years. She played the role of a prostitute, working by choice. Bhatt called her performance "stunning" and reported that when shooting ended, she was "on the point of a breakdown" as she was "exhausted battling with the nitty-gritty of a whore's character".[18] She next played Barkha, a single woman who abandons her premarital daughter upon birth, in Hema Malini's directorial debut Dil Aashna Hai. In Shashilal K. Nair's Angaar, a crime drama based on the life of an underworld don, she played Mili, a homeless orphan collected by an unemployed man, played by Jackie Shroff. Angaar received positive reviews from critics, as did Kapadia's performance, but it was financially unsuccessful, which Meena Iyer of The Times of India—who called it "one of the most engaging mafia films to have come out of Bollywood"—attributed to its dark proceedings.[35]
In 1993, she won the National Film Award for Best Actress for her performance in Rudaali, a drama directed by Kalpana Lajmi. Kapadia played the central character of Shanichari, a lonely and hardened village woman who, throughout a lifetime of misfortune, has never cried and is now challenged with a new job as a professional mourner. The citation for the award described her performance as a "compelling interpretation of the tribulations of a lonely woman ravaged by a cruel society".[36] She received a third Filmfare Award for the role, a Critics Award for Best Actress, and was acknowledged with Best Actress honours at the Asia Pacific Film Festival and the Damascus International Film Festival. In 2010 Filmfare magazine included her work in the film in their list of "80 Iconic Performances".[37] Another Filmfare nomination for Kapadia came that year for her supporting role as Shanti, a street prostitute, in the Priyadarshan-directed drama Gardish. An adaptation of the 1989 Malayalam film Kireedam, the film starred, among others, Jackie Shroff and Amrish Puri.
She later appeared in Mehul Kumar's Krantiveer, alongside Nana Patekar. She played journalist Meghna Dixit, a past rape victim who now tries to persuade an alcoholic and unemployed village man to be a champion of justice for those around him. Kapadia later called the film "out and out a Nana Patekar vessel," but asserted, "I had my share too," crediting the part with allowing her "the freedom to perform".[38] The film became an economic success, emerging as India's third-highest grossing picture of the year.[39] For her performance, Kapadia received her fourth Filmfare Award, this time in the Best Supporting Actress category. Mrinal Sen's 1995 Bengali drama Antareen was the first non-Hindi project Kapadia took part in since Vikram (1986). She played a woman caught in a loveless marriage. Her collaboration with Sen was described as "a high point in her career". Insisting to play her part spontaneously, Kapadia did not do a crash-course in Bengali, as she felt she would be able to pick the right diction.[14] Her voice was eventually dubbed by actor Anushua Chatterjee, something Kapadia was unhappy with.[40]
Following Antareen, Kapadia, who was reportedly expected to work in more independent films, took a three-year hiatus from acting, later explaining that she was "emotionally exhausted".[41] She returned to film in 1997 back in commercial cinema, but the few films she did until the end of the decade met with neither mainstream nor critical success. Her first release in 1997 was the action film Agnichakra, which went unnoticed. She played Amitabh Bachchan's wife in that same year's Mrityudaata, once again under Mehul Kumar's direction. The film was a critical and commercial failure, with India Today panning its "comic book-level storytelling".[42] Trade journal Film Information wrote Kapadia had "no role worth her", and she herself shared similar sentiments.[8][43]
She appeared in Laawaris (1999) because she liked the subject and considered her role "substantial", which Rediff.com, in turn, described as another preachy "woman of substance", while criticising the film for its lack of originality: "...working a worked-to-death formula, [the film] falls flat on its face.[44] This was followed by the final feature she appeared in during the decade, Hum Tum Pe Marte Hain, in which she played the part of Devyani, the strict mother of a wealthy family. Subhash K. Jha called the film an "embarrassment",[45] critic Suparn Verma, in a scathing review, criticised Kapadia's performance, noting that she "wears a permanent scowl" throughout the film, and Bella Jaisinghani of The Indian Express, calling the film "inconsequential", concluded her review writing that she wonders "what made Dimple Kapadia do this to herself".[46][47]
