This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Kalpana (actress) refers to any of the following.

• Kalpana (Malayalam actress), a Malayalam actress.
• Kalpana (Kannada actress), a Kannada actress.

Kalpana is a Sanskrit word that means "creativity" and "imagination" in Marathi, Hindi and Nepali. It is also a popular female Hindu name.

It may also refer to:

• Kalpana (supercomputer), at NASA's Ames Research Center
• Kalpana (company), inventor of the Ethernet switch
• Kalpana-1, an Indian meteorological satellite
• Saraswati, the Hindu goddess

Films and television[link]

• Kalpana (1948 film), a Hindi dance-ballet film by Uday Shankar
• Kalpana (1960 film), a Hindi film starring Padmini (actress) in the title role
• Kalpana (1977 film), a Telugu film starring Jayachitra in the title role
• Kalpana (TV series)
• Kalpana (2012 film), a Kannada horror film starring Upendra

People and fictional characters[link]

• Kalpana Chawla (1961–2003), astronaut lost in the Space Shuttle Columbia disaster
• Kalpana (Kannada actress) (d. 1979)
• Kalpana (Malayalam actress) (born 1965)
• Kalpana (Tamil actress), Tamil film actress
• Kalpana (Telugu singer), Telugu film singer
• Kalpana Chakma, activist from Bangladesh
• Kalpana Dash, Indian mountaineer
• Kalpana Iyer, Hindi film actress
• Kalpana Kartik, Hindi film actress
• Kalpana Lajmi, Indian independent film director
• Kalpana Mohan, Hindi film actress (1946-2012)
• Kalpana Swaminathan, Indian writer

• A character in the film Ghajini

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

An actor (sometimes actress for female; see terminology) is a person who acts in a dramatic or comic production and who works in film, television, theatre, or radio in that capacity.^[1] The ancient Greek word for an "actor," ὑποκριτής (hypokrites), means literally "one who interprets";^[2] in this sense, an actor is one who interprets a dramatic character.^[3]

Terminology[link]

After 1660, when women first appeared on stage, actor and actress were initially used interchangeably for female performers, but later, influenced by the French actrice, actress became the usual term. The etymology is a simple derivation from actor with ess added.^[4] The word actor refers to a person who acts regardless of gender, and this term "is increasingly preferred", while actress refers specifically to a female person who acts. Actress "remains in general use",^[4] although in a survey of a "wide cross-section of current British English", compiled in 2010, actor was almost twice as commonly found as actress.^[5] Within the profession, however, the re-adoption of the neutral term dates to the 1950s–60s, the post-war period when women's contribution to cultural life in general was being re-evaluated.^[6] Actress remains the common term used in major acting awards given to female recipients.^[7]

The gender-neutral term "player" was common in film in the early days of the Motion Picture Production Code with regards to the cinema of the United States, but is now generally deemed archaic. However, it remains in use in the theatre, often incorporated into the name of a theatre group or company (such as the East West Players)^{[citation needed]}.

History[link]

Actors Jim Brochu and Steve Schalchlin performing in The Big Voice: God or Merman play.

The first recorded case of an actor performing took place in 534 BC (though the changes in calendar over the years make it hard to determine exactly) when the Greek performer Thespis stepped on to the stage at the Theatre Dionysus and became the first known person to speak words as a character in a play or story. Prior to Thespis' act, stories were only known to be told in song and dance and in third person narrative. In honour of Thespis, actors are commonly called Thespians. Theatrical legend to this day maintains that Thespis exists as a mischievous spirit, and disasters in the theatre are sometimes blamed on his ghostly intervention.

