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Hot Indian Bollywood Actresses Biography

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With the acting benchmark set so high by some of the leading ladies of Bollywood movies of the black and white era. The road to stardom for the successive generation of female actors in Bollywood has not been easy but still many have manged to make a mark for themselves in an industry which is still dominated by male-centric movies.
Katrina Kaif etc
Aishwarya Rai – 1st November 1973
The best numbers among all the Indian actresses. In my article about Number 7 I had written about the presence of Number 7 to reach the pinnacle of success. For an actress to do well in her career a good psychic number is very important. Number 1 is excellent as a psychic number. Psychic 1 with destiny 5 is does wonders for career in field of art. Name number 25 is one of the best name numbers I have come across, but again, none of the other numbers should be 7. Name number 25 is shared by Bill Gates and L N Mittal as well.
Amisha patel – 9th June 1976
Destiny and psychic 2 and 9 or vice-versa will bring controversies in life. No wonder Amisha’s life has been full of controversies. She lacks a 1, 6 or 7 in her numbers. Name number 36 is not the best with psychic 9. Two 9′s means a lot of energy but these energies are wasted in the wrong direction without a strong number. In her case, the 3rd number is 2 which is not strong enough to take care of both the 9′s.
Amrita Arora – 31st January 1981
Any girl having psychic 4 with a destiny 6 has a reason to worry. These numbers bring serious problems in relationships. Amrita’s name number is 26 which is again not good with a psychic 4. No wonder she has never been able to do well in Bollywood. Her career will continue to remain dark untill at least she changes her name number. However, she is married now to a rich guy so she doesn’t have to worry much about the finances. But she might have to worry about her relationship in the future.
Amrita Rao – 17th June 1981
Excellent name number, 23, which is the best number possible for a psychic 8. This will help her rise in her career, but if numbers are not matched well it will be difficult for her to have a smooth personal life. Destiny 6 is bad for personal life of a female which can only be rectified if the horoscopes are matched or the name number is strong. Also destiny 6 makes girls enter into unwanted sexual relationships.
Ayesha Takia – 10th April 1986
Good numbers, this girl is there to stay in Bollywood for a while. A psychic 1 with a destiny 2 does not make the best combination but aided with a name number 25, this combination can do wonders. “WANTED” will Salman Khan has made her more wanted. 28th year onwards there will be a change in her career and it might go to the next level.
Bipasha Basu – 7th January 1979
Name number 33, my favourite and the best possbile in numerology. No wonder, iZodiaque is also 33 ;-) . However, psychic and destiny both as 7 makes a girl very controversial within herself. It is very difficult for anyone to understand her, no wonder John is still wondering whether to marry her or not. Her numbers are excellent for her career and 33rd-34th year of your life should be happening and good for her career.
Bhumika Chawla – 21st August 1978
Excellent psychic and destiny but with a really weak name number. Name number 40 does not do well with all psychic numbers. Also this number will not let have a girl smooth career. If she starts writing Bhumikka Chawla, things might get better as her new name number would be 42, same as SRK.
Celina Jaitley – 9th June 1981
Hardworking girl, but weak name number. Again a 7 destiny with a 7 name number creates problems. She should change her name number to 33 or 37. Having a destiny 7 can help her move up in the ladder. She is 29 now so a long way to go.
Deepika Padukone – 5th January 1986
This young lady is there to stay in Bollywood. She lacks a 7 so she will not be able to get what Aishwarya or Madhuri has achieved. Relationships will always be a problem with her, as a psychic 5 with a destiny 3 makes her highly egoistic and moody which is enchanced by a name number 64. She will be too clever and cunning in relationships and it will be difficult to handle her. Junior Mallya is doing a good job these days.
Diya Mirza – 9th December 1981
Two 4′s (22 and 4) can give someone fame overnight but that person will always keep on struggling to retain that position. She needs a name number of 1 or 6 to do well. Psychic 9 with a destiny 4 is not the best with the name number 22.
Esha Deol – 2nd November 1982
Money she will have plenty because of the name number 33, career and relationships will always be demanding. She is a highly confused, moody and a sensitive girl. She must be like a Mumma’s girl. 2 and 6, both are even numbers and these are not the best for a girl. A girl needs more of odd numbers to rise high in the career. A perfect example is Aishwarya Rai, did you ever notice that all the number is her date of birth are odd, 1-11-1973, also her psychic, destiny and name number, all of them are odd.
Gracy Singh – 20th July 1980
Again, same problem as Amisha Patel. Two 9′s giving a lot of energy going nowhere. A psychic 2 is not the best for a girl as discussed with Esha’s numbers. A name number of 33 can make her career move faster.
Hema Malini – 16th October 1948
One of the most successful actresses, also she has a number 7 as her psychic number. Destiny 3 brings problems in relationships as discussed earlier and no wonder she lives separate from her husband. Name number 30 is excellent and it is the same as Sanjay Dutt and Salman Khan.
Juhi Chawla – 13th November, 1967
Psychic 4 and destiny 2 is not a great combination but makes the person a bit lucky. Name number 32 is one of the best name numbers possible and helps psychic 4 grow. No wonder she has been with Bollywood for quiet a while and has some strong associations, yes am talking about SRK.
Kajol – 5th August 1975
Psychic 5 and destiny 8 brings instability in the career. But with a name number of 14 life does not remain very difficult. Also this is her 35th year which is the year of her destiny number (3+5=8). This makes her year important and no wonder we got the news recently that she and Ajay had a baby boy.
Kareena Kapoor – 21st September 1980
Three 3′s are good together indeed. Jupiter is the planet of prosperity and it brings stability in a person’s life. Kareena would be better with a name number 51. She will have a stable career but her personal life will have ups and downs.
Karishma Kapoor – 25th June 1974
A really good combination for career. No wonder she was doing really well in her career till she got married. Now Karishma has been changed to Karisma by a numerologist. This will make her life better in terms of personal life but career will not remain the same.
Katrina Kaif – 16th July 1984
The current queen of Bollywood, her numbers are good with a presence of 7 which has taken her at the top. Her name number is 28 which is not great and same as Akshay Kumar’s. She will be one of the top actresses for sometime but number 28 will keep on bringing ups and downs in her career.