She co-starred in Farhan Akhtar's directorial debut Dil Chahta Hai (2001). Depicting the contemporary routine life of Indian affluent youth, it is set in modern-day urban Mumbai and focuses on a major period of transition in the lives of three young friends (Aamir Khan, Saif Ali Khan and Akshaye Khanna).[48] Kapadia played the role of Tara Jaiswal, a middle-aged alcoholic woman, an interior designer by profession, and a divorcee who is not allowed to meet with her daughter. The film presents her story through the character of Siddharth (Khanna), a much younger man whom she befriends and who ultimately falls deeply in love with her. She said making the picture was an "enriching" experience and called her part "a role to die for".[45] Critics lauded Dil Chahta Hai as a groundbreaking film for its realistic portrayal of Indian youth. The film performed well in the big cities but failed in the rural areas, which was attributed by critics to the urban-oriented lifestyle depicted in the movie.[49][50] Saibal Chatterjee, in a review for Hindustan Times, noted, "Dimple Kapadia, in a brief, somewhat underdeveloped role, presents a poignant study of loneliness."[51]
In 2002, Kapadia portrayed the title role of Leela in Leela, an American production directed by Somnath Sen and co-starring Deepti Naval, Vinod Khanna and Amol Mhatre. Kapadia's part—written specially for her—is that of a forty year-old married woman and a Bombay University professor, who, after the death of her mother, loses her sense of happiness and takes a job as a visiting professor of South Asian studies in California.[41] The story follows Leela's acclimation to her new surroundings and particularly her relationship with one of her students there, Kris (Mhatre), a young Indian-American man. Kapadia noted about working in the film, "While in production, I'm all tensed up, and that is what makes me take my acting to the next level."[31] Maitland McDonagh from TV Guide wrote, "Dimple Kapadia shines in this family melodrama... [her] intelligent, nuanced performance is the film's highlight."[52] Ziya Us Salam from The Hindu called her "a charmer all the way. Exhilarating is the air she breathes, bewitching is the glance she casts and enticingly vulnerable is her condition."[53]
In 2004, she played the lead role of army wife Sandra Williams in Hum Kaun Hai?, a supernatural thriller. The film opened to a mixed critical reception, but Kapadia's performance received positive comments. Subhash K. Jha noted that she "carries the film beyond where it would have been otherwise"; Rama Sharma of The Tribune wrote of her performance, "Dimple lends all her charisma to help the script sail through dead ends. Whether she is scared or scolding children, she has a powerful presence."[54][55] 2005 saw Kapadia and Rishi Kapoor reunite as a lead couple for the third time after Bobby (1973) and Saagar (1985) in Pyaar Mein Twist. They starred as two middle-aged single parents who fall in love and later have to deal with the reaction of their children. The film generated mostly negative reviews, with several critics concurring that the chemistry between the lead pair is what makes the film watchable.[56][57] In a two-star review, Khalid Mohamed called Kapadia "a dream actress", but ultimately concluded, "See this twisteroo if you must, only for the undiminished Kapoor-Kapadia chemistry."[58] Few people went to see the film; within two weeks it was declared a flop.[59]
