title: Spurgeon Neel

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Major General <mask>, MD, (September 24, 1919 – June 6, 2003) was a United States Army physician who pioneered the development of aeromedical evacuation of battlefield casualties. Biography

Early life
<mask>, was born on September 24, 1919 in Memphis, Tennessee. His parents were <mask> and <mask>. <mask> graduated from the Memphis State University in 1939, majoring in pre-med. He earned his Doctorate of Medicine in 1942 from the University of Tennessee. Dr. <mask> was a member of Phi Chi Medical Fraternity's Alpha Beta Chapter. <mask> completed an internship at the Methodist Hospital in Memphis in 1943.He then entered military service, completing his residency in radiology at Santa Ana Army Air Base in California in 1944. <mask> married his wife, Alice T<mask>, in 1940. They had a son, Spurgeon H<mask> III, and daughter, Dr. <mask> Zartarian. World War II

<mask> commanded a medical company in Europe during World War II. Aeromedical evacuation
From 1949 to 1951, <mask> served as surgeon with the 82nd Airborne Division at Fort Bragg, North Carolina. In 1949, <mask> chaired a board that tested, evaluated, and recommended the use of the helicopter in medical evacuation roles. The concept of utilizing rotary wing aircraft for the evacuation of seriously wounded casualties was not a new one.In 1936, at the Medical Field Service School at Carlisle Barracks, Pennsylvania, an autogyro was field-tested as an evacuation vehicle. The idea was discarded at that time for engineering and budgetary reasons more than any defect in the basic concept. During World War II the Air Force and Navy began to use helicopters for the rescue of pilots and other personnel lost at sea or in inaccessible terrain. However, helicopters were still a novelty in 1949 when <mask> began examining the idea of flying wounded soldiers out of war zones. <mask>'s widow, <mask>, told the San Antonio Express-News that <mask> had said, "My job is to take care of those boys. And I'm going to do it, and I want to be able to get them to the hospital as quickly as possible, and I want the helicopter to be dedicated for that purpose and to be available for that mission.'" As part of his 1949 study, <mask> tested an early Kaman helicopter with forward clamshell doors.<mask> also explored other medical aspects of army aviation. In 1951, he published the paper "Medical Aspects of Military Parachuting," which was recognized by the Association of Military Surgeons of the United States as the best military medical essay of the year. In March 1951, <mask> became the first Army graduate of the United States Air Force School of Aerospace Medicine at Randolph Air Force Base in San Antonio, Texas. Korean War
It was in the Korean War that helicopter evacuation became a reality. The helicopter had finally been accepted as an organic vehicle of the Army, and rugged terrain of Korea made surface transport arduous. In addition, the scarcity of hard-surface roads and harsh climate often made it extremely difficult to transport casualties from forward units. Helicopter evacuation in Korea was not the result of any preconceived plan; it was the result of expediency.In the early days of the war, a U.S. Air Force helicopter detachment of the Third Air Rescue Squadron began to receive requests from ground elements for the evacuation of casualties from difficult terrain. Since this detachment was not fully occupied with its primary mission of rescuing downed pilots, it responded to these calls. By August 1950, this Air Force unit was answering so many calls that it found itself in the medical evacuation business. Quick to note the advantages of helicopter evacuation in terrain such as Korea, the Eighth Army developed an increased interest in the program. During a significant test conducted by Army and Air Force representatives on August 3, 1950 in the school yard of the Taegu Teachers College, Army helicopters were adopted for the evacuation of casualties and the first procedures were established. On 22 November 1950 the Army's Second Helicopter Detachment arrived in Korea, equipped with four H-13 aircraft. Army helicopter evacuation was officially established on 1 January 1951 when the Second Helicopter Detachment became operational and was attached to the 8055th Mobile Army Surgical Hospital.In January 1951, two more helicopter detachments, the Third and Fourth, arrived in Korea with minimum operating personnel and four H-13 aircraft, followed in February by the First Helicopter Detachment. At this time all helicopter detachments used in medical evacuation were assigned to the 8085th Army Unit, Eighth Army Flight Detachment, and attached to forward surgical hospitals. Before the armistice ended the war in 1953, army helicopters would fly 18,000 U.N. casualties to hospitals, helping save seven of every 10 victims. <mask> spent most of the war in the U.S., first in Washington D.C., and then in San Antonio, Texas. From 1952 to 1953, <mask> served as Chief of the Field Medical Service Branch of the Medical Field Service School at Fort Sam Houston near San Antonio. He led the establishment of helicopter ambulance units and supervised the activation, training, and deployment of five helicopter ambulance detachments at Brooke Army Medical Center. <mask> transferred to Korea in 1953 before the armistice ended active hostilities on July 27.<mask> served as commander of the 30th Medical Group in Korea from 1953-1954. He established the Eighth Army aviation medical program in 1954, which became the prototype for the Army-wide aviation medical program. The aeromedical evacuation doctrine espoused by <mask> called for medical control of evacuation and the need for pilots and aircraft dedicated to that mission alone. Field maneuvers after Korea included use of aeromedical evacuation. Post war
From 1954-1957, <mask> served at the U.S. Army Office of the Surgeon General in Washington, D.C.

