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Dimple Kapadia

February 07, 2023

Dimple Kapadia (born 8 June 1957) is an Indian actress predominantly appearing in Hindi films. Born and raised in Mumbai by wealthy parents, she aspired to become an actress from a young age and received her first opportunity through her father's efforts to launch her in the film industry. She was discovered at age 14 by the filmmaker Raj Kapoor, who cast her in the title role of his teen romance Bobby (1973), which opened to major commercial success and gained her wide public recognition. Shortly before the film's release in 1973, she married the actor Rajesh Khanna and quit acting. Kapadia returned to films in 1984, two years after her separation from Khanna. Her comeback film Saagar, which was released a year later, revived her career. Both Bobby and Saagar won her Filmfare Awards for Best Actress. Through her work over the next decade, she established herself as one of Hindi cinema's leading actresses.[1]

Dimple Kapadia
Kapadia in 2018
Born (1957-06-08) 8 June 1957 (age 65)
Bombay, Bombay State, India
OccupationActress
Years active1973; 1984–present
WorksFull list
SpouseRajesh Khanna (m. 1973; sep. 1982; d. 2012)
Children
Relatives

While her initial roles often relied on her perceived beauty and sex appeal, Kapadia was keen to challenge herself and expand her range. She was among the first actresses who starred in women-centred Hindi action films but found greater favour with critics when she took on more dramatic roles in both mainstream and neorealist parallel cinema. Appearing in films ranging from marital dramas to literary adaptations, she played troubled women sometimes deemed reflective of her personal experience, and received acclaim for her performances in Kaash (1987), Drishti (1990), Lekin... (1991), and Rudaali (1993).[2] For her role as a professional mourner in Rudaali, she won the National Film Award for Best Actress and a Filmfare Critics Award. Kapadia followed with character roles in Gardish (1993) and Krantiveer (1994), the latter securing her a fourth Filmfare Award.

Starting in the mid 1990s, Kapadia became more selective about her work, and her screen appearances in the following decades were fewer. She was noted for her portrayal of middle-aged, complicated women courted by younger men in Dil Chahta Hai (2001) and the American production Leela (2002). Her later credits include leading roles in Hum Kaun Hai? (2004), Pyaar Mein Twist (2005), Phir Kabhi (2008), Tum Milo Toh Sahi (2010) and What the Fish (2013), but she attained more success with character roles in Being Cyrus (2006), Luck by Chance (2009), Dabangg (2010), Cocktail (2012) and Finding Fanny (2014). Some of these roles were cited in the media as a departure from the regular portrayals of women of her age in Hindi films. Roles in the Hollywood thriller Tenet (2020) and action film Pathaan (2023) brought her further recognition. Kapadia is the mother of Twinkle Khanna and Rinke Khanna, both of whom are former actresses.

Background and personal life

 
Kapadia (right) with her daughter Twinkle Khanna and her son-in-law Akshay Kumar

Dimple Kapadia was born on 8 June 1957 in Bombay to Gujarati businessman Chunibhai Kapadia and his wife Bitti, who was known as "Betty".[3][4][5] Chunibhai was from a wealthy Ismaili Khoja family, whose members had "embraced Hinduism" while still regarding Aga Khan as their religious mentor.[a] Bitti was a practising Ismaili.[9][10] As an infant, Dimple was given the name Ameena (literally, "honest" or "trustworthy" in Arabic) by Aga Khan III, by which she was never referred to.[6][11] She is the eldest of four children; her siblings—all of whom have died—were sisters Simple (also an actress) and Reem, and a brother, Suhail.[11][12][13]

The family resided in the Bombay suburb Santacruz, where Kapadia studied at St Joseph's Convent High School.[11][14] She described herself as having matured quickly, and often made friends with children older than herself.[11][15] Her father was disowned by his conservative family after she was cast for her first film Bobby in 1971.[16][6] At age 15, she married the actor Rajesh Khanna, then aged 30, after a short courtship.[6][17] Having been a fan of Khanna, she later said the wedding was the "biggest high" of her life during this period.[18] It was performed according to Arya Samaj rites on 27 March 1973 in her father's bungalow in Juhu, six months before the release of Bobby.[19][20] At her husband's behest, Kapadia quit acting following the marriage.[21][22] She gave birth to two daughters, Twinkle (born 1974) and Rinke (born 1977).[23]

Kapadia separated from Khanna in April 1982 and returned with her two daughters to her parents' house.[6][17] She returned to acting two years later.[17] 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", saying her unhappy marital experience had included inequality and her husband's infidelity, and called their marriage "a farce".[6] The hostility between Khanna and Kapadia, who were never officially divorced, subsided over the years; despite not having ever reunited, they were seen together at parties; Kapadia acted opposite Khanna in his unreleased film Jai Shiv Shankar in 1990 and campaigned for his election to the Indian National Congress a year later.[24][25] Her daughters similarly became actresses and retired after settling down.[13] Her elder daughter Twinkle is married to the actor Akshay Kumar.[26] Asked in Filmfare in 2000 whether she would want to remarry, Kapadia said: "I'm very happy and content ... once was more than enough".[22] Khanna fell ill in early 2012, and Kapadia stayed by his side and took care of him until his death on 18 July that year.[27][28] She was with him when he died and said his loss, along with the deaths of her sister Simple and her brother, left her feeling "truly abandoned".[13][29]

Kapadia is an art lover and has experimented with painting and sculpture. In 1998, she started a new company called The Faraway Tree, which sells candles that she designs.[30][31] Having been a candle enthusiast and finding candle-making therapeutic, she went to Wales and took a workshop with Blackwood-based candle artist David Constable.[14][32] According to the Indian press, Kapadia's business venture has inspired other candle enthusiasts to start similar businesses.[33][34] Her candles were presented and offered for sale at a number of exhibitions.[31][35]

Career

See also: Dimple Kapadia filmography

Debut and stardom (1973)

Kapadia, who was an avid movie viewer, aspired to be an actor since childhood.[15] Her acting career was initiated by her father, who socialised with film-industry professionals and frequented parties hosted by screenwriter Anjana Rawail.[11][36] Through his contacts, Dimple was almost cast to play the younger version of Vyjayanthimala's character in H. S. Rawail's Sunghursh (1968), but was eventually rejected because she looked older than the part called for.[11] After she turned down an offer to play the protagonist in Hrishikesh Mukherjee's Guddi in 1970, another opportunity arose in 1971 when Raj Kapoor was looking for a young, new female lead for his planned teen romance. Munni Dhawan, a close friend of Kapoor, suggested he consider Kapadia, having been acquainted with her father.[37][36] In June that year, at the age of 14, Kapadia performed a screen test for the film on the sets of one of Kapoor's productions.[38] Impressed with her spontaneity and improvisation, Kapoor cast her in the part.[39] The film, which was named Bobby, was released in September 1973. It starred Kapoor's son Rishi Kapoor as Raj Nath, the son of a wealthy Hindu businessman, and Kapadia was given the title role of Bobby Braganza, the teenage daughter of a Christian fisherman from Goa. The story follows the love affair between Raj and Bobby in the face of his parents' disapproval of their relationship due to class prejudice.[40][41]

Bobby was a major commercial success and Kapadia was lauded for her performance, which won her the Filmfare Award for Best Actress (tied with Jaya Bhaduri for Abhimaan).[41][42] Qurratulain Hyder of The Illustrated Weekly of India noted she acted with "natural ease and freshness".[43] Several of Kapadia's lines in the film became popular, particularly, "Mujhse dosti karoge?" ("Will you be my friend?"),[44] and the "miniskirts, midriff-baring polka dot shirts, and fabled red bikini" she wore made her a youth fashion icon in India.[45][46][47] Consequently polka-dotted dresses were often referred to as "Bobby Print".[48][49] Bhawana Somaaya of The Hindu credits Kapadia with starting the merchandising of film memorabilia in India, and Mukesh Khosla of The Tribune said Bobby established her as a "cult figure" because she led the fashion trends.[50][51] In later years, Kapadia credited Raj Kapoor for her development as an actor: "The sum total of me today as an actress, whatever I am, is Raj Kapoor".[15] In 2008, Raja Sen from the web portal Rediff.com ranked her performance in Bobby 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."[52]

Comeback and early fluctuations (1984–1986)

Kapadia returned to acting in 1984, two years after her separation from Khanna, saying she had a personal need to prove her own capabilities to herself.[17][15] Over the next decade, she became one of the leading female actors in Hindi cinema.[1][53] Her first post-hiatus film was Saagar; a mutual friend notified the director Ramesh Sippy about Kapadia's willingness to return to acting. She considered her screen test for the film unsuccessful because she was "literally shivering" while performing it, but Sippy cast her to play the lead part opposite her Bobby co-star Rishi Kapoor. The film was intended to be her comeback vehicle but its one-year delay meant several of her later projects were released before, the first of which was Zakhmi Sher (1984).[15][22]

Other films released before Saagar include Manzil Manzil (1984), Aitbaar (1985) and Arjun (1985). Kapadia appeared opposite Sunny Deol in Manzil Manzil, a drama that was directed by Nasir Hussain. While speaking of her positive experience during the making of the film, she felt uncomfortable performing the routine song-and-dance nature of the part.[15] Her work was deemed ineffective by Trade Guide, and The Illustrated Weekly of India reported her career prospects entirely depended upon the fortunes of her next few projects.[54] Kapadia received positive reviews for her part in Mukul Anand's Hitchcockian thriller Aitbaar.[55][15][56] She starred as Neha, a wealthy young woman whose greedy husband (Raj Babbar) plots to murder her. Discussing her performance, she said she was "a bag of nerves" while filming, which benefitted her performance because her own state coincided with her character's inner turmoil.[15] She was cast opposite Sunny Deol for a second time in Rahul Rawail's action film Arjun; it was her first commercial success since her return to films.[56][57]

Saagar premiered in August 1985 and was controversial for several scenes featuring Kapadia, including one in which she was seen topless for less than a second.[58][59] The film was chosen as India's official entry to the 58th Academy Awards for Best Foreign Language Film.[60][61] Kapadia's performance as Mona D'Silva, a young Catholic woman who is torn between her friend (Kamal Haasan) and the man she loves (Kapoor),[62] won her a second Best Actress award at the Filmfare Awards.[63][64] A reviewer in Asiaweek appreciated the film for its "polished narration and masterly technique" and labelled Kapadia "a delight".[65] According to Rediff.com, Kapadia "performed solidly and memorably, grounding the two male leads and making the film work".[66] 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."[67]

Feroz Khan's Janbaaz (1986), which is about a man fighting drug addiction,[68] became known for a love scene in which Kapadia and male lead Anil Kapoor share a full-on kiss, a rare occasion in Hindi cinema at the time.[69][70] The same year, she acted opposite Kamal Haasan in her first regional film, Vikram, a Tamil-language sci-fi feature, in the minor role of Inimaasi, a young princess who falls in love with Vikram (Haasan).[71] At that time, she worked in numerous Hindi films made by producers from South India, including Pataal Bhairavi, which she detested. She later confessed to accepting these roles for financial gain rather than artistic merit: "I shudder even now when I think of those films. As an artiste I got totally corrupted."[15]

Kaash and mainstream success (1987–1989)

"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."