In 2006, she co-starred with Saif Ali Khan and Naseeruddin Shah in the psychological drama Being Cyrus (2006), an English-language arthouse feature directed by Homi Adajania. Kapadia enacted the part of Katy, Shah's neurotic and unfaithful wife who runs an affair with Cyrus, a young man who enters their house as an assistant. Her work received varied comments. According to BBC's Poonam Joshi, "The descent into despair of Dimple Kapadia's Katy is enthralling."[60] Derek Elley from Variety, however, panned her for "wildly overact[ing]", with similar sentiments being shared by several critics, including Shradha Sukumaran from Mid Day, who labelled her performance "over-the-top and jerky".[61][62] In V. K. Prakash's Phir Kabhi Kapadia and Mithun Chakraborty played ageing people who meet at a school reunion and rekindle their high-school romance. At the request of her son-in-law Akshay Kumar, she voiced the character of Devi, the mother of the title character of an elephant (voiced by Kumar) in the animated movie Jumbo (2008).[63]
Kapadia was cast in Zoya Akhtar's first directorial venture, Luck By Chance (2009), a satirical take on the Hindi film industry. She essayed the part of Neena Walia, an erstwhile superstar—referred to in the film as "a crocodile in a chiffon saree"—who struggles to launch her young daughter in the movie business.[64] Luck By Chance opened to a warm critical response, though its financial income was modest.[65] Critics were appreciative of Kapadia's performance, which earned her a Best Supporting Actress nomination at Filmfare. Deepa Karmalkar from Screen characterised her as "gloriously bitchy",[66] while Sukanya Verma from Rediff hailed her as "stunning, striking, storming".[67]
Kapadia played the small part of Salman Khan's asthmatic mother in Dabangg (2010). With revenues of 213 crore worldwide, the film was a huge commercial success, emerging as the most popular film of the year in India as well as the second-highest grossing Hindi film of all-time up to that point.[68] Reviews for Kapadia were mixed, with Shubhra Gupta writing that she is "laughably wrong".[69] Tum Milo Toh Sahi, released the same year, was a mature love story, in which she starred as Delshad Nanji, a Parsi woman in charge of an Irani café, who falls in love with a man played by Nana Patekar. Kapadia employed a Parsi accent for the role and, while preparing for it, visited several Irani cafés in Mumbai in order to understand their cultural basics and get into the mood of the character.[70] The film opened to average reviews, but her performance received generally positive feedback, with several critics noting her chemistry with Patekar.[71][72] Anupama Chopra, in a negative review, criticised her character, claiming it "veers into caricature", but wrote of Kapadia that she "plays her with affection and energy and at least has some fun doing it."[73]
Kapadia's only film of 2011 was Nikhil Advani's Patiala House, a sports film revolving around cricket in which she was cast as Rishi Kapoor's wife and her son in-law, Akshay Kumar's mother. The role was small, with Times of India's Nikhat Kazmi commenting that she "does end up a bit underutilised".[74] As of December 2011, Kapadia is set to appear in her third non-Hindi and first Malayalam-language film, Bombay Mittayi, for which she started learning the language. She plays the wife of a celebrated Ghazal singer, played by Amar Singh, on whose behest she was offered the part.[30]
Kapadia is the eldest daughter of Gujarati entrepreneur Chunnibhai Kapadia and Betty, her younger siblings being late actress Simple Kapadia, a sister named Reem and a brother, Munna. The family resided in Santa Cruz, Mumbai, and she studied at St. Joseph's Convent High School.[41][75] She married actor Rajesh Khanna six months before the release of her first film, Bobby, in 1973.[6] She then retired from acting for twelve years to raise her two daughters, Twinkle (b. 1974) and Rinke (b. 1977).[6] Reportedly, it was Khanna who "put a ban on her acting career promptly after the marriage," though Kapadia has once noted that "career has always been secondary" to her.[11][17]
Kapadia separated from Khanna in April 1982, leaving the house with her two daughters back to her parents.[17] She returned to acting two years later.[6] In a 1985 interview with India Today, she remarked, "The life and happiness in our house came to an end the day I and Rajesh got married." She shared her unhappy marital experience and called their marriage "a farce", noting that it just took her "a hell of a long time to realise that."[17] In 2010, reporter Dinesh Raheja stated that "the bitterness between Rajesh and Dimple washed away", noting that they are seen together at parties and that Dimple campaigned for Khanna's election and also worked in his film Jai Shiv Shankar.[76] Asked in Filmfare whether she would want to marry again, Kapadia replied, "I'm very happy and content. Why do I need to get married again? Once was more than enough."[11]