Mallika Sherawat – 24th October 1981
Girls born on 24th are very sensuous, no wonder Mallika has been known for that in Bollywood. Her destiny number is 8 which will not let her have a clean reputation in Bollywood. Her name number 42 will always keep her in the limelight and she will have a good career in future,
Priyanka Chopra – 18th July 1982
Again 9′s and 2 meet. A psychic and destiny 9 person can be highly irritating at times because too many 9′s makes the person very restless. Priyanka should be one of the most hard working actresses in the industry but at the same time these numbers are not great for her personal life. A name number 6 can make things better.
Raveena Tandon – 26th October 1974
Psychic – 8
Destiny – 3
Name – 51
Date of birth 26 with a destiny number 3 leads to a divorce in most of the cases. We haven’t heard any bad news about Raveena yet but something can be expected in the coming years. She has to watch out her 40th and 44th year as those years can be demanding for her personal life.
Sonam Kapoor – 9th June 1985
Sonam will have a controversial personal life because of a 2 and a 9 as her destiny and psychic numbers. Absence of 4 and 8 will give her a good life and a decent career. But she is not the 1 who can become the queen of Bollywood. Recently she changed her name to Sonam A Kapoor (48) which will not help her much. Numerologists, she needs a number 6 or 7. Even 1 would be better than 3.
Sushmita Sen – 19th November 1975
She has the perfect numbers apart from the name number. Psychic 1 and destiny 7 can do wonders but with name number 40 personal life remains demanding. Also her career could have been much better with a name number 41 or 42.
Sonakshi Sinha – 2nd June 1987
I would say, very weak numbers to become an actress. She calls herself a Tom Boy, but the reality is that she is a very soft, sentimental and a confused girl. Her name number is excellent due to which she was lucky in getting good results for her first movie. If she continues doing sensuous roles, she can do well, however tom boy roles are just not for her. I wonder if she will stay in Bollywood for long.