—Kapadia in 1987 on the experience of making Kaash[15]

In 1987, Kapadia appeared in Rajkumar Kohli's Insaniyat Ke Dushman and Mukul Anand's Insaaf; both action films that were popular with audiences.[20] In Insaaf, she played the dual role of a dancer and a physician.[72][73] Later in the year, she played Pooja in Mahesh Bhatt's marital 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 brain tumour and reunite to spend the last months of his life as a family.[74] Before filming began, she called it the most serious artistic challenge of her career.[6] Bhatt cast Kapadia because he was aware of her own marital experience and later revealed that during the shooting she had grown increasingly invested in the story, so much that after a point he could not differentiate her from Pooja as she "became the character".[75] Kapadia's performance was praised by critics.[55][76][77] Pritish Nandy, the editor of The Illustrated Weekly of India, asserted: "Dimple achieves the impossible. Bereft of her glitzy make-up, glamour and filmi mannerisms, she comes alive as never before: beautiful, sensitive, intense. You almost feel you've discovered a new actress on the screen."[78] In later years, The Times of India listed it as one of Kapadia's best performances, noting her "immense strength as a performer", and Sukanya Verma wrote of the "stoic determination and touching vulnerability" with which Pooja was played, calling the outcome "extremely believable and sympathetic at once".[79][80] Bhawana Somaaya reported that Kaash had established Kapadia as a performing artiste.[81]

In Zakhmi Aurat (1988), Kapadia played Kiran Dutt, a police officer who is subjected to gang rape and, when the judicial system fails to convict the criminals, unites with other rape survivors to castrate the rapists in revenge.[82][83] Among the first of a new trend of women-centred revenge films, the film was a financial success but polarised critics and attracted wide coverage for its lengthy, brutal rape scene involving Kapadia.[84][85] Khalid Mohamed of The Times of India noted Kapadia's "power packed performance" but criticised the rape sequence as "utter lasciviousness" and "vulgarity spattering through the screen".[86] Feminist magazine Manushi panned its low cinematic quality, including the absurdity of the action scenes and the "ugly kind of titillation" in the rape scene but said Kapadia brought "a conviction to her role that is rare among Bombay heroines" with a performance that is "low key, moving and charming without being at all clinging or seductive".[87] The same year, Kapadia worked with Rajkumar Kohli on the action drama Saazish and the horror film Bees Saal Baad, a remake of the 1962 film of the same name.[88][89][90] She was the action star in Mera Shikar, a revenge saga directed by Keshu Ramsay, playing Bijli, a once joyous young woman who trains in martial arts to punish a notorious gangster for the crimes inflicted upon her sister. The film was described as an "extraordinarily adroit entertainer" by Subhash K. Jha, who preferred it over the "sleazy sensationalism" of Zakhmi Aurat and noted the "unusual restraint" with which Bijli's transformation was achieved.[76]

In 1989, Kapadia appeared as Jackie Shroff's love interest in Ram Lakhan, a crime drama directed by Subhash Ghai. The film was a success with both critics and audiences,[91][92] becoming the second-highest grossing Hindi film of the year and earning eight nominations at the 35th Filmfare Awards.[93][94] She played a courtesan-turned-vengeful mistress in Pati Parmeshwar. The film was released after a well-publicised two-year court battle with the Central Board of Film Certification (CBFC),[95][96] which initially banned it from screening for its perceived glorification of submissiveness of women through the character of the forgiving wife who is in "ignoble servility" to her husband.[85][97] Other films starring Kapadia that year include Babbar Subhash's Pyar Ke Naam Qurbaan and J. P. Dutta's action picture Batwara.[98][99][100]

Professional expansion and critical acclaim (1990–1994)

In the 1990s, Kapadia started appearing in parallel cinema, a movement of Indian neo-realist art films,[67][101] later citing an "inner yearning to exhibit my best potential".[102] Those films include Drishti (1990), Lekin... (1991), Rudaali (1993) and Antareen (1993). Drishti, a marital drama that was directed by Govind Nihalani, starred Kapadia and Shekhar Kapur as a married couple from Mumbai's intellectual milieu, and followed their trials and tribulations, extramarital affairs, divorce, and eventual reconciliation.[103] Kapadia recounted her full emotional involvement in the part of the protagonist, career-woman Sandhya; her performance was critically acclaimed.[55][104] The author Subramani recognised Kapadia as "an actress with hidden resources" and appreciated her "intelligent portrayal", through which Sandhya emerged as "vulnerable and intense and full of feminine wiles".[105] A review in The Indian Express presumed her own separation might have contributed to her understanding of the part and sensitive performance.[106][107] The film was acknowledged as the Best Hindi Film of that year at the 38th National Film Awards, and Frontline magazine suggested that Kapadia should have earned the Best Actress award at the same function.[108][109] She was named Best Actress (Hindi) of the year by the Bengal Film Journalists' Association.[110]

Gulzar's romantic mystery Lekin..., which is based on Rabindranath Tagore's short story Hungry Stones (1895),[111] stars Kapadia as a restless spirit seeking liberation, Reva, who haunts an ancient palace and appears intermittently in the presence of a museum curator (Vinod Khanna) throughout his work visit in Rajasthan.[112] Kapadia was determined to get the part as soon as she learned about the project and kept repeatedly calling Gulzar and the film's producer Lata Mangeshkar until she was finally cast.[113] To make her character more truthful, Gulzar forbade Kapadia to blink during filming, trying to capture an "endless, fixed gaze" that would give her "a feeling of being surreal".[114] Kapadia has often cited this role as a personal favourite and the pinnacle of her career, and wished she had more screen time in the film.[115][116] Lekin... was popular with critics[103] and Kapadia's performance in it earned her a third Filmfare nomination.[117] Subhash K. Jha described Reva as "the essence of evanescence" and took note of the "intense tragedy" with which Kapadia played the part.[118]

Kapadia played a young widow in the military drama Prahaar (1991), the first directorial venture of the actor Nana Patekar, with whom she would collaborate in several other films.[119][120] The film, co-starring Patekar and Madhuri Dixit, had a good reception from critics. Kapadia and Dixit agreed to act without wearing makeup upon Patekar's insistence.[121] While critics credited the female actors for their work, most of the praise went to Patekar.[122] Further critical attention came her way when she played a principled office receptionist opposite Sunny Deol in the action film Narsimha.[123][124]

In Haque (1991), a political drama directed by Harish Bhosle and scripted by Mahesh Bhatt, Kapadia played Varsha B. Singh, an Orthodox Hindu woman who is married to an influential politician and who has a miscarriage following an assault. The story follows Varsha's defiance of her husband after years of subservience when, for political reasons, he refuses to take legal action against the assailants.[125] According to the author Ram Awatar Agnihotri, Kapadia played the character bravely and convincingly.[126] Kapadia starred alongside Amitabh Bachchan in the fantasy Ajooba, a big-budgeted Indo-Russian co-production that was co-directed by Shashi Kapoor and Gennady Vasilyev.[127][128] Based on Arabian mythology and set in the fictional Afghan kingdom Baharistan, the film saw her in the role of Rukhsana, a young woman who arrives from India to rescue her father from prison.[129][130] The critical response to Ajooba was mediocre,[131] and it failed to attract viewers in Indian cinemas though was a success in the Soviet Union.[128][132]

The release of Maarg, her second project under Mahesh Bhatt's direction, was delayed for several years before its straight-to-video release in late 1992.[75] The film is about power politics within an ashram and features Kapadia as Uma, who works as a prostitute by choice.[133] The critic Iqbal Masood considered it "a powerful satire" with "excellent performances".[134] According to Bhatt, Kapadia's role was so intense it left her close to a breakdown after filming ended.[75] She next played Barkha, a single woman who abandons her newly-born, out-of-wedlock daughter, in Hema Malini's directorial debut Dil Aashna Hai (1992).[135] In Shashilal K. Nair's crime drama Angaar (1992), Kapadia played Mili, a homeless orphan who is collected by an unemployed man (Jackie Shroff). Angaar, and Kapadia's performance in it, received positive reviews from critics but it was financially unsuccessful. Meena Iyer of The Times of India, who called it "one of the most engaging mafia films to have come out of Bollywood", attributed the film's limited audience to its subject matter.[136][137]

"The standard Indian commercial film gives an actor hardly a chance to act because it seeks to create a cardboard cut-out seen from a distance as in the open air rural stage; the gesture must be broad in order to be seen, the speech must be loud in order to be heard. Psychology of character cannot, must not, be created; to seem too real is to risk confusing, even alienating, the audience. Kapadia has enough experience of this convention to be able to use some of its elements and enough understanding of acting techniques to create a real person. She is thus able to make her Shanichari both larger than life and believable."

—Chidananda Dasgupta from Cinemaya on Kapadia's performance in Rudaali (1993)[138]

In 1993, Kapadia won the National Film Award for Best Actress for her performance in Rudaali, a drama that was directed by Kalpana Lajmi and adapted from Mahasweta Devi's short story of the same name.[139][140] She played the central character Shanichari, a lonely, hardened Rajasthani village woman who, during a lifetime of misfortune, has never cried and is challenged with a new job as a professional mourner.[141][142] The citation for the award described her performance as a "compelling interpretation of the tribulations of a lonely woman ravaged by a cruel society".[143] The Indologist Philip Lutgendorf argued that Kapadia's "dignity and conviction, as well as her effective body language and gestures, lift her character far beyond bathos".[144] Among other accolades, she won the Filmfare Critics Award for Best Performance and was acknowledged with Best Actress honours at the Asia-Pacific Film Festival and the International Film Festival in Damascus.[145][146] Critics and moviegoers accepted Rudaali with enthusiasm, and it was India's submission to the 66th Academy Awards for Best Foreign Language Film.[140][147] In 2010, Filmfare magazine included Kapadia's work in the film in their list of "80 Iconic Performances".[148][149]

Another Filmfare nomination for Kapadia came that year for her supporting role as Shanti, a street prostitute whose husband and child were burnt alive, in the Priyadarshan-directed crime drama Gardish.[150] An adaptation of the 1989 Malayalam film Kireedam, the film starred Jackie Shroff and Amrish Puri and was met with approval from critics and the public.[150][151] The Indian Express praised the film's "script, vivid characters and powerful dialogues", and noted Kapadia's ability to command audience attention.[152] Mrinal Sen's 1993 Bengali drama Antareen, which was adapted from Saadat Hasan Manto's short story Badshahat ka Khatama (1950), was Kapadia's first non-Hindi project since Vikram (1986).[71][153] She played an unhappily married woman who develops a telephonic relationship with a stranger (Anjan Dutt).[154] Kapadia insisted on playing the role spontaneously and thus refused to enrol in a crash-course in Bengali, which she felt she would be able to speak convincingly.[67] Her voice was later dubbed by Anushua Chatterjee, a decision with which Kapadia was unhappy.[155] Antareen was well-received and was named the Best Bengali Film at the 41st National Film Awards[156][157][158] but Kapadia was dissatisfied with the outcome and dismissed it as a poor film.[159]

In 1994, in Mehul Kumar's Krantiveer, Kapadia portrayed the journalist Meghna Dixit, a rape victim who persuades an alcoholic, unemployed village man (Nana Patekar) to be a champion of justice for those around him.[160][161] The film was a box-office success and became India's third-highest-grossing picture of the year.[162] The Indian Express complimented Kapadia for having developed into a leading character actor with this film.[163] For her performance, Kapadia received her fourth Filmfare Award, this time in the Best Supporting Actress category.[164]

Hiatus, setback and resurgence (1995–2008)