Her daughters also became actresses and retired after settling down. Her elder daughter, Twinkle Khanna, is married to actor Akshay Kumar.[63]
When Kapadia made her comeback to movies, she faced constant comparison to her Bobby days. According to Jyotika Virdi, author of the book The cinematic imagination, Kapadia "turned every disadvantage to her advantage." Virdi mentioned Kapadia's forthright manner as having a major contribution to her career: "Speaking candidly to the press, she and the reporters plotted her life's narrative from the innocent teenager snared into an impossible marriage to the emergence of a mature 'woman with experience.'" Virdi also noted Kapadia for "fighting her way to the top, preferring to perform roles she described as serious and exacting rather than flippant and unchallenging," calling her parts in Aitbaar (1985), Kaash (1987) and Drishti (1990) as roles "where she drew from the well of her own experience."[77]
Kapadia is known for her assertive and moody nature. During the making of Janbaaz (1986), director Feroz Khan remarked, "No other girl has so much of pent-up aggression."[17] Journalist Bhawana Somaaya, who conducted a series of interviews with her during the 1980s, stated, "She’s a strange bundle of contradictions. Her moods change in a jiffy."[19] According to some critics, this approach has sometimes been at the cost of professional opportunities as "her unpredictable nature and moods have distanced many well wishers". In reply to this, she said, "I am moody by nature. But I have never consciously hurt anyone."[40]
Mahesh Bhatt, with whom she first worked in Kaash (1987), remarked that Kapadia "has gone through so much in her life that she need not read up the text books of method acting to play a real woman."[17] Speaking of her venture into art cinema years later, Bhatt commended her for not turning into "a victim of her own success" by refusing to become "a part of the money-making machine". Mrinal Sen, who directed her in Antareen (1994), compared her to Sophia Loren and described her face as "a landscape of desolation". According to Drishti (1990) director Govind Nihalani, Kapadia is "genuinely interested in doing serious work, something that challenges her talent."[14] Following her success with Rudaali, a 1993 edition of Asiaweek reported that by this time Kapadia had long been "a critic's darling".[78]
Dinesh Raheja from Rediff stated that Kapadia's involvement in art films happened at a time when she "exhausted her appetite for playing the pretty prop in hero-oriented films", arguing that they "honed Dimple's talent for lending fine striations to complex emotions." According to Raheja, Kapadia's casting in Dil Chahta Hai and Leela, in which she played "an older woman who is the object of a younger man's affection" served as "a kind of tribute to her eternal beauty."[6] M.L. Dhawan from The Tribune commented, "All those who have been following Dimple Kapadia’s career from Bobby, Lekin and Rudaali will assert that she is more talented than glamorous."[79] Ranjan Das Gupta calls her "an instinctive actress, spontaneous and intelligent" but he notes that her beauty is "her asset as well as limitation".[80] Kapadia describes herself as "a competent actress yet to deliver her best".[40]
Year | Film | Role | Notes |
---|---|---|---|
1973 | Bobby | Bobby J. Braganza | Filmfare Award for Best Actress |
1984 | Zakhmi Sher | Anu Gupta | |
1984 | Manzil Manzil | Seema Malhotra | |
1985 | Aitbaar | Neha Khanna | |
1985 | Lavaa | Rinku Dayal | |
1985 | Arjun | Geeta Sahani | |
1985 | Pataal Bhairavi | Yaskankya | |
1985 | Saagar | Mona D'Silva | Filmfare Award for Best Actress |
1986 | Vikram | Princess Inimaasi | Tamil film |
1986 | Janbaaz | Reshma Rai | |
1986 | Allah Rakha | Julie Khera | |
1987 | Insaniyat Ke Dushman | Shilpa | |
1987 | Insaaf | Sonia/Dr. Sarita | |
1987 | Kaash | Pooja | |
1988 | Saazish | Meena | |
1988 | Mera Shikar | Bijli | |