Actors were traditionally not people of high status, and in the Early Middle Ages travelling acting troupes were often viewed with distrust. In many parts of Europe, actors could not even receive a Christian burial, and traditional beliefs of the region and time period held that this left any actor forever condemned. However, this negative perception was largely reversed in the 19th and 20th centuries as acting has become an honoured and popular profession and art.^[8]

Techniques[link]

Method acting[link]

Method acting is a technique developed from the acting 'system' created in the early 20th century by Konstantin Stanislavski in his work at the Moscow Art Theatre and its studios. The Group Theatre first popularised the Method in the 1930s; it was subsequently advanced and developed in new directions by Stella Adler, Sanford Meisner, Uta Hagen, Lee Strasberg (at the Actors Studio in the 1940s and 50s), and others.^[9] In Stanislavski's system', the actor analyzes the character in order to play him or her with psychological realism and emotional authenticity. Using the Method, an actor may recall emotions or reactions from his or her own life and use them to identify with the character being portrayed.

Method actors are often characterized as immersing themselves so totally in their characters that they continue to portray them even off-stage or off-camera for the duration of the project. However, this is a popular misconception. While some actors do employ this approach, it is generally not taught as part of the Method. Stella Adler, who was a member of the Group Theatre, along with Strasberg, emphasised a different approach of using creative imagination.^[10]

Method acting offers a systematic form of actor training in which the actor's sensory, psychological, and emotional abilities are developed; it revolutionized theatre in the United States.^{[citation needed]}

Presentational and representational acting[link]

Presentational acting refers to a relationship between actor and audience, whether by direct address or indirectly by specific use of language, looks, gestures or other signs indicating that the character or actor is aware of the audience's presence.^[11] (Shakespeare's use of punning and wordplay, for example, often has this function of indirect contact.)

In representational acting, "actors want to make us 'believe' they are the character; they pretend."^[11] The illusion of the fourth wall with the audience as voyeurs is striven for.^[12]

As opposite gender[link]

In the past, only men could become actors in some societies. In the ancient Greece and Rome^[13] and the medieval world, it was considered disgraceful for a woman to go on the stage, and this belief persisted until the 17th century, when in Venice it was broken. In the time of William Shakespeare, women's roles were generally played by men or boys.^[14]

When an eighteen-year Puritan prohibition of drama was lifted after the English Restoration of 1660, women began to appear on stage in England. Margaret Hughes is credited by some as the first professional actress on the English stage.^[15] This prohibition ended during the reign of Charles II in part due to the fact that he enjoyed watching actresses on stage.^[16] The first occurrence of the term actress was in 1700 according to the OED and is ascribed to Dryden.^[7]

In Japan, men (onnagata) took over the female roles in kabuki theatre when women were banned from performing on stage during the Edo period. This convention has continued to the present. However, some forms of Chinese drama have women playing all the roles.

In modern times, women sometimes play the roles of prepubescent boys. The stage role of Peter Pan, for example, is traditionally played by a woman, as are most principal boys in British pantomime. Opera has several "breeches roles" traditionally sung by women, usually mezzo-sopranos. Examples are Hansel in Hänsel und Gretel, Cherubino in The Marriage of Figaro and Octavian in Der Rosenkavalier.

Women in male roles are uncommon in film with the notable exceptions of the films The Year of Living Dangerously and I'm Not There. In the former film Linda Hunt played the pivotal role of Billy Kwan, for which she received the Academy Award for Best Supporting Actress. In the latter film Cate Blanchett portrayed Jude Quinn, a representation of Bob Dylan in the sixties, for which she was nominated for the Academy Award for Best Supporting Actress. Women playing men in live theatre is particularly common in presentations of older plays, such as those of Shakespeare, that have large numbers of male characters in roles where the gender no longer matters in modern times.^{[citation needed]}

Having an actor dress as the opposite sex for comic effect is also a long-standing tradition in comic theatre and film. Most of Shakespeare's comedies include instances of overt cross-dressing, such as Francis Flute in A Midsummer Night's Dream. The movie A Funny Thing Happened on the Way to the Forum stars Jack Gilford dressing as a young bride. Tony Curtis and Jack Lemmon famously posed as women to escape gangsters in the Billy Wilder film Some Like It Hot. Cross-dressing for comic effect was a frequently used device in most of the thirty Carry On films. Dustin Hoffman and Robin Williams have each appeared in a hit comedy film (Tootsie and Mrs. Doubtfire, respectively) in which they played most scenes dressed as a woman.