After the Korean War the Surgeon General's Office applied itself to assessing the potential of helicopter ambulances in future conflicts. In particular, Lt. Col. <mask>, in a number of medical and aviation journals, publicized and promoted the Army's air ambulances. The Korean experience, he realized, could not serve as an infallible guide to the use of helicopters in other types of wars and different geographical regions, but it certainly showed that helicopters had made possible at least a modification of the first links in Letterman's chain of evacuation.A superior communications system would allow a well-equipped and well-staffed ambulance to land at or near the site of the wounding, making much ground evacuation unnecessary. If the patient's condition could be stabilized briefly, it might prove helpful to use the speed of the helicopter to evacuate the patient farther to the rear, to more complete medical facilities than those provided at a rudimentary division clearing station. Triage might be carried out better at a hospital than in the field. Based on experience during the Korean War, <mask> developed medical evacuation policies, procedures, and organizations which are the foundation of current aeromedical operations. In 1954, <mask> became the Army's first Aviation Medical Officer. In 1955 he served on the Department of the Army board which conducted a design competition to select the new standard Army utility helicopter, which ultimately became the UH-1. The same year he established flying status for Aviation Medical Officers and was the first Aviation Medical Officer to receive flying status.In 1956, <mask> established the Aviation Branch within the Office of the Surgeon General and became its first chief, later designing the Aviation Medical Officer Badge and becoming its first recipient. <mask> also established a formal program for Board Certification of Army Medical Officers in Aviation Medicine and laid the groundwork for the Army Aviation Medical Training and Research Program. <mask> designed the Aviation Medical Officer badge in 1957. <mask> was the first to be awarded the badge. From 1957 to 1958, <mask> was a student at the Harvard School of Public Health in Boston, where he received the degree Master of Public Health. United States Air Force School of Aerospace Medicine at Brooks Air Force Base from 1959 to 1960. <mask> assumed command of the U.S. Army Hospital at Fort Rucker, Alabama in 1961.He established the Army Aeromedical Research Laboratory at Ft. Rucker. He also initiated construction of the Lyster Army Hospital, a modern facility with specialized aviation medicine capability. <mask> was awarded a Master's of Science in Business Administration from George Washington University in 1965. Vietnam

During the Vietnam War, <mask> served as surgeon with the Military Assistance Command, Vietnam from 1965 to 1966. Neal served as Senior Medical Advisor to General William Westmoreland. Neal coordinated introduction of medical air ambulance units during the build-up. He also established the Saigon office of the Far East Joint Medical Regulating Office to manage patient movements within and from the Republic of Vietnam during the war.He coordinated U.S. Army aeromedical evacuation in support of U.S. and South Vietnam forces and Vietnamese civilians. In Vietnam, the Army formed "dustoff" units, named for a radio call sign, which evacuated about 380,000 patients. In recognition of his role in the development and execution of combat zone medical operations, <mask> was awarded the Major Gary P. Wratten Award of the Association of Military Surgeons of the United States in 1967. <mask> returned to the U.S. in 1966 and was assigned to the U.S. Army's Office of the Surgeon General in Washington, D.C. as Director of Plans, Supply, and Operations. <mask> served a second tour in Vietnam from 1968 to 1969. He served as Commanding General of the 44th Medical Brigade and as Surgeon of the United States Army, Vietnam