After Antareen, Kapadia was expected to work in more independent films but she took a three-year hiatus from acting, later saying she was "emotionally exhausted".[14] She returned to commercial cinema in 1997, playing Amitabh Bachchan's wife in Mrityudaata under Mehul Kumar's direction.[165] The film was a critical and commercial failure; India Today panned its "comic book-level storytelling".[165][166] The trade journal Film Information said Kapadia had a role unworthy of her time, and Kapadia shared similar sentiments.[165][167] She next acted opposite Jackie Shroff in the murder mystery 2001: Do Hazaar Ek (1998) and the romantic drama Laawaris (1999), which were rejected by audiences.[168][169][170] Laawaris was criticised for its formulaic script and lack of originality and, according to Hindustan Times, did not allow Kapadia "much to do except scream".[171][172] In her final feature of the decade, Hum Tum Pe Marte Hain, Kapadia played Devyani Chopra, the strict matriarch of a wealthy family.[173] Subhash K. Jha called the film an embarrassment while Suparn Verma gave a scathing review of Kapadia's performance, noting she "wears a permanent scowl" throughout the film.[174][175]

In her first film of the new millennium, Kapadia co-starred in Farhan Akhtar's directorial debut Dil Chahta Hai (2001), which depicts the contemporary, routine life of Indian affluent youth, and focuses on a period of transition in the lives of three friends (Aamir Khan, Saif Ali Khan and Akshaye Khanna). 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 her daughter.[176] The film presents her story through the character of Siddharth (Khanna), a much-younger man whom she befriends and who falls deeply in love with her.[177] Akhtar wrote the part specifically for Kapadia, who later called it "a role to die for".[178][174] Critics lauded Dil Chahta Hai as a groundbreaking film for its realistic portrayal of India's modern society, and it won the Best Hindi Film award at the 49th National Film Awards.[176][177] Commercially, it performed well in large cities but failed in the rural areas, which trade analysts attributed to the urban lifestyle depicted in it.[179][180] Saibal Chatterjee, in a review for Hindustan Times, noted, "Dimple Kapadia, in a brief, somewhat underdeveloped role, presents a poignant study of loneliness".[181]

In 2002, Kapadia portrayed the title role in the drama Leela, an American production that was directed by Somnath Sen and co-stars Deepti Naval, Vinod Khanna and Amol Mhatre.[182] Kapadia's part, which was written specially for her, is that of a forty-year-old, married Mumbai 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.[14][183] The story follows Leela's acclimation to her new surroundings and her relationship with a young Indian-American man named Kris (Mhatre), one of her students. Kapadia was nervous during the making of the film but believed the tension helped elevate her acting.[116] The film was reviewed favourably by American critics,[182][184][185] among whom Maitland McDonagh from TV Guide wrote: "Dimple Kapadia shines in this family melodrama ... [her] intelligent, nuanced performance is the film's highlight".[186] Reviews in India were similarly approving of Leela and Kapadia's work.[187][188]

Kapadia played the lead role of army wife Sandra Williams in Hum Kaun Hai? (2004), a supernatural thriller. The film opened to a mixed critical reception, but critics said Kapadia's performance and charismatic presence enhance an otherwise weak script.[189][190] 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, starring as middle-aged single parents who fall in love and later have to deal with the reaction of their children.[191] The film generated mostly negative reviews but critics concurred the chemistry between the lead pair was enough of a reason to watch it, acknowledging the nostalgic value of the pairing.[192][193] Few people went to see the film; within two weeks it was declared a failure. In 2016, scholar Afreen Khan cited Kapadia's character as a departure from the conventional portrayal of mothers in Hindi films, believing her role to be a modern mother whom daughters dream of having.[194]

In 2006, Kapadia co-starred with Saif Ali Khan and Naseeruddin Shah in the black comedy Being Cyrus, an English-language independent feature and the directorial debut of Homi Adajania.[195][196] Kapadia played Katy Sethna, Shah's neurotic and unfaithful wife who has an affair with Cyrus (Khan), a young drifter who enters their house as an assistant.[195] The film was well-received at a number of film festivals before its theatrical release in India,[197][198] upon which it was embraced by critics and audiences, making a considerable profit against its small budget.[199][200] The BBC's Poonam Joshi stated, "the descent into despair of Dimple Kapadia's Katy is enthralling"[201] but other critics, including Derek Elley from Variety and Shradha Sukumaran from Mid-Day, criticised her for excessively overacting.[202][203] In the mystical love story Banaras (2006), Kapadia played a wealthy Brahmin woman whose daughter falls in love with a man of a lower caste.[204][205]

V. K. Prakash's romance Phir Kabhi (2008) stars Kapadia and Mithun Chakraborty as ageing people who meet at a school reunion and rekindle their high-school romance. The film was awarded seven prizes, including the Best Film Award in the Narrative Feature section, at the Los Angeles Reel Film Festival.[206] It was released direct-to-video a year later and was simultaneously distributed via pay-per-view direct-to-home (DTH) services, becoming the first Hindi film to premier on streaming media platforms.[207][208] At the request of her son-in-law Akshay Kumar, Kapadia voiced the character Devi, the mother of the elephant Jumbo (Kumar), in the animated feature Jumbo (2008), a remake of the 2006 Thai computer animation Khan Kluay.[26][209]

Recognition for character roles (2009–2014)

Kapadia was cast in Zoya Akhtar's first directorial venture Luck by Chance (2009), a satirical take on the Hindi film industry.[210][211] She played Neena Walia, an erstwhile superstar—referred to in the film as "a crocodile in a chiffon saree"—who struggles to launch her young daughter into the movie business.[212] Kapadia was approached for the part because it required an actress who had been a mainstream star in the past. Akhtar noted Kapadia's edgy portrayal of the character's fickle nature, saying Kapadia is "all warm, soft sunshine and then there's a flip and she's hard, cold, steely".[213] Luck By Chance opened to a warm critical response, though its financial income was modest.[210][214] Critics were appreciative of Kapadia's performance, which earned her a Best Supporting Actress nomination at Filmfare.[215] Deepa Karmalkar from Screen characterised her role as "gloriously bitchy"[216] while Avijit Ghosh of The Times of India believed Kapadia had delivered "one of her most nuanced performances" in a character he found to be "a rare kind of Hindi film mother" who is "hawk-eyed, tough as nails but vainglorious, and in a strange way, vulnerable as well".[217]

In 2010, Kapadia played the small part of Salman Khan's asthmatic mother in action comedy Dabangg, which was the most popular film of the year in India and the second-highest grossing Hindi film of all-time up to that point.[218][219] Reviews for Kapadia's role were varied; Blessy Chettiar of Daily News and Analysis likened her character to "the mothers in Hindi cinema of yore, self-sacrificing, torn between relationships, slightly over-the-top, likeable nevertheless".[220][221] Next followed Tum Milo Toh Sahi (2010), a romantic comedy which stars Kapadia as Delshad Nanji, a Parsi woman in charge of an Irani café whose business is under threat from developers and who falls in love with the lawyer (Nana Patekar) who represents her in court. Kapadia adopted a Parsi accent for the role and while preparing for it, visited several Irani cafés in Mumbai to adapt to the character's cultural milieu.[222][223] The film opened to average reviews but Kapadia's performance received generally positive feedback.[222][224] According to Anupama Chopra, the character of Delshad "veers into caricature" but Kapadia "plays her with affection and energy and at least has some fun doing it".[225] In her only film of 2011, Kapadia was cast as Rishi Kapoor's wife and her son in-law Akshay Kumar's mother in Nikhil Advani's Patiala House, a sports film revolving around cricket.[226][227]

 
Kapadia at the Pichvai Exhibition in New Delhi, 2018

Kapadia collaborated again with Homi Adajania in Cocktail (2012) and Finding Fanny (2014), both critical and commercial successes.[228][229] The romantic comedy Cocktail saw her play Saif Ali Khan's loud Punjabi mother, Kavita Kapoor, an appearance to which Aniruddha Guha of Daily News and Analysis referred as a "veritable treat".[230][231] While filming Cocktail, Kapadia was shown the script of the satirical road movie Finding Fanny; believing Adajania is a director capable of bringing the best in her, she expressed keen interest in the project.[232] She was cast as Rosalina "Rosie" Eucharistica, a conceited-but-well-meaning woman who joins her late son's widow (Deepika Padukone) on a road trip across Goa.[233] Kapadia was required to wear a heavy prosthetic posterior for the role, and her portrayal earned her a fourth Best Supporting Actress nomination at Filmfare.[232] Rachel Saltz of The New York Times wrote Kapadia "inhabits and enhances her role" and "steers clear of caricature and even milks some humor out of the unfunny script".[234]

In 2013, Kapadia was the protagonist in the comedy What the Fish, portraying Sudha Mishra, an irate Delhi-based divorcee who begrudgingly entrusts her niece with taking care of her house while she is away.[235] Kapadia was enthusiastic about the part, feeling challenged to play its different traits.[13] Reviews of both the film and Kapadia's work were mixed. The Times of India panned the film's script for making "Kapadia's tryst with comedy seem loud and forced", and Raja Sen deemed her part the most forgettable of her career.[236][237] Sarita A. Tanwar of Daily News and Analysis considered the film "a rather audacious entertaining attempt" and said Kapadia was "in top form", and similarly positive comments were written by Subhash K. Jha.[238][239]

Limited work, Tenet and beyond (2015–present)

For the rest of the decade, Kapadia returned to film twice for minor roles in the action comedies Welcome Back (2015) and Dabangg 3 (2019). She played a conwoman in Anees Bazmee's Welcome Back along with an ensemble cast led by Anil Kapoor and Nana Patekar.[240][241] Dabangg 3, the third installment of the Dabangg film series, saw her briefly reprise the role of Naina Devi.[242] In her first film of the 2020s, Kapadia appeared alongside Irrfan Khan and Kareena Kapoor in the comedy-drama Angrezi Medium (2020), her fourth project under Homi Adajania's direction. A spiritual sequel to the 2017 film Hindi Medium, it was theatrically released in India on 13 March amid the COVID-19 pandemic, which affected its commercial performance due to the closing of cinemas.[243][244] Initial plans for a re-release were cancelled and the film was made available digitally less than a month later.[245] Kapadia played a strict store owner estranged from her daughter (Kapoor), a role Vinayak Chakravorty of Outlook thought was "used to highlight loneliness among the aged" but believed could have been stronger.[246][247]

Kapadia next played arms dealer Priya Singh in Christopher Nolan's spy thriller Tenet.[248] Her screen test for the role was shot in 2019 by Adajania before filming for Angrezi Medium began, followed by an audition for Nolan in Mumbai.[249][250] Impressed with her charisma and poise, Nolan, believing she embodied his vision of the character, cast Kapadia in the part.[251] The film opened amid the pandemic to a worldwide audience and, having grossed $364 million worldwide, became the fifth-highest grossing film of 2020.[252][253] Critics reacted positively to her performance;[254] Richard Roeper of Chicago Sun-Times wrote Kapadia "quietly steals every scene she's in" and Guy Lodge of Variety said she had given the film's "wiliest performance".[248][255] Having admitted to being a reluctant actor for years, Kapadia credited Tenet with restoring her passion for film acting.[254][256]