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

Hot Indian Bollywood Actresses Actress Photos Images Wallpapers

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Hindi Music

Hindi Music Biography

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Hindustani classical music (Hindi: हिन्दुस्तानी शास्त्रीय संगीत, Urdu: کلاسیکی موسیقی‎) is the Hindustani or North Indian style of Indian classical music found throughout the northern Indian subcontinent. The style is sometimes called North Indian classical music or Shāstriya Sangīt. It is a tradition that originated in Vedic ritual chants and has been evolving since the 12th century CE, primarily in what is now North India, Pakistan and Bangladesh and to some extent in Nepal and Afghanistan. Today, it is one of the two subgenres of Indian classical music, the other being Carnatic music, the classical tradition of South IndiaCharacteristics
The tradition was born out of a cultural synthesis of several musical traditions: the Vedic chant tradition, dating back to more than three thousand years ago, the ancient Persian tradition of Musiqi-e assil, and various folk traditions prevalent in the region.
It is traditional for performers who have reached a distinguished level of achievement to be awarded titles of respect; Hindus are usually referred to as pandit and Muslims as ustad. An aspect of Hindustani music going back to Sufi times is the tradition of religious neutrality: Muslim ustads may sing compositions in praise of Hindu deities, and vice versa.
Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music. The central notion in both these systems is that of a melodic mode or raga, sung to a rhythmic cycle or tala. The tradition dates back to the ancient Samaveda, (sāma meaning "ritual chant"), which deals with the norms for chanting of srutis or hymns such as the Rig Veda. These principles were refined in the musical treatises Natya Shastra, by Bharata (2nd–3rd century CE), and Dattilam (probably 3rd–4th century CE).
In medieval times, the melodic systems were fused with ideas from Persian music, particularly through the influence of Sufi composers like Amir Khusro, and later in the Moghul courts. Noted composers such as Tansen flourished, along with religious groups like the Vaishnavites. After the 16th century, the singing styles diversified into different gharanas patronized in different princely courts. Around 1900, Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music, called ragas, into a number of thaats. Indian classical music has seven basic notes with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps (temperament) may also vary; however, with the gradual replacement of the sarangi by the harmonium, an equal tempered scale is increasingly used. The performance is set to a melodic pattern called a raga characterized in part by specific ascent (aroha) and descent (avaroha) sequences, which may not be identical. Other characteristics include "king" (vadi) and "queen" (samavadi) notes and characteristic phrases (pakad). In addition each raga has its natural register (ambit) and portamento (meend) rules. Performances are usually marked by considerable improvisation within these norms.
History
Music was first formalized in India in connection with preserving the sruti texts, primarily the four vedas, which are seen as apaurasheya (meaning "not created by man"). Not only was the text important, but also the manner in which they had been enunciated by the immortals. Prosody and chanting were thus of great importance, and were enshrined in the two vedangas (bodies of knowledge) called shiksha (pronunciation, chants) and chhandas (prosody); these remained a key part of the brahmanic educational system till modern times.
The formal aspects of the chant are delineated in the Samaveda, with certain aspects, e.g. the relation of chanting to meditation, elaborated in the Chandogya Upanishad (ca. 8th century BC). Priests involved in these ritual chants were called samans and a number of ancient musical instruments such as the conch (shankh), lute (veena), flute (bansuri), trumpets and horns were associated with this and later practices of ritual singing.
Sanskritic tradition
The Samaveda outlined the ritual chants for singing the verses of the Rigveda, particularly for offerings of Soma. It proposed a tonal structure consisting of seven notes, which were named, in descending order, krusht, pratham, dwitiya, tritiya, chaturth, mandra and atiswār. These refer to the notes of a flute, which was the only fixed-frequency instrument. This is why the second note is called pratham (meaning "first", i.e., produced when only the first hole is closed).
Music is dealt with extensively in the Valmiki Ramayana. Narada is an accomplished musician, as is Ravana; Saraswati with her veena is the goddess of music. Gandharvas are presented as spirits who are musical masters, and the gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. In the Vishnudharmottara Purana, the Naga king Ashvatara asks to know the svaras from Saraswati.
The most important text on music in the ancient canon is Bharata's Natya Shastra, composed around the 3rd century CE. The Natya Shastra deals with the different modes of music, dance, and drama, and also the emotional responses (rasa) they are expected to evoke. The scale is described in terms of 22 micro-tones, which can be combined in clusters of four, three, or two to form an octave.
While the term raga is articulated in the Natya Shastra (where its meaning is more literal, meaning "colour" or "mood"), it finds a clearer expression in what is called jati in the Dattilam, a text composed shortly after or around the same time as Natya Shastra. The Dattilam is focused on gandharva music and discusses scales (swara), defining a tonal framework called grama in terms of 22 micro-tonal intervals (sruti comprising one octave. It also discusses various arrangements of the notes (murchhana), the permutations and combinations of note-sequences (tanas), and alankara or elaboration. Dattilam categorizes melodic structure into 18 groups called jati, which are the fundamental melodic structures similar to the raga. The names of the jatis reflect regional origins, for example andhri and oudichya.
Music also finds mention in a number of texts from the Gupta period; Kalidasa mentions several kinds of veena (Parivadini, Vipanchi), as well as percussion instruments (mridang), the flute (vamshi) and conch (shankha). Music also finds mention in Buddhist and Jain texts from the earliest periods of the Christian era.
Narada's Sangita Makarandha treatise, from about 1100 CE, is the earliest text where rules similar to those of current Hindustani classical music can be found. Narada actually names and classifies the system in its earlier form before the Persian influences introduced changes in the system. Jayadeva's Gita Govinda from the 12th century was perhaps the earliest musical composition sung in the classical tradition called Ashtapadi music.
In the 13th century, Sharngadeva composed the Sangita Ratnakara, which has names such as the turushka todi ("Turkish todi"), revealing an influx of ideas from Islamic culture. This text is the last to be mentioned by both the Carnatic and the Hindustani traditions and is often thought to date the divergence between the two.
Medieval period: Persian influence[edit source | editbeta]