Occasionally, the issue is further complicated, for example, by a woman playing a woman acting as a man pretending to be a woman, like Julie Andrews in Victor/Victoria, or Gwyneth Paltrow in Shakespeare in Love. In It's Pat: The Movie, filmwatchers never learn the gender of the androgynous main characters Pat and Chris (played by Julia Sweeney and Dave Foley).

A few roles in modern films, plays and musicals are played by a member of the opposite sex (rather than a character cross-dressing), such as the character Edna Turnblad in Hairspray—played by Divine in the original film, Harvey Fierstein in the Broadway musical, and John Travolta in the 2007 movie musical. Linda Hunt won an Academy Award for Best Supporting Actress for playing Billy Kwan in The Year of Living Dangerously. Felicity Huffman was nominated for an Academy Award for Best Actress for playing Bree Osbourne (a male-to-female transsexual) in Transamerica.

See also[link]

References[link]

Sources[link]

• Csapo, Eric, and William J. Slater. 1994. The Context of Ancient Drama. Ann Arbor: The U of Michigan P. ISBN 0-472-08275-2.
• Elam, Keir. 1980. The Semiotics of Theatre and Drama. New Accents Ser. London and New York: Methuen. ISBN 0-416-72060-9.
• Weimann, Robert. 1978. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Ed. Robert Schwartz. Baltimore and London: The Johns Hopkins University Press. ISBN 0-8018-3506-2.

Further reading[link]

• An Actor's Work by Constantin Stanislavski
• A Dream of Passion: The Development of the Method by Lee Strasberg (Plume Books, ISBN 0-452-26198-8, 1990)
• Sanford Meisner on Acting by Sanford Meisner (Vintage, ISBN 0-394-75059-4, 1987)
• Letters to a Young Actor by Robert Brustein (Basic Books, ISBN 0-465-00806-2, 2005).
• The Empty Space by Peter Brook
• The Technique of Acting by Stella Adler

External links[link]

Look up actor, actress, or player in Wiktionary, the free dictionary.

• Actors' Equity Association (AEA): a union representing U. S. theatre actors and stage managers.
• American Federation of Television and Radio Artists (AFTRA): a union representing U. S. television and radio actors and broadcasters (on-air journalists, etc.).
• British Actors' Equity: a trade union representing UK artists, including actors, singers, dancers, choreographers, stage managers, theatre directors and designers, variety and circus artists, television and radio presenters, walk-on and supporting artists, stunt performers and directors and theatre fight directors.
• Media Entertainment & Arts Alliance: an Australian/New Zealand trade union representing everyone in the media, entertainment, sports, and arts industries.
• Screen Actors Guild (SAG): a union representing U. S. film and TV actors.

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Sundeep Malani
Born	Sundeep Malani (1971-11-19) 19 November 1971 (age 40) Mumbai, Maharashtra
Occupation	Film director, film actor, screenplay writer, documentary film maker, choreographer, and film critic
Years active	1991–present
Spouse	Reshma Malani née Sequeira

Sundeep Malani (born on 19 November 1971) is an Indian film director, documentary film maker, screenplay writer, actor, event organizer, film journalist and film critic.

Early years[link]

Sundeep Malani was born in 1971 to a Roman Catholic family in Mumbai and was raised in Mangalore. Malani himself did his early schooling at the Milagres School in Mangalore.^[1]

His father Ramesh Malani was a film distributor in Mangalore for many years and was the manager of Ramakanthi Theatre.^[2] His father is a Sindhi who converted to Christianity in 1971,^[2] while his mother Meena Cutinha, is a Mangalorean Catholic and the sister of actor Dolphy Cutinha, well known as "Dolla".^[3]

Film career[link]

As associate director, he has worked with directors K. Subaash for the Kannada, Tamil and Telugu versions of One Two Three (starring Prabhu Deva and Jyothika) and Mugur Sundar for the Kannada film Manasella Neene.^[1] Malani co-directed the Kannada film, Miss California, which was the debut film of actor Diganth.^[4]

Malani's directorial debut was SMS 6260, a Kannada-English film. It was produced by Indian American entrepreneur, Prahlad Arasu and his sister Janu Arasu, who played the lead heroine. Malani introduced a whole lot of newcomers with this venture. But the film did not well in the box office.^[5]

As a screenwriter, Malani has co-written the script for the upcoming Bollywood film, Helloo India, starring Akshay Kumar and Udita Goswami.^[6] He has written the script/dialogue for the Kannada version of the Hindi thriller Lucky 13 titled Kidnap for Raaj Varma Entertainment.