Ali Abbas Zafar's 2021 Amazon Prime political web series Tandav starred Kapadia as Anuradha Kishore, a power-hungry politician who seeks to undermine the new political rival (Saif Ali Khan) of the Prime Minister of India, her longtime ally.[257][258] The show, which was Kapadia's first appearance on a digital platform, had mixed reviews.[259] A Thursday (2022), Behzad Khambata's vigilante-hostage thriller starring Yami Gautam, featured Kapadia in the fictional part of Prime Minister of India Maya Rajguru.[260][261] Kapadia had a cameo in Ayan Mukerji's action fantasy Brahmāstra: Part One – Shiva (2022) and starred in Siddharth Anand's Pathaan (2023), led by Shah Rukh Khan.[262] In Pathaan, based in the YRF Spy Universe, she played Nandini, a senior officer in charge of a unit of Research and Analysis Wing (RAW) agents. Her performance was particularly picked up for praise.[263][264] Sneha Bengani of CNBC TV18 was appreciative of her "sharp and graceful, commanding, yet restrained" performance.[265][266]

As of January 2023, Kapadia's future projects include a supporting role in Luv Ranjan's romantic comedy Tu Jhoothi Main Makkaar and a starring role opposite Pankaj Kapur in Saurabh Shukla's Jab Khuli Kitaab, a romantic comedy about an older couple who seek divorce after 50 years of marriage.[267][268]

Public image and artistry

When Kapadia returned to films after her separation from Khanna, she faced constant comparison to her Bobby days and struggled to be taken seriously as an actor. According to Jyotika Virdi, the author of the book The Cinematic Imagination, while Kapadia's trajectory is different from those of other female Hindi film stars, she turned her disadvantages to her advantage.[55] Virdi said Kapadia's forthright manner made 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.' "[55] Kapadia is known for her assertive and moody nature;[269][270] during the making of Janbaaz (1986), the director Feroz Khan said he had never met a woman with her levels of "pent-up aggression".[6] The journalist Bhawana Somaaya, who conducted a series of interviews with Kapadia during the 1980s, stated: "She's a strange bundle of contradictions. Her moods change in a jiffy."[77][271] 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".[155] In reply to this, she said: "I am moody by nature. But I have never consciously hurt anyone."[155]

 
Kapadia at the Sansui Television Awards in 2008

Virdi wrote Kapadia fought her way to success by committing to serious and challenging work and described her parts in Aitbaar (1985), Kaash (1987) and Drishti (1990) as characters with which she "drew from the well of her own experience".[55] With Zakhmi Aurat (1988), Kapadia became one of the mainstream actresses associated with a new wave of women-centred revenge films.[76][272] As an action heroine, she chose to perform her own stunts, which the critic M. Rahman thought made her performance more convincing. Although she enjoyed working in similar projects, such as Mera Shikar (1988) and Kali Ganga (1990), she bemoaned about being paid less than male action stars.[272] The author Dinesh Raheja believed Kapadia's involvement in art films in the 1990s happened at a time when she was no longer willing to play the "pretty prop in hero-oriented films", arguing her new choices "honed Dimple's talent for lending fine striations to complex emotions".[20] Mahesh Bhatt commended her for not turning into "a victim of her own success" by refusing to appear in films of strictly commercial value. According to Govind Nihalani, the director of Drishti (1990), Kapadia has a genuine interest in serious work that would challenge her talent and realise her potential. Similar sentiments were shared by Shashi Kapoor, who said Kapadia had always been eager to act in quality films. Kapadia said her involvement in independent films was a conscious decision to experiment in different cinema and prove her abilities.[67]

When questioned about her hiatus after Rudaali at her career peak, Kapadia said she needed space and that generally her "career has always been secondary" to her.[22] Her infrequent work since then, which manifested in numerous gaps between her screen appearances, has gained her a reputation for being selective about her work.[273][274] Admitting her limited professional drive, she attributed it to the lack of worthy offers and the "huge effort" expended in film acting,[275] which consumes time otherwise spent on her family and private life.[276][277] Even so, Kapadia's later work was noted by film scholars, including Shoma Chatterji and Afreen Khan, who listed her among the female actors who represent a changing portrayal of mothers in Hindi films, with roles of women who consider their happiness to be of equal importance to that of their children.[194][278] Similar thoughts were expressed by Mumbai Mirror's Trisha Gupta, who was impressed with Kapadia's diverse repertoire of maternal roles, ranging from Luck by Chance (2009) and Dabangg (2010) to Finding Fanny (2014).[279] Guided by her own judgement, Kapadia normally commits to a project without seeking advice[276] and often willingly works with young or first-time directors, finding their enthusiasm and creativity beneficial to both the film and her performance.[280][281]

Kapadia's screen image has been characterised in terms of her perceived beauty and sex appeal.[79] The Times of India wrote in reference to her role in Saagar, "Dimple was a vision of lush beauty; quite the forbidden fruit, rising from the ocean like Aphrodite emerging from the waves and surf".[79] Speaking of her post-comeback screen persona, the critic Khalid Mohamed observed, "Her arsenal comprised, among other elements, expressive cognac eyes, a nuanced, resonating voice skilled in Hindustani dialogue delivery, easy body language, and that seductive toss of her auburn hair."[282] Mrinal Sen, who directed her in Antareen (1993), compared Kapadia to Sophia Loren and described her face as "a landscape of desolation".[67] Anil Kapoor, her co-star of Janbaaz, hailed Kapadia as the most beautiful Indian actress since Madhubala.[6] According to Dinesh Raheja, Kapadia's casting in Dil Chahta Hai (2001) and Leela (2002), in which she played middle-aged women who are the object of younger men's desire, served as "a kind of tribute to her eternal beauty".[20]

Critics have been appreciative of Kapadia's acting prowess and some have analysed it in relation to her appearance.[283][284] Ranjan Das Gupta called her "an instinctive actress, spontaneous and intelligent" who is best at playing "intense characters", and said her beauty is "her asset as well as limitation".[285] In 1988, Subhash K. Jha wrote that "besides her elastic and primeval looks", Kapadia "possesses an inbuilt instinct for grasping characters at a level way beyond the surface".[76] While working with her on Kaash (1987), Mahesh Bhatt said Kapadia had been through so much in her private life she need not study method acting to play real women.[6] Academic writers Madhu Kishwar and Ruth Vanita of the feminist magazine Manushi noted Kapadia for being unafraid to look less attractive for the benefit of convincingly expressing anguish and emotion.[87] 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".[286] Kapadia has described herself as a "spontaneous actor who is guided by instinct"[102] and on another occasion, "a competent actress yet to deliver her best".[155]

Awards and nominations

Table containing awards and nominations received by Dimple Kapadia
Year Award Category Film Result Ref.
1973 21st Filmfare Awards Best Actress Bobby Won [287]
1985 33rd Filmfare Awards Best Actress Saagar Won [288]
1991 37th Filmfare Awards Best Actress Lekin... Nominated [289]
1992 55th Bengal Film Journalists' Association Awards Best Actress (Hindi) Drishti Won [110]
1992 38th Filmfare Awards Best Actress – Critics Rudaali Won [290]
1993 39th Filmfare Awards Best Actress Nominated [291]
1993 40th National Film Awards Best Actress Won [143]
1993 8th Damascus International Film Festival Best Actress Won [145]
1993 38th Asia-Pacific Film Festival Best Actress Won [146]
1993 39th Filmfare Awards Best Supporting Actress Gardish Nominated [291]
1994 40th Filmfare Awards Best Supporting Actress Krantiveer Won [164]
2009 55th Filmfare Awards Best Supporting Actress Luck by Chance Nominated [292]
2014 60th Filmfare Awards Best Supporting Actress Finding Fanny Nominated [293]

Footnotes

  1. ^ This was originally reported by Sumit Mitra in India Today on 20 November 1985, describing Kapadia's family as a "wealthy Khoja family, which embraced Hinduism only with Chunibhai's father, Laljibhai, and which accepts the Agha Khan as its religious mentor even now".[6] Similar information was repeated by Kaveree Bamzai in Open magazine on 4 October 2019 in a piece about Kapadia's daughter Twinkle Khanna, claiming Chunibhai's family to be of "lapsed Ismaili Khojas".[7] In the 2014 book When I Was 25: The Leaders Look Back, the author Shaili Chopra, who interviewed Kapadia for a chapter in this book, quoted the aforementioned article by India Today in relation to her parents' story and noted that Kapadia "wouldn't talk about it much".[8]

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External links

 
Wikimedia Commons has media related to Dimple Kapadia.
  • Dimple Kapadia at IMDb