The advent of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India caused considerable cultural interchange. Increasingly, musicians received patronage in the courts of the new rulers, who in their turn, started taking increasing interest in local music forms. While the initial generations may have been rooted in cultural traditions outside India, they gradually adopted many aspects from their kingdoms which retained the traditional Hindu culture. This helped spur the fusion of Hindu and Muslim ideas to bring forth new forms of musical synthesis like qawwali and khyal.
The most influential musician of the Delhi Sultanate period was Amir Khusrau (1253–1325), sometimes called the father of modern Hindustani classical music. A composer in Persian, Turkish, Arabic, as well as Braj Bhasha, he is credited with systematizing many aspects of Hindustani music, and also introducing several ragas such as Yaman Kalyan, Zeelaf and Sarpada. He created the qawwali genre, which fuses Persian melody and beat on a dhrupad like structure. A number of instruments (such as the sitar and tabla) were also introduced in his time.
Amir Khusrau is sometimes credited with the origins of the khyal form, but the record of his compositions do not appear to support this. The compositions by the court musician Sadarang in the court of Muhammad Shah bear a closer affinity to the modern khyal. They suggest that while khyal already existed in some form, Sadarang may have been the father of modern khyal.
Much of the musical forms innovated by these pioneers merged with the Hindu tradition, composed in the popular language of the people (as opposed to Sanskrit) in the work of composers like Kabir or Nanak. This can be seen as part of a larger Bhakti tradition, (strongly related to the Vaishnavite movement) which remained influential across several centuries; notable figures include Jayadeva (11th century), Vidyapati (fl. 1375 CE), Chandidas (14th–15th century), and Meerabai (1555–1603 CE).
As the Mughal Empire came into closer contact with Hindus, especially under Jalal ud-Din Akbar, music and dance also flourished. In particular, the musician Tansen introduced a number of innovations, including ragas and particular compositions. Legend has it that upon his rendition of a night-time raga in the morning, the entire city fell under a hush and clouds gathered in the sky, and that he could light fires by singing the raga "Deepak", which is supposed to be composed of notes in high octaves.
At the royal house of Gwalior, Raja Mansingh Tomar (1486–1516 CE) also participated in the shift from Sanskrit to the local idiom (Hindi) as the language for classical songs. He himself penned several volumes of compositions on religious and secular themes, and was also responsible for the major compilation, the Mankutuhal ("Book of Curiosity"), which outlined the major forms of music prevalent at the time. In particular, the musical form known as dhrupad saw considerable development in his court and remained a strong point of the Gwalior gharana for many centuries.
After the dissolution of the Mughal empire, the patronage of music continued in smaller princely kingdoms like Lucknow, Patiala, and Banaras, giving rise to the diversity of styles that is today known as gharanas. Many musician families obtained large grants of land which made them self-sufficient, at least for a few generations (e.g. the Sham Chaurasia gharana). Meanwhile the Bhakti and Sufi traditions continued to develop and interact with the different gharanas and groups.
Modern era[edit source | editbeta]
Until the late 19th century, Hindustani classical music was imparted on a one-on-one basis through the guru-shishya ("mentor-protégé") tradition. This system had many benefits, but also several drawbacks; in many cases, the shishya had to spend most of his time serving his guru with a hope that the guru might teach him a "cheez" (piece or nuance) or two. In addition, the system forced the music to be limited to a small subsection of the Indian community. To a large extent it was limited to the palaces and dance halls. It was shunned by the intellectuals, avoided by the educated middle class, and in general looked down upon as a frivolous practice.
Then a fortunate turn of events started the renaissance of Hindustani classical music.
First, as the power of the maharajahs and nawabs declined in early 20th century, so did their patronage. With the expulsion of Wajid Ali Shah to Calcutta after 1857, the Lucknavi musical tradition came to influence the music of renaissance in Bengal, giving rise to the tradition of Ragpradhan gan around the turn of the century.
Also, at the turn of the century, two great stars emerged on the horizon: Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande. Independent of each other, they spread Hindustani classical music to the masses in general, and the Marathi middle class in particular. These two gentlemen brought classical music to the masses by organizing music conferences, starting schools, teaching music in class-rooms, and devising a standardized grading and testing system, and by standardizing the notation system.
Vishnu Digambar Paluskar emerged as a talented musician and organizer despite having been blinded at age 12. His books on music, as well as the Gandharva Mahavidyalaya music school that he opened in Lahore in 1901, helped foster a movement away from the closed gharana system.
Paluskar's contemporary (and occasional rival) Vishnu Narayan Bhatkhande recognized the many rifts that had appeared in the structure of Indian classical music. He undertook extensive research visits to a large number of gharanas, Hindustani as well as Carnatic, collecting and comparing compositions. Between 1909 and 1932, he produced the monumental four-volume work Hindustani Sangeetha Padhathi, which suggested a transcription for Indian music, and described the many traditions in this notation. Finally, it consolidated the many musical forms of Hindustani classical music into a number of thaats (modes), subsequent to the Melakarta system that reorganized Carnatic tradition in the 17th century. The ragas as they exist today were consolidated in this landmark work, although there are some inconsistencies and ambiguities in Bhatkande's system.
The now tiny state of Goa has contributed a lot to Indian Classical music.Some of the renowned singers from 19th,-21st century hail from the state of Goa where the music was kept alive in the temples.
In modern times, the government-run All India Radio, Bangladesh Betar and Radio Pakistan helped to bring the artists to public attention, countering the loss of the patronage system. The first star was Gauhar Jan, whose career was born out of Fred Gaisberg's first recordings of Indian music in 1902. With the advance of films and other public media, musicians started to make their living through public performances. As India was exposed to Western music, some Western melodies started merging with classical forms, especially in popular music. A number of Gurukuls, such as that of Alauddin Khan at Maihar, flourished. In more modern times, corporate support has also been forthcoming, as at the ITC Sangeet Research Academy. Meanwhile, Hindustani classical music has become popular across the world through the influence of artists such as Ravi Shankar and Ali Akbar Khan.