He has variously served as a TV host for local Mangalorean channels, events organizer, costume designer and directed a few music videos for local channels involving dancers and stage artistes of Mangalore.^[7] Malani has acted in a few theatre plays as well.^[7]

Malani has also been a part of the direction team in Onir's I Am anthology film, working on the "I Am Abhimanyu" and "I Am Omar" segments.^[8]

He has directed a variety of short films, some of them covering controversial issues such as AIDS ("Jo Jo Laali - a heart wrenching lullaby") and homosexuality ("Shaayad").^[9][10] His other short film was made in three languages: "Hum Tum Aur Loan" (Hindi), "Yella Ok, Loan Yaake" (Kannada) and "A Loanly Life" (English).^[11]

Personal life[link]

Sundeep Malani is married to Reshma, the niece of Konkani singer, Meena Rebimbus. Reshma works in a logistics company and is a part-time costume designer. She has designed costumes for Kannada films like Preethse (Sonali Bendre and Shivraj Kumar), Indradhanush, Miss California, MS 6260 and for Pooja Gandhi in Onir's "I Am Abhimanyu".

They have a son, Silver Rensan Malani. Silver has undergone dance training under the tutelage of choreographer Terence Lewis at his academy and was awarded the best dancer award in 2009.^[12]

Malani's father is the cousin of actress Babita (Randhir Kapoor’s wife and Karisma/Kareena’s mother).^[2]

Filmography (as director and co-director)[link]

Feature films[link]

Short films[link]

Documentaries[link]

Selected filmography (as actor)[link]

References[link]

External links[link]

• Sundeep Malani's official blog

This article may contain wording that merely promotes the subject without imparting verifiable information. Please remove or replace such wording, unless you can cite independent sources that support the characterization. (December 2011)

This article is an autobiography, or has been extensively edited by the subject or an institution related to the subject. Please help edit it to conform to Wikipedia's neutral point of view, in line with the discussion on the talk page. (December 2011)

Shammi Kapoor (Hindi: शम्मी कपूर; born Shamsher Raj Prithviraj Kapoor; 21 October 1931.^[4][5] – 14 August 2011) was an Indian film actor and director. He was a prominent lead actor in Hindi cinema from the late 1950s until the early 1970s and played supportng roles from 1974 to 2011.

Shammi Kapoor is hailed as one of the most entertaining lead actors that Hindi cinema has ever produced and his notable films include Tumsa Nahin Dekha, Dil Deke Dekho, Junglee, Dil Tera Diwana, Professor, China Town, Rajkumar, Kashmir Ki Kali, Janwar, Teesri Manzil, An Evening in Paris, Bramhachari, Andaz and Vidhaata. He received the Filmfare Best Actor Award in 1968 for his performance in Brahmachari and Filmfare Award for Best Supporting Actor for Vidhaata in 1982.

Early life[link]

This unreferenced section requires citations to ensure verifiability.

He was given the name Shamsher Raj Kapoor at his birth in Mumbai to film and theatre actor Prithviraj Kapoor and Ramsharni Kapoor née Mehra.^[4] Shammi was the second of the three sons born to Prithviraj (the other two being Raj Kapoor and Shashi Kapoor), both successful Bollywood actors. Though born in Mumbai, he spent a major portion of his childhood in Kolkata, where his father was involved with New Theatres Studios, acting in films. It was in Kolkata that he did his Montessory and Kindergarten. After coming back to Mumbai, he first went to St. Joseph's Convent (Wadala) and then, to Don Bosco School. He finished his matric schooling from New Era School at Hughes Road.