1988 | Gunahon Ka Faisla | Shanu/Durga | |
1988 | Bees Saal Baad | Nisha | |
1988 | Aakhri Adaalat | Rima Kapoor | |
1988 | Kabzaa | Dr. Smita | |
1988 | Mahaveera | Dolly | |
1988 | Zakhmi Aurat | Kiran Dutt | |
1988 | Ganga Tere Desh Mein | Princess | |
1989 | Ram Lakhan | Geeta Kashyap | |
1989 | Action | ||
1989 | Touhean | Deepika Srivastava | |
1989 | Batwara | Jinna | |
1989 | Sikka | Shobha | |
1989 | Shehzaade | Aarti | Uncredited |
1989 | Ladaai | Billoo | |
1990 | Pati Parmeshwar | Durga | |
1990 | Kali Ganga | ||
1990 | Jai Shiv Shankar | ||
1990 | Aag Ka Gola | Aarti | |
1990 | Pyar Ke Naam Qurbaan | Rajkumari Devika Singh | |
1990 | Lekin... | Reva | Nominated—Filmfare Award for Best Actress |
1990 | Drishti | Sandhya | |
1991 | Prahaar: The Final Attack | Kiran | |
1991 | Naramsimha | Anita V. Rastogi | |
1991 | Mast Kalandar | Prit Kaur | |
1991 | Haque | Varsha B. Singh | |
1991 | Khoon Ka Karz | Tara K. Lele | |
1991 | Dushman Devta | Gauri | |
1991 | Ajooba | Rukhsana Khan | |
1991 | Ranbhoomi | Prostitute | |
1992 | Karm Yodha | Namita | |
1992 | Angaar | Mili | |
1992 | Dil Aashna Hai | Barkha | |
1993 | Rudaali | Shanichari | National Film Award for Best Actress Filmfare Critics Award for Best Actress Nominated—Filmfare Award for Best Actress |
1993 | Gunaah | Kavita Sharma | |
1993 | Aaj Kie Aurat | Roshni Verma | |
1993 | Gardish | Shanti | Nominated—Filmfare Award for Best Supporting Actress |
1994 | Pathreela Raasta | Gayatri Sanyal | |
1994 | Krantiveer | Megha Dixit | Filmfare Award for Best Supporting Actress |
1994 | Antareen | The Woman | Bengali film |
1997 | Share Bazaar | Special appearance | |
1997 | Agni Chakra | Rani | |
1997 | Mrityudata | Mrs. Janki Ghayal | |
1998 | 2001: Do Hazaar Ek | Mrs. Roshni Sharma | |
1999 | Laawaris | Mrs. Kavita Saxena | |
1999 | Hum Tum Pe Marte Hain | Devyani | |
2001 | Dil Chahta Hai | Tara Jaiswal | |
2002 | Leela | Leela | |
2004 | Hum Kaun Hai? | Sandra Williams | |
2005 | Pyaar Mein Twist | Sheetal Arya | |
2006 | Being Cyrus | Katy Sethna | |
2006 | Banaras - A Mystic Love Story | Gayatri | |
2008 | Phir Kabhi | Ganga | |
2008 | Jumbo | Devi (Voice-over) | |
2009 | Luck by Chance | Neena Walia | Nominated—Filmfare Award for Best Supporting Actress |
2010 | Tum Milo Toh Sahi | Delshad Nanji | |
2010 | Dabangg | Naini P. Pandey | |
2011 | Patiala House | Mrs. Kahlon | |
2012 | Bombay Mittayi | Mrs. Mansoor | Malayalam film |
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Wikimedia Commons has media related to: Dimple Kapadia |
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2008) |
Anil Dash | |
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Anil Dash at SCS 2007 |
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Born | September 5, 1975 |
Occupation | Director, Expert Labs |
www.dashes.com/anil/ |
Anil Dash ( /ɑːˈniːl ˈdæʃ/; born September 1975) is a blogger, entrepreneur and technologist. He is currently the Director of Public Technology Incubator Expert Labs[1] and a partner at ACTIVATE.com,[2] a media & technology consulting firm.
Previously an independent technology consultant, and a new media developer for the Village Voice, Dash was the first employee of Six Apart, the makers of Movable Type, TypePad and Vox, and served as its Vice President and Chief Evangelist until moving to Expert Labs.[3] In 2003, Dash was one of four bloggers featured on the PBS series Media Matters. He has also spoken at events such as Northern Voice and the Web 2.0 Conference.
Dash's current role is directing Expert Labs, a non-profit, independent group with a mandate to help policy makers in the U.S. Federal Government utilize the expertise of their fellow citizens.
Dash was born and grew up near Harrisburg, Pennsylvania. A long-time resident and vocal fan of New York City, he lived in San Francisco for a time but has now returned to New York City. Aside from his professional role at Six Apart, Dash participated in two prank-like activities that gained attention on the Internet: in 2004, he was the winner of the "nigritude ultramarine" search engine optimization contest,[4] and in 2005 he was photographed and printed in the New York Times on June 2, 2005 Fashion Thursday section in a Threadless t-shirt mentioning the web site Goatse.cx.[5]