February 07, 2023
dimple, kapadia, born, june, 1957, indian, actress, predominantly, appearing, hindi, films, born, raised, mumbai, wealthy, parents, aspired, become, actress, from, young, received, first, opportunity, through, father, efforts, launch, film, industry, discovere. Dimple Kapadia born 8 June 1957 is an Indian actress predominantly appearing in Hindi films Born and raised in Mumbai by wealthy parents she aspired to become an actress from a young age and received her first opportunity through her father s efforts to launch her in the film industry She was discovered at age 14 by the filmmaker Raj Kapoor who cast her in the title role of his teen romance Bobby 1973 which opened to major commercial success and gained her wide public recognition Shortly before the film s release in 1973 she married the actor Rajesh Khanna and quit acting Kapadia returned to films in 1984 two years after her separation from Khanna Her comeback film Saagar which was released a year later revived her career Both Bobby and Saagar won her Filmfare Awards for Best Actress Through her work over the next decade she established herself as one of Hindi cinema s leading actresses 1 Dimple KapadiaKapadia in 2018Born 1957 06 08 8 June 1957 age 65 Bombay Bombay State IndiaOccupationActressYears active1973 1984 presentWorksFull listSpouseRajesh Khanna m 1973 sep 1982 d 2012 ChildrenTwinkle KhannaRinke KhannaRelativesSimple Kapadia sister Akshay Kumar son in law While her initial roles often relied on her perceived beauty and sex appeal Kapadia was keen to challenge herself and expand her range She was among the first actresses who starred in women centred Hindi action films but found greater favour with critics when she took on more dramatic roles in both mainstream and neorealist parallel cinema Appearing in films ranging from marital dramas to literary adaptations she played troubled women sometimes deemed reflective of her personal experience and received acclaim for her performances in Kaash 1987 Drishti 1990 Lekin 1991 and Rudaali 1993 2 For her role as a professional mourner in Rudaali she won the National Film Award for Best Actress and a Filmfare Critics Award Kapadia followed with character roles in Gardish 1993 and Krantiveer 1994 the latter securing her a fourth Filmfare Award Starting in the mid 1990s Kapadia became more selective about her work and her screen appearances in the following decades were fewer She was noted for her portrayal of middle aged complicated women courted by younger men in Dil Chahta Hai 2001 and the American production Leela 2002 Her later credits include leading roles in Hum Kaun Hai 2004 Pyaar Mein Twist 2005 Phir Kabhi 2008 Tum Milo Toh Sahi 2010 and What the Fish 2013 but she attained more success with character roles in Being Cyrus 2006 Luck by Chance 2009 Dabangg 2010 Cocktail 2012 and Finding Fanny 2014 Some of these roles were cited in the media as a departure from the regular portrayals of women of her age in Hindi films Roles in the Hollywood thriller Tenet 2020 and action film Pathaan 2023 brought her further recognition Kapadia is the mother of Twinkle Khanna and Rinke Khanna both of whom are former actresses Contents 1 Background and personal life 2 Career 2 1 Debut and stardom 1973 2 2 Comeback and early fluctuations 1984 1986 2 3 Kaash and mainstream success 1987 1989 2 4 Professional expansion and critical acclaim 1990 1994 2 5 Hiatus setback and resurgence 1995 2008 2 6 Recognition for character roles 2009 2014 2 7 Limited work Tenet and beyond 2015 present 3 Public image and artistry 4 Awards and nominations 5 Footnotes 6 References 7 Bibliography 8 External linksBackground and personal life Edit Kapadia right with her daughter Twinkle Khanna and her son in law Akshay Kumar Dimple Kapadia was born on 8 June 1957 in Bombay to Gujarati businessman Chunibhai Kapadia and his wife Bitti who was known as Betty 3 4 5 Chunibhai was from a wealthy Ismaili Khoja family whose members had embraced Hinduism while still regarding Aga Khan as their religious mentor a Bitti was a practising Ismaili 9 10 As an infant Dimple was given the name Ameena literally honest or trustworthy in Arabic by Aga Khan III by which she was never referred to 6 11 She is the eldest of four children her siblings all of whom have died were sisters Simple also an actress and Reem and a brother Suhail 11 12 13 The family resided in the Bombay suburb Santacruz where Kapadia studied at St Joseph s Convent High School 11 14 She described herself as having matured quickly and often made friends with children older than herself 11 15 Her father was disowned by his conservative family after she was cast for her first film Bobby in 1971 16 6 At age 15 she married the actor Rajesh Khanna then aged 30 after a short courtship 6 17 Having been a fan of Khanna she later said the wedding was the biggest high of her life during this period 18 It was performed according to Arya Samaj rites on 27 March 1973 in her father s bungalow in Juhu six months before the release of Bobby 19 20 At her husband s behest Kapadia quit acting following the marriage 21 22 She gave birth to two daughters Twinkle born 1974 and Rinke born 1977 23 Kapadia separated from Khanna in April 1982 and returned with her two daughters to her parents house 6 17 She returned to acting two years later 17 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 saying her unhappy marital experience had included inequality and her husband s infidelity and called their marriage a farce 6 The hostility between Khanna and Kapadia who were never officially divorced subsided over the years despite not having ever reunited they were seen together at parties Kapadia acted opposite Khanna in his unreleased film Jai Shiv Shankar in 1990 and campaigned for his election to the Indian National Congress a year later 24 25 Her daughters similarly became actresses and retired after settling down 13 Her elder daughter Twinkle is married to the actor Akshay Kumar 26 Asked in Filmfare in 2000 whether she would want to remarry Kapadia said I m very happy and content once was more than enough 22 Khanna fell ill in early 2012 and Kapadia stayed by his side and took care of him until his death on 18 July that year 27 28 She was with him when he died and said his loss along with the deaths of her sister Simple and her brother left her feeling truly abandoned 13 29 Kapadia is an art lover and has experimented with painting and sculpture In 1998 she started a new company called The Faraway Tree which sells candles that she designs 30 31 Having been a candle enthusiast and finding candle making therapeutic she went to Wales and took a workshop with Blackwood based candle artist David Constable 14 32 According to the Indian press Kapadia s business venture has inspired other candle enthusiasts to start similar businesses 33 34 Her candles were presented and offered for sale at a number of exhibitions 31 35 Career EditSee also Dimple Kapadia filmography Debut and stardom 1973 Edit Kapadia who was an avid movie viewer aspired to be an actor since childhood 15 Her acting career was initiated by her father who socialised with film industry professionals and frequented parties hosted by screenwriter Anjana Rawail 11 36 Through his contacts Dimple was almost cast to play the younger version of Vyjayanthimala s character in H S Rawail s Sunghursh 1968 but was eventually rejected because she looked older than the part called for 11 After she turned down an offer to play the protagonist in Hrishikesh Mukherjee s Guddi in 1970 another opportunity arose in 1971 when Raj Kapoor was looking for a young new female lead for his planned teen romance Munni Dhawan a close friend of Kapoor suggested he consider Kapadia having been acquainted with her father 37 36 In June that year at the age of 14 Kapadia performed a screen test for the film on the sets of one of Kapoor s productions 38 Impressed with her spontaneity and improvisation Kapoor cast her in the part 39 The film which was named Bobby was released in September 1973 It starred Kapoor s son Rishi Kapoor as Raj Nath the son of a wealthy Hindu businessman and Kapadia was given the title role of Bobby Braganza the teenage daughter of a Christian fisherman from Goa The story follows the love affair between Raj and Bobby in the face of his parents disapproval of their relationship due to class prejudice 40 41 Bobby was a major commercial success and Kapadia was lauded for her performance which won her the Filmfare Award for Best Actress tied with Jaya Bhaduri for Abhimaan 41 42 Qurratulain Hyder of The Illustrated Weekly of India noted she acted with natural ease and freshness 43 Several of Kapadia s lines in the film became popular particularly Mujhse dosti karoge Will you be my friend 44 and the miniskirts midriff baring polka dot shirts and fabled red bikini she wore made her a youth fashion icon in India 45 46 47 Consequently polka dotted dresses were often referred to as Bobby Print 48 49 Bhawana Somaaya of The Hindu credits Kapadia with starting the merchandising of film memorabilia in India and Mukesh Khosla of The Tribune said Bobby established her as a cult figure because she led the fashion trends 50 51 In later years Kapadia credited Raj Kapoor for her development as an actor The sum total of me today as an actress whatever I am is Raj Kapoor 15 In 2008 Raja Sen from the web portal Rediff com ranked her performance in Bobby 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 52 Comeback and early fluctuations 1984 1986 Edit Kapadia returned to acting in 1984 two years after her separation from Khanna saying she had a personal need to prove her own capabilities to herself 17 15 Over the next decade she became one of the leading female actors in Hindi cinema 1 53 Her first post hiatus film was Saagar a mutual friend notified the director Ramesh Sippy about Kapadia s willingness to return to acting She considered her screen test for the film unsuccessful because she was literally shivering while performing it but Sippy cast her to play the lead part opposite her Bobby co star Rishi Kapoor The film was intended to be her comeback vehicle but its one year delay meant several of her later projects were released before the first of which was Zakhmi Sher 1984 15 22 Other films released before Saagar include Manzil Manzil 1984 Aitbaar 1985 and Arjun 1985 Kapadia appeared opposite Sunny Deol in Manzil Manzil a drama that was directed by Nasir Hussain While speaking of her positive experience during the making of the film she felt uncomfortable performing the routine song and dance nature of the part 15 Her work was deemed ineffective by Trade Guide and The Illustrated Weekly of India reported her career prospects entirely depended upon the fortunes of her next few projects 54 Kapadia received positive reviews for her part in Mukul Anand s Hitchcockian thriller Aitbaar 55 15 56 She starred as Neha a wealthy young woman whose greedy husband Raj Babbar plots to murder her Discussing her performance she said she was a bag of nerves while filming which benefitted her performance because her own state coincided with her character s inner turmoil 15 She was cast opposite Sunny Deol for a second time in Rahul Rawail s action film Arjun it was her first commercial success since her return to films 56 57 Saagar premiered in August 1985 and was controversial for several scenes featuring Kapadia including one in which she was seen topless for less than a second 58 59 The film was chosen as India s official entry to the 58th Academy Awards for Best Foreign Language Film 60 61 Kapadia s performance as Mona D Silva a young Catholic woman who is torn between her friend Kamal Haasan and the man she loves Kapoor 62 won her a second Best Actress award at the Filmfare Awards 63 64 A reviewer in Asiaweek appreciated the film for its polished narration and masterly technique and labelled Kapadia a delight 65 According to Rediff com Kapadia performed solidly and memorably grounding the two male leads and making the film work 66 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 67 Feroz Khan s Janbaaz 1986 which is about a man fighting drug addiction 68 became known for a love scene in which Kapadia and male lead Anil Kapoor share a full on kiss a rare occasion in Hindi cinema at the time 69 70 The same year she acted opposite Kamal Haasan in her first regional film Vikram a Tamil language sci fi feature in the minor role of Inimaasi a young princess who falls in love with Vikram Haasan 71 At that time she worked in numerous Hindi films made by producers from South India including Pataal Bhairavi which she detested She later confessed to accepting these roles for financial gain rather than artistic merit I shudder even now when I think of those films As an artiste I got totally corrupted 15 Kaash and mainstream success 1987 1989 Edit 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 Kapadia in 1987 on the experience of making Kaash 15 In 1987 Kapadia appeared in Rajkumar Kohli s Insaniyat Ke Dushman and Mukul Anand s Insaaf both action films that were popular with audiences 20 In Insaaf she played the dual role of a dancer and a physician 72 73 Later in the year she played Pooja in Mahesh Bhatt s marital 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 brain tumour and reunite to spend the last months of his life as a family 74 Before filming began she called it the most serious artistic challenge of her career 6 Bhatt cast Kapadia because he was aware of her own