Neels innovations in battlefield medicine greatly improved the survival rates for wounded soldiers. In World War I, 8 percent of all injured men died of their injuries; in World War II, 4.5 percent; in Korea, 2.5 percent; and in Vietnam, 1.5 percent.<mask> attributed the lowering mortality rate to (1) the helicopter, (2) whole blood, (3) hospitals, and (4) highly trained personnel. As <mask> pointed out, it was the medic under fire in whose hands rested the life-or-death decision for the wounded man. The length of hospitalization for Vietnam victims was half of what it was for injured men in Korea-—48 days for Vietnam compared to 91 days for Korea. <mask> attributed this improvement to the swiftness of helicopter evacuation and the advances in medical technology. Return to U.S.
<mask> served as Deputy Surgeon General of the U.S. Army in Washington D.C. from 1969 to 1973. <mask> wrote a book entitled Medical Support of the U.S. Army in Vietnam 1965-1970 that was published by the Department of the Army in 1973. <mask> moved to San Antonio in 1973 to become the first Commanding General of the U.S. Army Health Services Command.Health Services Command was activated on 1 April 1973 as part of reorganizing the Army Medical Department. It took control of almost all Army medical facilities in the continental US, including medical education. It answered directly to the Chief of Staff of the Army. This allowed the Office of the Surgeon General to focus more on staff and technical supervisory duties as the principal adviser to the Chief of Staff of the Army on health and medical matters. In 1994, the HSC and Office of the Surgeon General were merged again. <mask> advocated civilian air ambulance systems and oversaw formation of the 507th Medical Company, which provided military assistance to safety and traffic. By rescuing more than 5,000 civilians from car wrecks, floods and trauma cases in and around San Antonio, the Military Assistance to Safety and Traffic (MAST) program further promoted air ambulance service.Retirement
<mask> retired from the U.S. Army in 1977 with the rank of Major General. After his army retirement, <mask> served as Professor in Occupational and Aerospace Medicine at the University of Texas Health Science Center. <mask> served as honorary colonel of the Army Medical Department Regiment from 1986 to 1994. The regiment was activated on 28 July 1986 as part of the creation of the Army Regimental System to foster and cohesion. All medical officers and enlisted personnel were formally affiliated with the regiment, to include wearing the departmental crest on their uniforms. <mask> was the first honorary colonel. Primarily a ceremonial position, <mask>'s role was to enhance morale and esprit de corps through the perpetuation of the regiment's traditions and customs.During retirement, <mask> also served as Medical Director of USAA, the insurance association serving military personnel. He also served on the Board of Directors at Eisenhower National Bank for 10 years. <mask> helped establish the Army Medical Department (AMEDD) Museum at Fort Sam Houston. <mask> served as chairman of the museum board that was responsible for the expansion of the museum. <mask> died at the age of 83 on June 6, 2003 in San Antonio, Texas. He was buried at Fort Sam Houston National Cemetery, Section A1, Site 526. Awards
<mask> was award the Distinguished Service Medal, the Legion of Merit with four oak leaf clusters, the Bronze Star with one oak leaf cluster, and the Purple Heart.<mask> was inducted into the Army Aviation Hall of Fame in 1976. Legacy
In 2006, the Spurgeon Neel Evacuation Pavilion was established at the Army Medical Department Museum at Fort Sam Houston as a memorial to <mask>'s work. The pavilion houses an H-13 helicopter from the Korean War and the UH-1 "Huey" helicopter that <mask> Aeromedical Science Center houses the U.S. Army Aeromedical Research Laboratory (USAARL) and was dedicated on April 2, 2004. References

External links

1919 births
2003 deaths
United States Army personnel of World War II
American surgeons
United States Army generals
Harvard School of Public Health alumni
United States Army Medical Corps officers
Burials at Fort Sam Houston National Cemetery
Recipients of the Legion of Merit
George Washington University School of Business alumni
University of Memphis alumni
University of Tennessee alumni
People from Memphis, Tennessee

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title: Dimple Kapadia

type: original

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<mask> (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. <mask> 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 female actors. While her initial roles often relied on her perceived beauty and sex appeal, <mask> 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). For her role as a professional mourner in Rudaali, she won the National Film Award for Best Actress and a Filmfare Critics Award. <mask> 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. A role in the Hollywood thriller Tenet (2020) brought her further recognition. <mask> is the mother of Twinkle Khanna and Rinke Khanna, both of whom are former actresses. Background and personal life