Hindi Music

Hindi Music

Hindi Music

Hindi Music

Hindi Music

Hindi Music

Hindi Music

Hindi Music

Hindi Music

Hindi Music

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About Bollywood Actress

About Bollywood Actress Biography

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Urmila Matondkar (born on 4 February 1974) is an Indian film actress. Matondkar, who made her screen debut as a child artist in the 1980 film Kalyug, debuted as an adult in Narasimha (1991). She established herself as a popular actress in mainstream Hindi cinema with her films such as Rangeela (1995), Judaai (1997), and Satya (1998), all of which earned her Filmfare nominations. These roles contributed to a new screen persona, where she was known for her intense style and dancing skills, and was frequently featured in the Indian media as a sex symbolCareer
Urmila's first role as a child artist was in 1981 with Kalyug and she achieved success at the age of 9 in Shekhar Kapur's Masoom in 1983. She made her adult debut as an actress with the film Bade Ghar Ki Beti. She next starred in the fantasy film Chamatkar, along with Shahrukh Khan. In 1989, Urmila was paired opposite Kamal Haasan in the Malayalam blockbuster Chanakyan. She went on to frequently collaborate with film director Ram Gopal Verma, who is known for his thrillers. Her first film with him was Antham, which was a bilingual film and was titled as Drohi (1992 film) in (Hindi). She has also made her appearance in Doordarshan Serial Bible Ki Kahaniyan. Since then, she has starred in numerous subsequent RGV pictures, like Gaayam (Telugu), her 1995 musical hit Rangeela. She played a star-struck dancer in the film, and received her first Filmfare Best Actress Award nomination for her performance in the film. Following RGV projects were Anaganaga Oka Roju (1997), Daud (film) (1997), Satya (1998), Kaun (1999), Mast (2000), Jungle (2000), Pyaar Tune Kya Kiya (2001), Bhoot (2003), and Ek Hasina Thi (2004).
In 1997 her film Judaai was a hit but her other releases such as Daud and Aflatoon were not as successful. Her performance in Judaai earned her a Filmfare Best Supporting Actress Award nomination.
In 1998, she earned critical acclaim for her performance in Satya, for which she received another Filmfare nomination. Satya was a critical and commercial success.
In 1999, she got rave reviews for her performance as a pschycopath in Kaun, which was a moderate success. Khalid Mohamed of The Times of India (who would later cast her in Tehzeeb) wrote that she "rivets the viewer's interest, carrying off entire reels on her shoulders, through a gamut of quicksilver facial expressions. Vulnerable and baffled, she is utterly believable as the traumatised girl-next-door." She saw further success with Jaanam Samjha Karo, Hum Tum Pe Marte Hain and Khoobsurat, all moderate successes at the box office.
During the 2000s, Matondkar revealed strong, dramatic and psychological features in her roles, and delivered a number of critically acclaimed performances. She won favourable reviews for her role as an obsessive lover in Pyaar Tune Kya Kiya (2001), and received various Best Villain nominations for her performance.
In 2003, she was part of several projects. She played the role of a north Indian girl in the background of the 1947 India partition in the critically acclaimed Pinjar. She played the title role in Khalid Mohammed's drama Tehzeeb, starring along Shabana Azmi. However, she was mainly noted for her performance in Bhoot, a horror movie. Matondkar enacted a ghost-possessed woman; her performance was much appreciated by critics and audiences and she won her first Filmfare Award under the Best Actress (Critics' Choice) category, as well as various Best Actress awards at different award ceremonies, such as Star Screen Awards, Zee Cine Awards and Bollywood Movie Awards. She later received the national honour Rajiv Gandhi Award for the film, as a recognition to her achievement in Bollywood. Taran Adarsh wrote of her performance, "...the film clearly belongs to Urmila Matondkar all the way. To state that she is excellent would be doing gross injustice to her work. Sequences when she is possessed are simply astounding. If this performance doesn't deserve an award, no other performance should. It beats all competition hollow.