marital experience and later revealed that during the shooting she had grown increasingly invested in the story so much that after a point he could not differentiate her from Pooja as she became the character 75 Kapadia s performance was praised by critics 55 76 77 Pritish Nandy the editor of The Illustrated Weekly of India asserted Dimple achieves the impossible Bereft of her glitzy make up glamour and filmi mannerisms she comes alive as never before beautiful sensitive intense You almost feel you ve discovered a new actress on the screen 78 In later years The Times of India listed it as one of Kapadia s best performances noting her immense strength as a performer and Sukanya Verma wrote of the stoic determination and touching vulnerability with which Pooja was played calling the outcome extremely believable and sympathetic at once 79 80 Bhawana Somaaya reported that Kaash had established Kapadia as a performing artiste 81 In Zakhmi Aurat 1988 Kapadia played Kiran Dutt a police officer who is subjected to gang rape and when the judicial system fails to convict the criminals unites with other rape survivors to castrate the rapists in revenge 82 83 Among the first of a new trend of women centred revenge films the film was a financial success but polarised critics and attracted wide coverage for its lengthy brutal rape scene involving Kapadia 84 85 Khalid Mohamed of The Times of India noted Kapadia s power packed performance but criticised the rape sequence as utter lasciviousness and vulgarity spattering through the screen 86 Feminist magazine Manushi panned its low cinematic quality including the absurdity of the action scenes and the ugly kind of titillation in the rape scene but said Kapadia brought a conviction to her role that is rare among Bombay heroines with a performance that is low key moving and charming without being at all clinging or seductive 87 The same year Kapadia worked with Rajkumar Kohli on the action drama Saazish and the horror film Bees Saal Baad a remake of the 1962 film of the same name 88 89 90 She was the action star in Mera Shikar a revenge saga directed by Keshu Ramsay playing Bijli a once joyous young woman who trains in martial arts to punish a notorious gangster for the crimes inflicted upon her sister The film was described as an extraordinarily adroit entertainer by Subhash K Jha who preferred it over the sleazy sensationalism of Zakhmi Aurat and noted the unusual restraint with which Bijli s transformation was achieved 76 In 1989 Kapadia appeared as Jackie Shroff s love interest in Ram Lakhan a crime drama directed by Subhash Ghai The film was a success with both critics and audiences 91 92 becoming the second highest grossing Hindi film of the year and earning eight nominations at the 35th Filmfare Awards 93 94 She played a courtesan turned vengeful mistress in Pati Parmeshwar The film was released after a well publicised two year court battle with the Central Board of Film Certification CBFC 95 96 which initially banned it from screening for its perceived glorification of submissiveness of women through the character of the forgiving wife who is in ignoble servility to her husband 85 97 Other films starring Kapadia that year include Babbar Subhash s Pyar Ke Naam Qurbaan and J P Dutta s action picture Batwara 98 99 100 Professional expansion and critical acclaim 1990 1994 Edit In the 1990s Kapadia started appearing in parallel cinema a movement of Indian neo realist art films 67 101 later citing an inner yearning to exhibit my best potential 102 Those films include Drishti 1990 Lekin 1991 Rudaali 1993 and Antareen 1993 Drishti a marital drama that was directed by Govind Nihalani starred Kapadia and Shekhar Kapur as a married couple from Mumbai s intellectual milieu and followed their trials and tribulations extramarital affairs divorce and eventual reconciliation 103 Kapadia recounted her full emotional involvement in the part of the protagonist career woman Sandhya her performance was critically acclaimed 55 104 The author Subramani recognised Kapadia as an actress with hidden resources and appreciated her intelligent portrayal through which Sandhya emerged as vulnerable and intense and full of feminine wiles 105 A review in The Indian Express presumed her own separation might have contributed to her understanding of the part and sensitive performance 106 107 The film was acknowledged as the Best Hindi Film of that year at the 38th National Film Awards and Frontline magazine suggested that Kapadia should have earned the Best Actress award at the same function 108 109 She was named Best Actress Hindi of the year by the Bengal Film Journalists Association 110 Gulzar s romantic mystery Lekin which is based on Rabindranath Tagore s short story Hungry Stones 1895 111 stars Kapadia as a restless spirit seeking liberation Reva who haunts an ancient palace and appears intermittently in the presence of a museum curator Vinod Khanna throughout his work visit in Rajasthan 112 Kapadia was determined to get the part as soon as she learned about the project and kept repeatedly calling Gulzar and the film s producer Lata Mangeshkar until she was finally cast 113 To make her character more truthful Gulzar forbade Kapadia to blink during filming trying to capture an endless fixed gaze that would give her a feeling of being surreal 114 Kapadia has often cited this role as a personal favourite and the pinnacle of her career and wished she had more screen time in the film 115 116 Lekin was popular with critics 103 and Kapadia s performance in it earned her a third Filmfare nomination 117 Subhash K Jha described Reva as the essence of evanescence and took note of the intense tragedy with which Kapadia played the part 118 Kapadia played a young widow in the military drama Prahaar 1991 the first directorial venture of the actor Nana Patekar with whom she would collaborate in several other films 119 120 The film co starring Patekar and Madhuri Dixit had a good reception from critics Kapadia and Dixit agreed to act without wearing makeup upon Patekar s insistence 121 While critics credited the female actors for their work most of the praise went to Patekar 122 Further critical attention came her way when she played a principled office receptionist opposite Sunny Deol in the action film Narsimha 123 124 In Haque 1991 a political drama directed by Harish Bhosle and scripted by Mahesh Bhatt Kapadia played Varsha B Singh an Orthodox Hindu woman who is married to an influential politician and who has a miscarriage following an assault The story follows Varsha s defiance of her husband after years of subservience when for political reasons he refuses to take legal action against the assailants 125 According to the author Ram Awatar Agnihotri Kapadia played the character bravely and convincingly 126 Kapadia starred alongside Amitabh Bachchan in the fantasy Ajooba a big budgeted Indo Russian co production that was co directed by Shashi Kapoor and Gennady Vasilyev 127 128 Based on Arabian mythology and set in the fictional Afghan kingdom Baharistan the film saw her in the role of Rukhsana a young woman who arrives from India to rescue her father from prison 129 130 The critical response to Ajooba was mediocre 131 and it failed to attract viewers in Indian cinemas though was a success in the Soviet Union 128 132 The release of Maarg her second project under Mahesh Bhatt s direction was delayed for several years before its straight to video release in late 1992 75 The film is about power politics within an ashram and features Kapadia as Uma who works as a prostitute by choice 133 The critic Iqbal Masood considered it a powerful satire with excellent performances 134 According to Bhatt Kapadia s role was so intense it left her close to a breakdown after filming ended 75 She next played Barkha a single woman who abandons her newly born out of wedlock daughter in Hema Malini s directorial debut Dil Aashna Hai 1992 135 In Shashilal K Nair s crime drama Angaar 1992 Kapadia played Mili a homeless orphan who is collected by an unemployed man Jackie Shroff Angaar and Kapadia s performance in it received positive reviews from critics but it was financially unsuccessful Meena Iyer of The Times of India who called it one of the most engaging mafia films to have come out of Bollywood attributed the film s limited audience to its subject matter 136 137 The standard Indian commercial film gives an actor hardly a chance to act because it seeks to create a cardboard cut out seen from a distance as in the open air rural stage the gesture must be broad in order to be seen the speech must be loud in order to be heard Psychology of character cannot must not be created to seem too real is to risk confusing even alienating the audience Kapadia has enough experience of this convention to be able to use some of its elements and enough understanding of acting techniques to create a real person She is thus able to make her Shanichari both larger than life and believable Chidananda Dasgupta from Cinemaya on Kapadia s performance in Rudaali 1993 138 In 1993 Kapadia won the National Film Award for Best Actress for her performance in Rudaali a drama that was directed by Kalpana Lajmi and adapted from Mahasweta Devi s short story of the same name 139 140 She played the central character Shanichari a lonely hardened Rajasthani village woman who during a lifetime of misfortune has never cried and is challenged with a new job as a professional mourner 141 142 The citation for the award described her performance as a compelling interpretation of the tribulations of a lonely woman ravaged by a cruel society 143 The Indologist Philip Lutgendorf argued that Kapadia s dignity and conviction as well as her effective body language and gestures lift her character far beyond bathos 144 Among other accolades she won the Filmfare Critics Award for Best Performance and was acknowledged with Best Actress honours at the Asia Pacific Film Festival and the International Film Festival in Damascus 145 146 Critics and moviegoers accepted Rudaali with enthusiasm and it was India s submission to the 66th Academy Awards for Best Foreign Language Film 140 147 In 2010 Filmfare magazine included Kapadia s work in the film in their list of 80 Iconic Performances 148 149 Another Filmfare nomination for Kapadia came that year for her supporting role as Shanti a street prostitute whose husband and child were burnt alive in the Priyadarshan directed crime drama Gardish 150 An adaptation of the 1989 Malayalam film Kireedam the film starred Jackie Shroff and Amrish Puri and was met with approval from critics and the public 150 151 The Indian Express praised the film s script vivid characters and powerful dialogues and noted Kapadia s ability to command audience attention 152 Mrinal Sen s 1993 Bengali drama Antareen which was adapted from Saadat Hasan Manto s short story Badshahat ka Khatama 1950 was Kapadia s first non Hindi project since Vikram 1986 71 153 She played an unhappily married woman who develops a telephonic relationship with a stranger Anjan Dutt 154 Kapadia insisted on playing the role spontaneously and thus refused to enrol in a crash course in Bengali which she felt she would be able to speak convincingly 67 Her voice was later dubbed by Anushua Chatterjee a decision with which Kapadia was unhappy 155 Antareen was well received and was named the Best Bengali Film at the 41st National Film Awards 156 157 158 but Kapadia was dissatisfied with the outcome and dismissed it as a poor film 159 In 1994 in Mehul Kumar s Krantiveer Kapadia portrayed the journalist Meghna Dixit a rape victim who persuades an alcoholic unemployed village man Nana Patekar to be a champion of justice for those around him 160 161 The film was a box office success and became India s third highest grossing picture of the year 162 The Indian Express complimented Kapadia for having developed into a leading character actor with this film 163 For her performance Kapadia received her fourth Filmfare Award this time in the Best Supporting Actress category 164 Hiatus setback and resurgence 1995 2008 Edit After Antareen Kapadia was expected to work in more independent films but she took a three year hiatus from acting later saying she was emotionally exhausted 14 She returned to commercial cinema in 1997 playing Amitabh Bachchan s wife in Mrityudaata under Mehul Kumar s direction 165 The film was a critical and commercial failure India Today panned its comic book level storytelling 165 166 The trade journal Film Information said Kapadia had a role unworthy of her time and Kapadia shared similar sentiments 165 167 She next acted opposite Jackie Shroff in the murder mystery 2001 Do Hazaar Ek 1998 and the romantic drama Laawaris 1999 which were rejected by audiences 168 169 170 Laawaris was criticised for its formulaic script and lack of originality and according to Hindustan Times did not allow Kapadia much to do except scream 171 172 In her final feature of the decade Hum Tum Pe Marte Hain Kapadia played Devyani Chopra the strict matriarch of a wealthy family 173 Subhash K Jha called the film an embarrassment while Suparn Verma gave a scathing review of Kapadia s performance noting she wears a permanent scowl throughout the film 174 175 In her first film of the new millennium Kapadia co starred in Farhan Akhtar s directorial debut Dil Chahta Hai 2001 which depicts the contemporary routine life of Indian affluent youth and focuses on a period of transition in the lives of three friends Aamir Khan Saif