Kapoor had a short stint at Ruia College, in Matunga, Mumbai, after which he joined his father’s theatrical company Prithvi Theatres. He entered the cinema world in 1948, as a junior artiste, at a salary of Rs. 50 per month, stayed with Prithvi Theatres for the next four years and collected his last pay check of Rs. 300, in 1952. He made his debut in Bollywood in the year 1953, when the film Jeevan Jyoti was released. It was directed by Mahesh Kaul and Chand Usmani was Kapoor’s first heroine.

Film career[link]

Kapoor started out with serious roles but with Filmistan's Nasir Hussain directed Tumsa Nahin Dekha (1957) opposite Ameeta and Dil Deke Dekho (1959) with Asha Parekh, he attained the image of a light-hearted, and stylish playboy. Tall, athletic, lively, fair complexioned, green-eyed and with handsome features, Shammi was a heartthrob, and his good looks and physique complemented his image. Both the films were debut films of the respective actresses Ameeta and Asha Parekh and both went on to be big hits and are regarded as classics.

With Junglee (1961) his new image was cemented and his subsequent films were all in this genre. He particularly chose Mohammed Rafi as his playback voice. In his early career in fifties, he had often played second fiddle to established heroines like Madhubala in films such as Rail Ka Dibba (1953) and Naqab, with Nutan in Laila Majnu, with Shyama in Thokar and with Nalini Jaywant in Hum Sab Chor Hain though none of them except Thokar clicked at the box office. But producers after 1960 apart from the actresses from southern India, loved pairing Shammi with new heroines, three of them became huge stars in their own right in Hindi films: Asha Parekh, Saira Banu, and Sharmila Tagore.^[6] Of all his heroines, he said that Sharmila Tagore, Rajshree, and Asha Parekh were easy to work with.^[7] Sharmila Tagore and Saira Banu made their Bollywood debuts with Shammi Kapoor in Kashmir Ki Kali and Junglee respectively^[8] He and Asha Parekh were paired together in four films, the most successful being besides debut film of Asha Parekh, the murder mystery Teesri Manzil (1966) and the romance film Jawan Mohabbat.

In the early fifties he accepted serious roles in women oriented films like Shama Parwana (1954) with Suraiya, comedy flick Mem Sahib (1956) with Meena Kumari and thrillers like Chor Bazar (1954), which were all successful at the box office and in the tragic love story Mirza Sahiban with (1957) (a box office flop) opposite Shyama, but did not gain recognition and fame among the masses. Other than the above hits, he had fifteen films as flops to his credit till 1957. The other hits in late fifties included Mujrim (1958), Char Dil Char Rahen, Raat Ke Raahi (1959). His performances in K A Abbas' Char Dil Char Raahein (1959) and Kidar Sharma's Rangeen Raatein (1956) were also noteworthy but remained underfeted.^[9] It was only after triple success of Tumsa Nahi Dekha (1957), Ujala and Dil Dil Deke Deko (both 1959), that he became popular with the audience and became a star. In the first half of the 1960s, Kapoor was seen in successful films like College Girl, Basant, Singapore, Boy Friend, Professor, Dil Tera Diwana, Vallah Kya Baat Hai, Pyar Kiya To Darna Kya, China Town, Kashmir Ki Kali, Bluff Master, Janwar and Rajkumar. Although nominated before, in 1968, he received the first Filmfare Best Actor award of his career for the film Bramhachari. He made a unique place for himself in the industry as he was the only dancing hero in Hindi films from the late fifties till early seventies. Saira Banu said in an interview "At the time when Dilip sahab, Raj Kapoor and Dev Anand ruled the industry, it was Shammi Kapoor who created a niche for himself with his unique dance moves. He used to say he didn't know how to dance but he would just listen to the music and feel it. He was the only 'dancing hero' at that time."^[10] He used to compose dancing steps by himself in the songs picturised on him and never needed a choreographer. This earned him the name of Elvis Presley of India.^[2][11]

His pairing opposite Southern heroines were always a success at the box office. He delivered hits opposite B. Saroja Devi like Pyaar Kiya To Darna Kya and Preet Na Jane Reet, with Padmini gave Singapore (1960 film), opposite Vyjayanthimala had hits like College Girl and Prince (1969 film). In the sixties his successful run continued until new romantic icon Rajesh Khanna entered the scene in 1969.^[12] However Shammi did have commercial successes in late sixties, like Budtameez and Sachaai with Sadhana, Latt Saheb with Nutan and Tumse Achha Kaun Hai with Babita.