In 2004, she got critical recognition for her performance as a merciless avenger in Ram Gopal Verma's Ek Hasina Thi, co-starring Saif Ali Khan. She played the role of a deceived woman who is jailed because of her lover, played by Khan, and later flees from prison to avenge him. Once again, Matondkar was nominated for a Filmfare for her performance in the film.
Next year in 2005, she tried her hand with another horror film, playing the title role in the film Naina, which failed. However, her performance as the caring daughter of Anupam Kher in Jahnu Barua's art film Maine Gandhi Ko Nahin Mara was very well received, and she won her second Bollywood Movie Award for Best Actress.
Apart from holding a successful acting career, she is regarded as an outstanding dancer and has been a featured performer in many Bollywood item numbers. Her best-known item number is the Chamma Chamma sequence from the 1998 China Gate. Other hit numbers include Aaiye Aajaye from the hit film Lajja. She was signed to perform the item song in Ram Gopal Varma Ki Aag, a remake of the 1975 blockbuster Sholay. She played the role originally played by Helen.
In 2007, Matondkar lent her voice for Asha Bhonsle's album Asha and Friends Vol 1, where she performed with Bhosle the duet song "Mehbooba Dilruba". In fact, throughout the 1990s – 2000s, Bhosle sang the maximum number of songs for Urmila. In that same year, she was seen on the second season of the dance reality show Jhalak Dikhhla Jaa on Sony Television as a judge along with Jeetendra and Shiamak Davar.
In 2008, Matondkar was seen with Himesh Reshammiya in a remake of the 1980 film Karz, titled Karzzzz. Even though the film flopped miserably at the box office, Urmila was praised for her acting and adding her own flavour to the role of Kamini. That year also marked Matondkar's debut on Indian television as a host of a reality show named Waar Parriwar.
In 2011, Matondkar was one of the judges on the dance reality show named Chak Dhoom Dhoom on Colors channel, along with Javed Jaffrey and Terence Lewis. In 2012, Urmila Matondkar stated her comeback with an animated Hindi feature film Delhi Safari.
In 2012 Urmila Matondkar is a judge on a Marathi dance reality show Dance Maharashtra Dance on Zee Marathi.
Filmography
See also: List of awards and nominations received by Urmila Matondkar
Year Film Role Notes
1980 Kalyug Parikshit
1980 Zakol
1983 Masoom Pinky
1984 Bhavna
1985 Sur Sangam
1987 Dacait Shanta
1989 Bade Ghar Ki Beti Pushpa
1989 Chanakyan Renu Malayalam film
1991 Narasimha Meenu S. Singh First adult role in Hindi
1992 Chamatkar Mala
1992 Antham Bhavna Telugu film
1992 Drohi Bhavna
1993 Shreemaan Aashique Shakuntala (Shaku)
1993 Gaayam Chitra Telugu film
1993 Bedardi Honey
1994 Kanoon Shalu
1994 Aa Gale Lag Ja Roshni
1995 Rangeela Mili Joshi Nominated—Filmfare Best Actress Award
1995 Thacholi Varghese Chekavar Maya Malayalam Film
1995 Money Money Chitra Telugu film, Guest appearance
1996 Indian Sapna Tamil film, dubbed in Hindi as Hindustani
1997 Judaai Janhvi Sahni Nominated—Filmfare Best Supporting Actress Award
1997 Mere Sapno Ki Rani Sapna
1997 Anaganaga Oka Roju Madhu Telugu film
1997 Daud Bhavani
1997 Aflatoon Pooja
1998 Satya Vidya Nominated—Filmfare Best Actress Award
1998 Kudrat Madhu
1998 China Gate Item number
1998 Chhota Chetan Miss Hawa Hawai
1999 Jaanam Samjha Karo Chandni
1999 Hum Tum Pe Marte Hain Radhika
1999 Mast Mallika
1999 Dillagi Shalini
1999 Khoobsurat Shivani
1999 Kaun Nameless character Villain role
2000 Jungle Anu
2000 Deewane Sapna
2000 Kunwara Urmila
2001 Pyaar Tune Kya Kiya Ria Villain role.
2001 Lajja Special appearance in an item number
2002 Company Special appearance in song
2002 Om Jai Jagadish Nitu
2002 Deewangee Sargam
2003 Bhoot Swati Filmfare Critics Award for Best Actress
2003 Tehzeeb Tehzeeb Mirza
2003 Pinjar Puro
2004 Ek Hasina Thi Sarika Vartak Nominated—Filmfare Best Actress Award
2005 Naina Naina
2005 Maine Gandhi Ko Nahin Mara Trisha
2006 Banaras Shwetamabri
2006 Bas Ek Pal Anamika
2007 Ram Gopal Varma Ki Aag Gypsy Dancer Item number
2007 Om Shanti Om Herself Special appearance
2007 Speed Richa
2008 Karzzzz Kaamini Villain role
2008 EMI – Liya Hai Toh Chukana Parega Prerana Joshi
2011 Shabri Cameo
2012 Hridaynath Item number, Marathi film[12]
2012 Delhi Safari Begum Voice
2013 Life Mein Hungama Hai Music Teacher
2013 Ajoba Vidya Filming, Marathi film