Ali Khan and Akshaye Khanna 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 her daughter 176 The film presents her story through the character of Siddharth Khanna a much younger man whom she befriends and who falls deeply in love with her 177 Akhtar wrote the part specifically for Kapadia who later called it a role to die for 178 174 Critics lauded Dil Chahta Hai as a groundbreaking film for its realistic portrayal of India s modern society and it won the Best Hindi Film award at the 49th National Film Awards 176 177 Commercially it performed well in large cities but failed in the rural areas which trade analysts attributed to the urban lifestyle depicted in it 179 180 Saibal Chatterjee in a review for Hindustan Times noted Dimple Kapadia in a brief somewhat underdeveloped role presents a poignant study of loneliness 181 In 2002 Kapadia portrayed the title role in the drama Leela an American production that was directed by Somnath Sen and co stars Deepti Naval Vinod Khanna and Amol Mhatre 182 Kapadia s part which was written specially for her is that of a forty year old married Mumbai 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 14 183 The story follows Leela s acclimation to her new surroundings and her relationship with a young Indian American man named Kris Mhatre one of her students Kapadia was nervous during the making of the film but believed the tension helped elevate her acting 116 The film was reviewed favourably by American critics 182 184 185 among whom Maitland McDonagh from TV Guide wrote Dimple Kapadia shines in this family melodrama her intelligent nuanced performance is the film s highlight 186 Reviews in India were similarly approving of Leela and Kapadia s work 187 188 Kapadia played the lead role of army wife Sandra Williams in Hum Kaun Hai 2004 a supernatural thriller The film opened to a mixed critical reception but critics said Kapadia s performance and charismatic presence enhance an otherwise weak script 189 190 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 starring as middle aged single parents who fall in love and later have to deal with the reaction of their children 191 The film generated mostly negative reviews but critics concurred the chemistry between the lead pair was enough of a reason to watch it acknowledging the nostalgic value of the pairing 192 193 Few people went to see the film within two weeks it was declared a failure In 2016 scholar Afreen Khan cited Kapadia s character as a departure from the conventional portrayal of mothers in Hindi films believing her role to be a modern mother whom daughters dream of having 194 In 2006 Kapadia co starred with Saif Ali Khan and Naseeruddin Shah in the black comedy Being Cyrus an English language independent feature and the directorial debut of Homi Adajania 195 196 Kapadia played Katy Sethna Shah s neurotic and unfaithful wife who has an affair with Cyrus Khan a young drifter who enters their house as an assistant 195 The film was well received at a number of film festivals before its theatrical release in India 197 198 upon which it was embraced by critics and audiences making a considerable profit against its small budget 199 200 The BBC s Poonam Joshi stated the descent into despair of Dimple Kapadia s Katy is enthralling 201 but other critics including Derek Elley from Variety and Shradha Sukumaran from Mid Day criticised her for excessively overacting 202 203 In the mystical love story Banaras 2006 Kapadia played a wealthy Brahmin woman whose daughter falls in love with a man of a lower caste 204 205 V K Prakash s romance Phir Kabhi 2008 stars Kapadia and Mithun Chakraborty as ageing people who meet at a school reunion and rekindle their high school romance The film was awarded seven prizes including the Best Film Award in the Narrative Feature section at the Los Angeles Reel Film Festival 206 It was released direct to video a year later and was simultaneously distributed via pay per view direct to home DTH services becoming the first Hindi film to premier on streaming media platforms 207 208 At the request of her son in law Akshay Kumar Kapadia voiced the character Devi the mother of the elephant Jumbo Kumar in the animated feature Jumbo 2008 a remake of the 2006 Thai computer animation Khan Kluay 26 209 Recognition for character roles 2009 2014 Edit Kapadia was cast in Zoya Akhtar s first directorial venture Luck by Chance 2009 a satirical take on the Hindi film industry 210 211 She played Neena Walia an erstwhile superstar referred to in the film as a crocodile in a chiffon saree who struggles to launch her young daughter into the movie business 212 Kapadia was approached for the part because it required an actress who had been a mainstream star in the past Akhtar noted Kapadia s edgy portrayal of the character s fickle nature saying Kapadia is all warm soft sunshine and then there s a flip and she s hard cold steely 213 Luck By Chance opened to a warm critical response though its financial income was modest 210 214 Critics were appreciative of Kapadia s performance which earned her a Best Supporting Actress nomination at Filmfare 215 Deepa Karmalkar from Screen characterised her role as gloriously bitchy 216 while Avijit Ghosh of The Times of India believed Kapadia had delivered one of her most nuanced performances in a character he found to be a rare kind of Hindi film mother who is hawk eyed tough as nails but vainglorious and in a strange way vulnerable as well 217 In 2010 Kapadia played the small part of Salman Khan s asthmatic mother in action comedy Dabangg which was the most popular film of the year in India and the second highest grossing Hindi film of all time up to that point 218 219 Reviews for Kapadia s role were varied Blessy Chettiar of Daily News and Analysis likened her character to the mothers in Hindi cinema of yore self sacrificing torn between relationships slightly over the top likeable nevertheless 220 221 Next followed Tum Milo Toh Sahi 2010 a romantic comedy which stars Kapadia as Delshad Nanji a Parsi woman in charge of an Irani cafe whose business is under threat from developers and who falls in love with the lawyer Nana Patekar who represents her in court Kapadia adopted a Parsi accent for the role and while preparing for it visited several Irani cafes in Mumbai to adapt to the character s cultural milieu 222 223 The film opened to average reviews but Kapadia s performance received generally positive feedback 222 224 According to Anupama Chopra the character of Delshad veers into caricature but Kapadia plays her with affection and energy and at least has some fun doing it 225 In her only film of 2011 Kapadia was cast as Rishi Kapoor s wife and her son in law Akshay Kumar s mother in Nikhil Advani s Patiala House a sports film revolving around cricket 226 227 Kapadia at the Pichvai Exhibition in New Delhi 2018 Kapadia collaborated again with Homi Adajania in Cocktail 2012 and Finding Fanny 2014 both critical and commercial successes 228 229 The romantic comedy Cocktail saw her play Saif Ali Khan s loud Punjabi mother Kavita Kapoor an appearance to which Aniruddha Guha of Daily News and Analysis referred as a veritable treat 230 231 While filming Cocktail Kapadia was shown the script of the satirical road movie Finding Fanny believing Adajania is a director capable of bringing the best in her she expressed keen interest in the project 232 She was cast as Rosalina Rosie Eucharistica a conceited but well meaning woman who joins her late son s widow Deepika Padukone on a road trip across Goa 233 Kapadia was required to wear a heavy prosthetic posterior for the role and her portrayal earned her a fourth Best Supporting Actress nomination at Filmfare 232 Rachel Saltz of The New York Times wrote Kapadia inhabits and enhances her role and steers clear of caricature and even milks some humor out of the unfunny script 234 In 2013 Kapadia was the protagonist in the comedy What the Fish portraying Sudha Mishra an irate Delhi based divorcee who begrudgingly entrusts her niece with taking care of her house while she is away 235 Kapadia was enthusiastic about the part feeling challenged to play its different traits 13 Reviews of both the film and Kapadia s work were mixed The Times of India panned the film s script for making Kapadia s tryst with comedy seem loud and forced and Raja Sen deemed her part the most forgettable of her career 236 237 Sarita A Tanwar of Daily News and Analysis considered the film a rather audacious entertaining attempt and said Kapadia was in top form and similarly positive comments were written by Subhash K Jha 238 239 Limited work Tenet and beyond 2015 present Edit For the rest of the decade Kapadia returned to film twice for minor roles in the action comedies Welcome Back 2015 and Dabangg 3 2019 She played a conwoman in Anees Bazmee s Welcome Back along with an ensemble cast led by Anil Kapoor and Nana Patekar 240 241 Dabangg 3 the third installment of the Dabangg film series saw her briefly reprise the role of Naina Devi 242 In her first film of the 2020s Kapadia appeared alongside Irrfan Khan and Kareena Kapoor in the comedy drama Angrezi Medium 2020 her fourth project under Homi Adajania s direction A spiritual sequel to the 2017 film Hindi Medium it was theatrically released in India on 13 March amid the COVID 19 pandemic which affected its commercial performance due to the closing of cinemas 243 244 Initial plans for a re release were cancelled and the film was made available digitally less than a month later 245 Kapadia played a strict store owner estranged from her daughter Kapoor a role Vinayak Chakravorty of Outlook thought was used to highlight loneliness among the aged but believed could have been stronger 246 247 Kapadia next played arms dealer Priya Singh in Christopher Nolan s spy thriller Tenet 248 Her screen test for the role was shot in 2019 by Adajania before filming for Angrezi Medium began followed by an audition for Nolan in Mumbai 249 250 Impressed with her charisma and poise Nolan believing she embodied his vision of the character cast Kapadia in the part 251 The film opened amid the pandemic to a worldwide audience and having grossed 364 million worldwide became the fifth highest grossing film of 2020 252 253 Critics reacted positively to her performance 254 Richard Roeper of Chicago Sun Times wrote Kapadia quietly steals every scene she s in and Guy Lodge of Variety said she had given the film s wiliest performance 248 255 Having admitted to being a reluctant actor for years Kapadia credited Tenet with restoring her passion for film acting 254 256 Ali Abbas Zafar s 2021 Amazon Prime political web series Tandav starred Kapadia as Anuradha Kishore a power hungry politician who seeks to undermine the new political rival Saif Ali Khan of the Prime Minister of India her longtime ally 257 258 The show which was Kapadia s first appearance on a digital platform had mixed reviews 259 A Thursday 2022 Behzad Khambata s vigilante hostage thriller starring Yami Gautam featured Kapadia in the fictional part of Prime Minister of India Maya Rajguru 260 261 Kapadia had a cameo in Ayan Mukerji s action fantasy Brahmastra Part One Shiva 2022 and starred in Siddharth Anand s Pathaan 2023 led by Shah Rukh Khan 262 In Pathaan based in the YRF Spy Universe she played Nandini a senior officer in charge of a unit of Research and Analysis Wing RAW agents Her performance was particularly picked up for praise 263 264 Sneha Bengani of CNBC TV18 was appreciative of her sharp and graceful commanding yet restrained performance 265 266 As of January 2023 update Kapadia s future projects include a supporting role in Luv Ranjan s romantic comedy Tu Jhoothi Main Makkaar and a starring role opposite Pankaj Kapur in Saurabh Shukla s Jab Khuli Kitaab a romantic comedy about an older couple who seek divorce after 50 years of marriage 267 268 Public image and artistry EditWhen Kapadia returned to films after her separation from Khanna she faced constant comparison to her Bobby days and struggled to be taken seriously as an actor According to Jyotika Virdi the author of the book The Cinematic Imagination while Kapadia s trajectory is different from those of other female Hindi film stars she turned her disadvantages to her advantage 55 Virdi said Kapadia s forthright manner made 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 55 Kapadia is known for her assertive and moody nature 269 270 during the making of Janbaaz 1986 the director Feroz Khan said he had never met a woman with her levels of pent up aggression 6 The journalist Bhawana Somaaya who conducted a series of interviews with Kapadia during the 1980s stated She s a strange bundle of contradictions Her moods change in a jiffy 77 271 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 155 In reply to this she said I am moody by nature But I have never consciously hurt anyone 155 Kapadia at the Sansui Television Awards in 2008 Virdi wrote Kapadia fought her way to success by committing to serious and challenging work and described her parts in Aitbaar 1985 Kaash 1987 and Drishti 1990 as characters with which she drew from the well of her own experience 55 With Zakhmi Aurat 1988 Kapadia became one of the mainstream actresses associated with a new wave of women centred revenge films 76 272 As an action heroine she chose to perform her own stunts which the critic M Rahman thought made her performance more convincing Although she enjoyed working in similar projects such as Mera Shikar 1988 and Kali Ganga 1990 she