<mask> <mask> was born on 8 June 1957 in Bombay to Gujarati businessman Chunibhai <mask> and his wife Bitti, who was known as "Betty".Chunibhai was from a wealthy Ismaili Khoja family, whose members had "embraced Hinduism" while still regarding Aga Khan as their religious mentor. Bitti was a practising Ismaili. As an infant, <mask> was given the name Ameena (literally, "honest" or "trustworthy" in Arabic) by Aga Khan III, by which she was never referred to. 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. The family resided in the Bombay suburb Santacruz, where Kapadia studied at St Joseph's Convent High School. She described herself as having matured quickly, and often made friends with children older than herself. Her father was disowned by his conservative family after she was cast for her first film Bobby in 1971.At age 15, she married the actor Rajesh Khanna, then aged 30, after a short courtship. Having been a fan of Khanna, she later said the marriage was the "biggest high" of her life during this period. The wedding 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. At her husband's behest, Kapadia quit acting following the marriage. She gave birth to two daughters, Twinkle (born 1974) and Rinke (born 1977). <mask> separated from Khanna in April 1982 and returned with her two daughters to her parents' house. She returned to acting two years later.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". The hostility between Khanna and <mask>, 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. Her daughters similarly became actresses and retired after settling down. Her elder daughter Twinkle is married to the actor Akshay Kumar. Asked in Filmfare in 2000 whether she would want to remarry, Kapadia said: "I'm very happy and content... once was more than enough". 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. 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".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. 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. According to the Indian press, Kapadia's business venture has inspired other candle enthusiasts to start similar businesses. Her candles were presented and offered for sale at a number of exhibitions. Career

Debut and stardom (1973)
Kapadia, who was an avid movie viewer, aspired to be an actor since childhood. Her acting career was initiated by her father, who socialised with film-industry professionals and frequented parties hosted by screenwriter Anjana Rawail.Through his contacts, <mask> 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. 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. 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. Impressed with her spontaneity and improvisation, Kapoor cast her in the part. 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. Bobby was a major commercial success and <mask> was lauded for her performance, which won her the Filmfare Award for Best Actress (tied with Jaya Bhaduri for Abhimaan). Qurratulain Hyder of The Illustrated Weekly of India noted she acted with "natural ease and freshness". Several of <mask>'s lines in the film became popular, particularly, "Mujhse dosti karoge?" ("Will you be my friend? "), and the "miniskirts, midriff-baring polka dot shirts, and fabled red bikini" she wore made her a youth fashion icon in India. Consequently polka-dotted dresses were often referred to as "Bobby Print".Bhawana Somaaya of The Hindu credits <mask> 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. In later years, <mask> credited Raj Kapoor for her development as an actor: "The sum total of me today as an actress, whatever I am, is Raj Kapoor". 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 <mask> 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." Comeback and early fluctuations (1984–1986)

<mask> 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. Over the next decade, she became one of the leading female actors in Hindi cinema. Her first post-hiatus film was Saagar; a mutual friend notified the director Ramesh Sippy about <mask>'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). Other films released before Saagar include Manzil Manzil (1984), Aitbaar (1985) and Arjun (1985). <mask> 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. 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. <mask> received positive reviews for her part in Mukul Anand's Hitchcockian thriller Aitbaar.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. 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. 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. The film was chosen as India's official entry to the 58th Academy Awards for Best Foreign Language Film. <mask>'s performance as Mona D'Silva, a young Catholic woman who is torn between her friend (Kamal Haasan) and the man she loves (Kapoor), won her a second Best Actress award at the Filmfare Awards. A reviewer in Asiaweek appreciated the film for its "polished narration and masterly technique" and labelled Kapadia "a delight".According to Rediff.com, <mask> "performed solidly and memorably, grounding the two male leads and making the film work". 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." Feroz Khan's Janbaaz (1986), which is about a man fighting drug addiction, became known for a love scene in which <mask> and male lead Anil Kapoor share a full-on kiss, a rare occasion in Hindi cinema at the time. 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). 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." Kaash and mainstream success (1987–1989)

In 1987, <mask> appeared in Rajkumar Kohli's Insaniyat Ke Dushman and Mukul Anand's Insaaf; both action films that were popular with audiences. In Insaaf, she played the dual role of a dancer and a physician. Later in the year, she played Pooja in Mahesh Bhatt's marital drama Kaash. <mask> 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. Before filming began, she called it the most serious artistic challenge of her career.Bhatt cast <mask> 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". <mask>'s performance was praised by critics. Pritish Nandy, the editor of The Illustrated Weekly of India, asserted: "<mask> 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." 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". Bhawana Somaaya reported that Kaash had established Kapadia as a performing artiste.In Zakhmi Aurat (1988), <mask> 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. 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. 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". 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