About Bollywood Actress

About Bollywood Actress

About Bollywood Actress

About Bollywood Actress

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About Bollywood Actress

About Bollywood Actress

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Jiah Khan was born on 20 February 1988 into a Muslim family in New York City. She was the daughter of Ali Rizvi Khan, an Indian American and Rabiya Amin, a Hindi film actress in the 1980s from Agra, Uttar Pradesh. Khan grew up in London where she completed her Edexcel O and A Level with a brilliant result of 5 As, before moving to Mumbai to pursue a career in Bollywood. She has two sisters Kavita and Karishma. She was inspired to enter Bollywood after watching Ram Gopal Verma's former protege Urmila Matondkar’s movie Rangeela at the age of six.
Khan was a trained opera singer and had recorded six pop tracks by the time she was 17.Khan studied at the Lee Strasberg Theatre and Film Institute in Manhattan, though she quit upon receiving a movie offerCareer
In 2004, at the age of 16, Khan was to act in Mukesh Bhatt's Tumsa Nahin Dekha but backed out when both she and the director felt the role was too mature for her; she was immediately replaced by Dia Mirza. Two years later, in 2007, at the age of 18, khan made her debut in Ram Gopal Verma's controversial romantic thriller Nishabd, where she acted opposite Amitabh Bachchan. Despite the provocative content in the film, it performed poorly at the box office, and earned mixed reviews from critics.
Khan at DJ Magazine launch in 2010.
Nonetheless, Khan received a mostly positive reception for her performance, with critics noting her confidence, attitude, and sex appeal. Raja Sen praised her portrayal of Jia, a seductive, free-spirited teenager, calling her performance "nuanced" and "impressive". Taran Adarsh agrees, saying that "Newcomer Jiah Khan is supremely confident. Loaded with attitude and sex appeal, the newcomer carries off her part with flourish. Her scenes with Bachchan are superb!" Rajeev Masand adds that she is "perfectly cast" for the film. She was also nominated for a Filmfare Best Female Debut Award,however lost to Deepika Padukone.
The following year, she appeared alongside Aamir Khan and Asin in A.R. Murugadoss's psychological thriller Ghajini, the Hindi remake of its namesake. The film gathered much appreciation from critics, and went on to become the highest grossing Bollywood film of 2008, as well as earn the all-time blockbuster status. Khan's performance attracted mixed reviews, with critics agreeing that her role was "sketchy". Despite this, Sukanya Verma compliments her performance, commenting that Khan "continues to strike as an exquisite and expressive actress.
Khan had shot for a significant portion of Ken Ghosh's Chance Pe Dance opposite Shahid Kapoor, but was later replaced by Genelia D'souza. While both Khan and UTV have stated that "the reason for her withdrawal from the film was due to her not suiting the character". Khan made her last film appearance in a supporting role for Sajid Khan's Housefull opposite Akshay kumar, Riteish Deshmukh, Deepika Padukone and Lara Dutta in 2010. Housefull was her second highest grossing Bollywood film.Death
Khan committed suicide by hanging herself from a ceiling fan at around 11:45pm in a bedroom of her Juhu residence in Mumbai on the Monday, June 3, 2013,` when her mother Rabiya and sister Kavita were not at home.Her body was taken to the casualty morgue at the JJ Hospital in Byculla, for a forensic examination and autopsy. Her body was brought back to her residence around 7am on Wednesday, June 5, 2013, following the post-mortem.
In the same day her Namaz-e-janaza took place at Sonapur Kabar Walla Masjid and she was buried at Juhu Muslim cemetery after Dhuhr prayer as per Islamic rites. Bollywood actors in attendance included Aamir Khan, Kiran Rao, Riteish Deshmukh, Siddharth Mallya, Sophie Choudry, Urvashi Dholakia, Prem Chopra, Ranjeet, Deepak Parashar, Sanjay Khan and Nagma in attendance. Bollywood stars reacted with shock at her death.
On June 7, 2013, a six-page suicide note was found by her sister.The note is reported to indicate that she had planned to end her life. A transcript was released by Khan's family which included mention to a recent abortion.
On June 8, 2013 Khan's condolence meeting was held at Vile Parle Medical Club to pray Jiah. Bollywood actors in attendance included Aamir Khan, Deepika Padukone, Randhir Kapoor, Prateik Babbar, Sanjay Kapoor, Shweta Pandit, Kiran Rao, Urvashi Dholakia, Ranjeet, Deepak Parashar, Sanjay Khan and Nagma.
Suraj Pancholi, who was allegedly in a live-in relationship with Khan, was taken into custody in association with her suicide on 10 June, 2013. The Bombay High Court granted him bail on 2 July 2013.
Filmography
Year Film Role Notes
2007 Nishabd Jia Nominated, Filmfare Best Female Debut Award
2008 Ghajini Sunita
2010 Housefull Devika