bemoaned about being paid less than male action stars 272 The author Dinesh Raheja believed Kapadia s involvement in art films in the 1990s happened at a time when she was no longer willing to play the pretty prop in hero oriented films arguing her new choices honed Dimple s talent for lending fine striations to complex emotions 20 Mahesh Bhatt commended her for not turning into a victim of her own success by refusing to appear in films of strictly commercial value According to Govind Nihalani the director of Drishti 1990 Kapadia has a genuine interest in serious work that would challenge her talent and realise her potential Similar sentiments were shared by Shashi Kapoor who said Kapadia had always been eager to act in quality films Kapadia said her involvement in independent films was a conscious decision to experiment in different cinema and prove her abilities 67 When questioned about her hiatus after Rudaali at her career peak Kapadia said she needed space and that generally her career has always been secondary to her 22 Her infrequent work since then which manifested in numerous gaps between her screen appearances has gained her a reputation for being selective about her work 273 274 Admitting her limited professional drive she attributed it to the lack of worthy offers and the huge effort expended in film acting 275 which consumes time otherwise spent on her family and private life 276 277 Even so Kapadia s later work was noted by film scholars including Shoma Chatterji and Afreen Khan who listed her among the female actors who represent a changing portrayal of mothers in Hindi films with roles of women who consider their happiness to be of equal importance to that of their children 194 278 Similar thoughts were expressed by Mumbai Mirror s Trisha Gupta who was impressed with Kapadia s diverse repertoire of maternal roles ranging from Luck by Chance 2009 and Dabangg 2010 to Finding Fanny 2014 279 Guided by her own judgement Kapadia normally commits to a project without seeking advice 276 and often willingly works with young or first time directors finding their enthusiasm and creativity beneficial to both the film and her performance 280 281 Kapadia s screen image has been characterised in terms of her perceived beauty and sex appeal 79 The Times of India wrote in reference to her role in Saagar Dimple was a vision of lush beauty quite the forbidden fruit rising from the ocean like Aphrodite emerging from the waves and surf 79 Speaking of her post comeback screen persona the critic Khalid Mohamed observed Her arsenal comprised among other elements expressive cognac eyes a nuanced resonating voice skilled in Hindustani dialogue delivery easy body language and that seductive toss of her auburn hair 282 Mrinal Sen who directed her in Antareen 1993 compared Kapadia to Sophia Loren and described her face as a landscape of desolation 67 Anil Kapoor her co star of Janbaaz hailed Kapadia as the most beautiful Indian actress since Madhubala 6 According to Dinesh Raheja Kapadia s casting in Dil Chahta Hai 2001 and Leela 2002 in which she played middle aged women who are the object of younger men s desire served as a kind of tribute to her eternal beauty 20 Critics have been appreciative of Kapadia s acting prowess and some have analysed it in relation to her appearance 283 284 Ranjan Das Gupta called her an instinctive actress spontaneous and intelligent who is best at playing intense characters and said her beauty is her asset as well as limitation 285 In 1988 Subhash K Jha wrote that besides her elastic and primeval looks Kapadia possesses an inbuilt instinct for grasping characters at a level way beyond the surface 76 While working with her on Kaash 1987 Mahesh Bhatt said Kapadia had been through so much in her private life she need not study method acting to play real women 6 Academic writers Madhu Kishwar and Ruth Vanita of the feminist magazine Manushi noted Kapadia for being unafraid to look less attractive for the benefit of convincingly expressing anguish and emotion 87 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 286 Kapadia has described herself as a spontaneous actor who is guided by instinct 102 and on another occasion a competent actress yet to deliver her best 155 Awards and nominations EditTable containing awards and nominations received by Dimple Kapadia Year Award Category Film Result Ref 1973 21st Filmfare Awards Best Actress Bobby Won 287 1985 33rd Filmfare Awards Best Actress Saagar Won 288 1991 37th Filmfare Awards Best Actress Lekin Nominated 289 1992 55th Bengal Film Journalists Association Awards Best Actress Hindi Drishti Won 110 1992 38th Filmfare Awards Best Actress Critics Rudaali Won 290 1993 39th Filmfare Awards Best Actress Nominated 291 1993 40th National Film Awards Best Actress Won 143 1993 8th Damascus International Film Festival Best Actress Won 145 1993 38th Asia Pacific Film Festival Best Actress Won 146 1993 39th Filmfare Awards Best Supporting Actress Gardish Nominated 291 1994 40th Filmfare Awards Best Supporting Actress Krantiveer Won 164 2009 55th Filmfare Awards Best Supporting Actress Luck by Chance Nominated 292 2014 60th Filmfare Awards Best Supporting Actress Finding Fanny Nominated 293 Footnotes Edit This was originally reported by Sumit Mitra in India Today on 20 November 1985 describing Kapadia s family as a wealthy Khoja family which embraced Hinduism only with Chunibhai s father Laljibhai and which accepts the Agha Khan as its religious mentor even now 6 Similar information was repeated by Kaveree Bamzai in Open magazine on 4 October 2019 in a piece about Kapadia s daughter Twinkle Khanna claiming Chunibhai s family to be of lapsed Ismaili Khojas 7 In the 2014 book When I Was 25 The Leaders Look Back the author Shaili Chopra who interviewed Kapadia for a chapter in this book quoted the aforementioned article by India Today in relation to her parents story and noted that Kapadia wouldn t talk about it much 8 References Edit a b Bumiller 1991 p 185 Miglani Surendra 5 October 2003 Parallel cinema The Tribune Spectrum Archived from the original on 27 June 2011 Retrieved 19 September 2011 with movies like Kaash Drishti Lekin Rudaali and Leela she Dimple showed that off beat films too are her forte Reuben 1995 p 198 202 ET Online 1 December 2019 Dimple Kapadia s mother Betty passes away at 80 The Economic Times The Times Group Retrieved 21 April 2020 S Pradhan Bharati 22 November 2009 The end of the sister act The Telegraph Archived from the original on 20 June 2020 Retrieved 23 May 2020 a b c d e f g h i j Mitra Sumit 30 November 1985 Dimple Kapadia The second coming India Today Vol 10 no 17 24 Bangalore Living Media p 74 Archived from the original on 26 December 2016 Retrieved 25 December 2016 Bamzai Kaveree 4 October 2019 Twinkle Khanna The Tina Factor Open Archived from the original on 4 June 2020 Retrieved 23 May 2020 Chopra 2014b Halim Moeena 19 December 2016 Twinkle Funnybones Khanna The author who puts a bit of herself in her characters India Today Living Media Archived from the original on 4 June 2020 Retrieved 6 June 2020 Kulkarni Ronjita 14 November 2016 Akshay has been my biggest cheerleader Rediff com Archived from the original on 4 June 2020 Retrieved 4 June 2020 My grandmother is an Aga Khani the Islami sect which revers the Aga Khan as its spiritual head so she would take Rinke and me to the jamatkhana a b c d e f Mirani Indu 22 August 2006 Once upon a time Daily News and Analysis Archived from the original on 7 July 2012 Retrieved 1 January 2012 The brave and the beautiful Mid Day 18 November 2016 Archived from the original on 9 June 2020 Retrieved 9 June 2020 a b c d Sahgal Geety 14 December 2013 Screen Exclusive Dimple Kapadia gets candid about films family The Indian Express Indian Express Limited Archived from the original on 12 October 2020 Retrieved 31 May 2020 a b c d Bamzai Kaveree 18 November 2002 Forever Diva India Today Living Media Archived from the original on 4 June 2020 Retrieved 1 January 2012 a b c d e f g h i j Chowdhury Alpana 9 August 1987 Reflections in a Golden Eye The Illustrated Weekly of India The Times Group pp 6 9 Reuben 1995 p 204 a b c d Virdi 2003 p 141 Mehul S Thakkar 26 September 2014 The biggest high for me was to marry Rajesh Khanna Dimple Kapadia Deccan Chronicle Archived from the original on 4 October 2016 Retrieved 7 September 2016 Bharatan Raju 8 April 1973 Motion Picture Event of the Year The Illustrated Weekly of India The Times Group p 47 Retrieved 24 June 2020 a b c d Raheja Dinesh 8 September 2004 Dimple A Most Unusual Woman Rediff com Archived from the original on 7 November 2011 Retrieved 19 September 2011 Bumiller 1991 p 186 a b c d Jha Subhash K November 2000 Happily ever after Filmfare Archived from the original on 23 March 2010 Retrieved 18 September 2011 Usman 2014 p 192 Usman 2014 p 153 Sinha Seema 13 September 2010 Rajesh Dimple Complicated The Times of India Archived from the original on 14 September 2010 Retrieved 6 December 2011 a b Das Gupta Ranjan 9 January 2009 Lucky once again The Hindu Archived from the original on 2 June 2009 Retrieved 7 December 2011 Bollywood s Rajesh Khanna not ill waves at fans BBC News BBC 21 June 2012 Archived from the original on 16 August 2021 Retrieved 26 December 2020 George Nirmala 18 July 2012 Bollywood superstar Rajesh Khanna dies New York Daily News Archived from the original on 16 August 2021 Retrieved 27 December 2020 Dimple Kapadia Rajesh Khanna Love unfinished The Times of India 20 July 2012 Archived from the original on 25 February 2015 Retrieved 26 December 2020 M M Vetticad Anna 12 October 1998 Kapadia s candles India Today Living Media Archived from the original on 21 June 2020 Retrieved 16 May 2020 a b Pratap Shah Monisha 11 November 2001 Candle in the wind The Times of India The Times Group Archived from the original on 17 August 2020 Retrieved 16 May 2020 Candlemaker David Constable on his work by royal appointment BBC 11 July 2013 Archived from the original on 12 October 2020 Retrieved 16 May 2020 Thapar Kapoor Reena 9 October 2006 The house of wax Mumbai Mirror The Times Group Archived from the original on 3 July 2020 Retrieved 16 May 2020 Sangghvi Malavika 15 April 2013 Candles in the wind Mid Day Archived from the original on 4 July 2020 Retrieved 16 May 2020 Dimple s candles to light animals cause The Tribune Tribune News Service 20 July 2000 Archived from the original on 21 April 2017 Retrieved 16 May 2020 a b Reuben 1995 pp 198 199 Nanda 2002 Abbas 2013 p 1 Reuben 1995 pp 201 202 Ganti 2004 p 158 a b Dasgupta amp Datta 2018 pp 39 40 Bobby was a blockbuster the biggest hit of 1973 and the second biggest hit of the 1970s The movie was a trendsetter as it played out a young romance against the backdrop of class prejudice Weinraub Bernard 12 December 1973 Karma of Bobby Lovers Stirs India s Filmgoers The New York Times Archived from the original on 4 June 2020 Retrieved 4 June 2020 Hyder Qurratulain 14 October 1973 Bobby Film review The Illustrated Weekly of India The Times Group p 41 Retrieved 24 June 2020 Dwyer 2000 p 139 Joshi 2015 p 99 Roy 2019 p 114 Teenage sensation Dimple Kapadia s hot pants and polkadotted tie knot blouses from Bollywood s biggest romantic blockbuster Bobby 1973 became an instant fashion trend among women Begum Hossain 2007 p 63 The film s Western inspired fashion really caught the imaginations of Indian youth Mini skirts bikinis and flowing scarves as worn by Bobby were adopted by fashion conscious teenage viewers Of polka dots and teenage love Mumbai Mirror The Times Group 24 October 2013 Archived from the original on 27 October 2013 Retrieved 4 June 2020 Roy Dhaval 4 October 2019 Front knot 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Genre and the Supernatural in Hindi Commercial Cinema University of Texas Press ISBN 978 1 4773 1158 5 Archived from the original on 16 August 2021 Murali Sharanya 2017 Finding Femininity Homi Adajania and Representations of Urban Womanhood In Iqbal Viswamohan Aysha John Vimal Mohan eds Behind the Scenes Contemporary Bollywood Directors and Their Cinema Sage Publications India pp 291 307 ISBN 978 93 86062 40 6 Archived from the original on 16 August 2021 Siegel Bernie Wing Diane Kenley Holli Levy Jay S 2017 Recovering the Self A Journal of Hope and Healing Vol VI No 1 Grief amp Loss Loving Healing Press p 83 ISBN 978 1 61599 340 6 Archived from the original on 15 October 2020 Siṃha Hara Mandira 2000 Hindi filmography 1981 1999 Volume 2 Satinder Kaur Archived from the original on 3 January 2014 Somaaya Bhawana 2008 Hema Malini The Authorized Biography Roli Books Private Limited ISBN 978 93 5194 048 7 Subramani 1995 Altering Imagination Fiji Writers Association ISBN 978 982 328 001 1 Archived from the original on 16 August 2021 Thoraval Yves 2000 The Cinemas of India Macmillan India ISBN 978 0 333 93410 4 Usman Yasser 2014 Rajesh Khanna The Untold Story of India s First Superstar Penguin UK ISBN 978 93 5118 875 9 Vasudev Aruna 1995 Frames of Mind Reflections on Indian Cinema UBSPD ISBN 978 81 7476 053 1 Archived from the original on 30 April 2013 Virdi Jyotika 2003 The Cinematic ImagiNation sic Indian Popular Films as Social History Rutgers University Press pp 140 143 ISBN 978 0 8135 3191 5 External links Edit Wikimedia Commons has media related to Dimple Kapadia Dimple Kapadia at IMDb Retrieved from https en wikipedia org w index php title Dimple Kapadia amp oldid 1136637090, wikipedia, wiki, book, books, library,

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