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title: Dimple Kapadia

texts:
 being at all clinging or seductive". 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. 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.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, becoming the second-highest grossing Hindi film of the year and earning eight nominations at the 35th Filmfare Awards. 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), 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. Other films starring Kapadia that year include Babbar Subhash's Pyar Ke Naam Qurbaan and J. P. Dutta's action picture Batwara. Professional expansion and critical acclaim (1990–1994)
In the 1990s, Kapadia started appearing in parallel cinema, a movement of Indian neo-realist art films, later citing an "inner yearning to exhibit my best potential". Those films include Drishti (1990), Lekin... (1991), Rudaali (1993) and Antareen (1993).Drishti, a marital drama that was directed by Govind Nihalani, starred <mask> and Shekhar Kapur as a married couple from Mumbai's intellectual milieu, and followed their trials and tribulations, extramarital affairs, divorce, and eventual reconciliation. <mask> recounted her full emotional involvement in the part of the protagonist, career-woman Sandhya; her performance was critically acclaimed. The author Subramani recognised <mask> as "an actress with hidden resources" and appreciated her "intelligent portrayal", through which Sandhya emerged as "vulnerable and intense and full of feminine wiles". A review in The Indian Express presumed her own separation might have contributed to her understanding of the part and sensitive performance. The film was acknowledged as the Best Hindi Film of that year at the 38th National Film Awards, and Frontline magazine suggested that <mask> should have earned the Best Actress award at the same function. She was named Best Actress (Hindi) of the year by the Bengal Film Journalists' Association. Gulzar's romantic mystery Lekin..., which is based on Rabindranath Tagore's short story Hungry Stones (1895), 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.<mask> 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. 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". 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. Lekin... was popular with critics and <mask>'s performance in it earned her a third Filmfare nomination. Subhash K. Jha described Reva as "the essence of evanescence" and took note of the "intense tragedy" with which Kapadia played the part. <mask> 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. The film, co-starring Patekar and Madhuri Dixit, had a good reception from critics.<mask> and Dixit agreed to act without wearing makeup upon Patekar's insistence. While critics credited the female actors for their work, most of the praise went to Patekar. Further critical attention came her way when she played a principled office receptionist opposite Sunny Deol in the action film Narsimha. In Haque (1991), a political drama directed by Harish Bhosle and scripted by Mahesh Bhatt, <mask> 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. According to the author Ram Awatar Agnihotri, <mask> played the character bravely and convincingly. <mask> 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.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. The critical response to Ajooba was mediocre, and it failed to attract viewers in Indian cinemas though was a success in the Soviet Union. 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. The film is about power politics within an ashram and features <mask> as Uma, who works as a prostitute by choice. The critic Iqbal Masood considered it "a powerful satire" with "excellent performances". According to Bhatt, <mask>'s role was so intense it left her close to a breakdown after filming ended. 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).In Shashilal K. Nair's crime drama Angaar (1992), <mask> played Mili, a homeless orphan who is collected by an unemployed man (Jackie Shroff). Angaar, and <mask>'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. In 1993, <mask> 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. 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. The citation for the award described her performance as a "compelling interpretation of the tribulations of a lonely woman ravaged by a cruel society". The Indologist Philip Lutgendorf argued that <mask>'s "dignity and conviction, as well as her effective body language and gestures, lift her character far beyond bathos".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. Critics and moviegoers accepted Rudaali with enthusiasm, and it was India's submission to the 66th Academy Awards for Best Foreign Language Film. In 2010, Filmfare magazine included <mask>'s work in the film in their list of "80 Iconic Performances". Another Filmfare nomination for <mask> 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. 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. The Indian Express praised the film's "script, vivid characters and powerful dialogues", and noted <mask>'s ability to command audience attention. Mrinal Sen's 1993 Bengali drama Antareen, which was adapted from Saadat Hasan Manto's short story Badshahat ka Khatama (1950), was <mask>'s first non-Hindi project since Vikram (1986).She played an unhappily married woman who develops a telephonic relationship with a stranger (Anjan Dutt). 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. Her voice was later dubbed by Anushua Chatterjee, a decision with which Kapadia was unhappy. Antareen was well-received and was named the Best Bengali Film at the 41st National Film Awards but <mask> was dissatisfied with the outcome and dismissed it as a poor film. In 1994, in Mehul Kumar's Krantiveer, <mask> 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. The film was a box-office success and became India's third-highest-grossing picture of the year. The Indian Express complimented <mask> for having developed into a leading character actor with this film.For her performance, <mask> received her fourth Filmfare Award, this time in the Best Supporting Actress category. Hiatus, setback and resurgence (1995–2008)