Bollywood Actress Killed

Bollywood Actress Killed

Bollywood Actress Killed

Bollywood Actress Killed

Bollywood Actress Killed

Bollywood Actress Killed

Bollywood Actress Killed

Bollywood Actress Killed

Bollywood Actress Killed

Bollywood Actress Killed

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Namrata Shirodkar (born 22 January 1972 in Mumbai, India) is a former model and Indian film actress, known for her works in Bollywood and Telugu cinema. She was awarded the Femina Miss India in 1993Namrata Shirodkar was born in a moderate Maharashtrian family of Goan origin. She used to live in Khar, a suburb in Mumbai. Her elder sister is the actress Shilpa Shirodkar. She is the granddaughter of famous Marathi actress Meenakshi Shirodkar, who starred in Brahmachari (1938), and stunned the audience by wearing a swimsuit. She married Tollywood actor Mahesh Babu Ghattamaneni on 10 February 2005.
Modelling career
Namrata worked as a model, and was crowned Miss India in the year 1993. She represented India in the Miss Universe pageant and came in fifth place.The same year, she also represented India in the Miss Asia Pacific contest and was chosen first runner-up.
Acting career
She made her debut with a small role in super hit film Jab Pyaar Kisise Hota Hai (1998), along with Salman Khan and Twinkle Khanna. She then went on to star in the hit Vaastav. Her performance was appreciated and she became a known name in Bollywood.
She has played mainly supporting roles in films. Films like Pukar, Hera Pheri and Astitva went on to do well. She was nominated for the IIFA Best Supporting Actress Award for her performance in Pukar. Since then her films have not done well at the box office.
In 1999, she starred opposite Mammootty in the Malayalam film Ezhupunna Tharakan. In 2004, she starred opposite Chiranjeevi in a Telugu Movie Anji. In the same year, she was back into the spotlight when she played the role of Jaya Bakshi in Bride and Prejudice. She played Aishwarya Rai's elder sister in the film. The film was a hit overseas particularly in the UK but failed to do well in India. She left the industry after her marriage.
Personal life
She began dating Tollywood actor Mahesh Babu in 2000 after the filming of Vamsi. They married on 10 February 2005. Shirodkar now lives in Hyderabad with her husband. Their first child, a boy named Gautam Krishna Gattamaneni was born on 31 August 2006. Their second child, a daughter Sitara was born on 20 July 2012.
Filmography
Year Film Role Language Notes
1998 Jab Pyaar Kisise Hota Hai Pooja Hindi Special Appearance
Mere Do Anmol Ratan Kiran Hindi
Hero Hindustani Namrata 'Nikki' Agarwal Hindi
1999 Kachche Dhaage Ragini Pandit Hindi
Chora Chitta Chora Kannada Co-Actor, Director, Music Director:V. Ravichandran
Ezhupunna Tharakan Aswathy Malayalam
Vaastav: The Reality Sonia Hindi
2000 Pukar Pooja Mallapa Hindi Nominated for the IIFA Best Supporting Actress Award
Hera Pheri Ms. Chinga Hindi
Vamsi Shilpa Telugu
Astitva Revati Marathi / Hindi
Aaghaaz Gittika Hindi
2001 Albela Nina Hindi
Tera Mera Saath Rahen Suman Gupta Hindi
2002 Hathyar: Face to Face with Reality Sonu Raghunath Shivalkar Hindi
Dil Vil Pyar Vyar Raksha Hindi
Maseeha Pinky Hindi
2003 Pran Jaaye Par Shaan Na Jaaye Mona Hindi
Tehzeeb Aloka Hindi
LOC Kargil Lt. Col. Y.K. - Joshi's wife Hindi
2004 Charas: A Joint Operation Pia Hindi
Anji Swapna / Sapna Telugu
Insaaf: The Justice Mrs. Kunti V. Prasad Hindi
Bride and Prejudice Jaya Bakshi Hindi
Rok Sako To Rok Lo Sandra (Narrator) Hindi