In the 1970s, Kapoor’s weight problem proved an obstacle in his path of success and ended his career as a romantic hero as his films started failing. His last hit film, in which he played the lead role, was Andaz (1971). As his career as hero ended, Shammi started playing charcater roles in films from 1974. Shammi played Saira Banu's father in Zameer (1974), when he had been her leading man a decade earlier in Junglee (1961) and Bluff Master (1964).In 1974, he donned the hat of a director and made Manoranjan in 1974 and Bundal Baaz (1976). However, both the films failed to create magic at the box office though were critically acclaimed and have developed a cult fan following over the years. His directorial venture Manoranjan (1974), a movie inspired from Irma La Douce, had Sanjeev Kumar in lead role and Shammi played a supporting role himself. In Bundal Baaz (1976) he casted Rajesh Khanna in the main lead and Shammi played the role of a genie in the film. Critics hailed these 2 films as classics and to be ahead of its time. In the 1980s and 1990s, he continued to play supporting roles in many films and won a Filmfare Best Supporting Actor Award for his performance in Vidhaata (1982). His notable roles as a character actor were in Hero, Vidhaata, Hukumat, Batwara, Tahalka, Chamatkar, Namak and Prem Granth. He got the opportunity to do some films in other languages such as Bengali and Tamil in the nineties. He did a social melodrama serial called Chattan aired on Zee TV for more than a year in the 1990s. He eventually cut down on film appearances by the late 1990s and early 2000s and made his appearances in the 1999 Salman Khan and Urmila Matondkar starrer Jaanam Samjha Karo, 2002 release Waah! Tera Kya Kehna and the delayed 2006 release Sandwich. He made his last appearance in Imtiaz Ali's directorial venture Rockstar co-starring his grand-nephew Ranbir Kapoor, the grandson of his brother Raj Kapoor.

Film director Shakti Samanta directed Shammi Kapoor in six hit films like Singapore, Pagla Kahin Ka, China Town, Kashmir Ki Kali, An Evening In Paris and Jaane Anjane and quoted in an interview “I found Shammi to be a thoroughly good man. Even in his heydays, he was humble."^[13]

Personal life[link]

Shammi Kapoor, in 1953, dated Nadia Gamal, a belly dancer from Cairo.^[14] Shammi quoted in an interview that "We met in Ceylon and we were in love. Somehow things did not work out and she went back to Cairo."^[15] Kapoor met Geeta Bali in 1955, during the shooting of the film Rangeen Raaten, where he was the leading actor and she played a cameo. Geeta Bali was a well established actress and a popular star at this point of time and Shammi had not tasted any success. They fell in love during the outdoor stints of the movie at Ranikhet, an ancient Army based hill-station in the Kumaon region, but since she was a year older to him and had acted with his elder brother in Bawren Nain and his father in Anand Math, they were skeptical. Four months after they first met, they married at Banganga Temples, near Napean Sea Road of Mumbai with Hari Walia as the sole witness. They informed their parents only after their marriage. Geeta Bali also did cameo in Shammi starrer Mujrim (1958). They were paired together in Miss Coca Cola, a box office dud and Coffee House. After their marriage Geeta Bali acted in 14 films and retired from the film industry. Geeta Bali's last film as a lead was Jab Se Tumhe Dekha Hai opposite Pradeep Kumar, in which Shammi Kapoor and Shashi Kapoor made special appearances.

Shammi and Geeta lived a life of bliss in the coming years. They had a son, Aditya Raj Kapoor, on 1 July 1956, at Shirodkar's Hospital, Mumbai, a year after they were married. Five years later, in 1961, they had a daughter, Kanchan.

Tragedy struck in 1965, during the filming of Teesri Manzil. Geeta died of small pox, leaving Shammi with two small children.

In 1969, he married Neela Devi Gohil from the former royal family of Bhavnagar in Gujarat. He was gaining weight rather significantly now and this ended his career as a romantic hero in the early 1970s. Andaz (1971) was one of his last hits.

Shammi Kapoor was the founder and chairman of Internet Users Community of India (IUCI). He had also played a major role in setting up internet organizations like the Ethical Hackers Association. Kapoor also maintained a website dedicated to the Kapoor family.^[16]

In 2006, he told interviewers that he underwent dialysis three times a week. Irrepressible even then, this punishing regimen has failed to depress him. Rather, he said that he was thankful to God for giving him so much.

He died of renal failure around 5:15am on 14 August 2011 at Mumbai's Breach Candy hospital, where he was undergoing treatment for chest infection.^[17]

Death[link]

Kapoor was admitted to Breach Candy Hospital, Mumbai on 7 August 2011 suffering from chronic renal failure. His condition remained serious for next few days and he was kept on ventilator support.^[18] He died on 14 August 2011, 05:15 am IST, of chronic renal failure, aged 79.^[19][20] Funeral was held on Monday, 15 August at Banganga cremation ground, Malabar Hill, Mumbai. Aditya Raj Kapoor, the actor's son, performed the last rites at the cremation. The entire Kapoor family were present to pay their last respects, including his younger brother Shashi Kapoor, sister in law Krishna Kapoor, grand nephew Ranbir Kapoor, nephews Rishi, Randhir and Rajiv, Randhir's wife Babita and grand nieces Karishma Kapoor and Kareena Kapoor.^[21] Bollywood personalities Vinod Khanna, Shatrughan Sinha, Subhash Ghai, Amitabh Bachchan, Ramesh Sippy, Danny Denzongpa, Prem Chopra, Anil Kapoor, Saif Ali Khan, Govinda, Aamir Khan, Rani Mukherjee, Shahrukh Khan, Kabir Bedi and Priyanka Chopra were among those who attended the funeral.^[22]

Awards, nominations and other recognition[link]

• 1962 – Filmfare Nomination as Best Actor--Professor^[23]
• 1968 – Filmfare Best Actor Award, Brahmachari^[24]
• 1982 – Filmfare Best Supporting Actor Award, Vidhata^[25]
• 1995 – Filmfare Lifetime Achievement Award^[26]
• 1998 – Kalakar Awards – Special Award for "contribution in Indian Cinema"^[27]
• 1999 – Zee Cine Award for Lifetime Achievement
• 2001 – Star Screen Lifetime Achievement Award
• 2001 – Anandalok Awards Lifetime Achievement Award
• 2002 – Invaluable Contribution To Indian Cinema at the IIFA.^[28]
• 2005 – Lifetime Achievement Award at the Bollywood Movie Awards^[29]
• 2008 – Lifetime Achievement Award for his contribution to Indian cinema at the Pune International Film Festival (PIFF).^[30]
• 2009 – Phalke Legend Actor Award by the Dadasaheb Phalke Academy [1]^{[dead link]}
• Recipient of the prestigious Living Legend Award by the Federation of Indian Chamber of Commerce and Industry (FICCI) in recognition of his outstanding contribution to the Indian entertainment industry.^[31]
• Rashtriya Gaurav Award^[32]

Partial filmography[link]

^[33]

Further reading[link]

• The Kapoors: the first family of Indian cinema, by Madhu Jain. Penguin, Viking, 2005. ISBN 0-670-05837-8.

References[link]

External links[link]

Wikimedia Commons has media related to: Shammi Kapoor

• Shammi Kapoor's Personal Website
• Shammi Kapoor Official Fan Club
• Shammi Kapoor at the Internet Movie Database
• Shammi Kapoor on Twitter
• Shammi Kapoor's Official Video Blog^{[dead link]}