After Antareen, <mask> was expected to work in more independent films but she took a three-year hiatus from acting, later saying she was "emotionally exhausted". She returned to commercial cinema in 1997, playing Amitabh Bachchan's wife in Mrityudaata under Mehul Kumar's direction. The film was a critical and commercial failure; India Today panned its "comic book-level storytelling". The trade journal Film Information said Kapadia had a role unworthy of her time, and Kapadia shared similar sentiments. Her next release was the murder mystery 2001: Do Hazaar Ek (1998), which audiences rejected despite a stronger opening. <mask> appeared opposite Jackie Shroff in Laawaris (1999), in a role that according to Hindustan Times did not allow her "much to do except scream"; Rediff.com's Sharmila Taliculam criticised the film for its formulaic script and lack of originality.In her final feature of the decade, Hum Tum Pe Marte Hain, <mask> played Devyani Chopra, the strict mother of a wealthy family. 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. In her first film of the millennium, <mask> co-starred in Farhan Akhtar's directorial debut Dil Chahta Hai (2001), which depicts the contemporaneous, 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. 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. Akhtar wrote the part specifically for <mask>, who later called it "a role to die for" and said making the film was an enriching experience. Critics lauded Dil Chahta Hai as a groundbreaking film for its realistic portrayal of Indian youth.The film performed well in large cities but failed in the rural areas, which trade analysts attributed to the urban lifestyle depicted in it. Saibal Chatterjee, in a review for Hindustan Times, noted, "<mask> <mask>, in a brief, somewhat underdeveloped role, presents a poignant study of loneliness". In 2002, <mask> 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. <mask>'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. 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. The film was reviewed favourably by American critics, among whom Maitland McDonagh from TV Guide wrote: "<mask> <mask> shines in this family melodrama ... [her] intelligent, nuanced performance is the film's highlight".Reviews in India were similarly approving of Leela and <mask>'s work. <mask> 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 <mask>'s performance and charismatic presence enhance an otherwise weak script. 2005 saw <mask> 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. 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. Few people went to see the film; within two weeks it was declared a failure.In 2016, scholar Afreen Khan cited <mask>'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. In 2006, <mask> 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. <mask> 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. The film was well-received at a number of film festivals before its theatrical release in India, upon which it was embraced by critics and audiences, making a considerable profit against its small budget. The BBC's Poonam Joshi stated, "the descent into despair of <mask> <mask>'s Katy is enthralling" but other critics, including Derek Elley from Variety and Shradha Sukumaran from Mid-Day, criticised her for excessively overacting. 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. V. K. Prakash's romance Phir Kabhi (2008) stars <mask> and Mithun Chakraborty as ageing people who meet at a school

masks: Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Dimple Kapadia Kapadia Kapadia Dimple Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Dimple Kapadia Kapadia


title: Dimple Kapadia

texts:
 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. 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. At the request of her son-in-law Akshay Kumar, <mask> 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. Recognition for character roles (2009–2014)

<mask> was cast in Zoya Akhtar's first directorial venture Luck by Chance (2009), a satirical take on the Hindi film industry. 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. <mask> was approached for the part because it required an actor who had been a mainstream female lead in the past. Akhtar noted <mask>'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".Luck By Chance opened to a warm critical response, though its financial income was modest. Critics were appreciative of Kapadia's performance, which earned her a Best Supporting Actress nomination at Filmfare. Deepa Karmalkar from Screen characterised her role as "gloriously bitchy" 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". In 2010, <mask> 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. Reviews for Kapadia's role were mixed; Shubhra Gupta dismissed her as "laughably wrong" and 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". Tum Milo Toh Sahi, which was released the same year, is a romantic comedy in which <mask> stars 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 understand their culture and get into the mood of the character.The film opened to average reviews but <mask>'s performance received generally positive feedback. Anupama Chopra was critical of her character, which she said "veers into caricature", but wrote <mask> "plays her with affection and energy and at least has some fun doing it". <mask>'s only film of 2011 was Nikhil Advani's Patiala House, a sports film revolving around cricket in which she was cast as Rishi Kapoor's wife and her son in-law, Akshay Kumar's mother. The same year, she appeared in Bombay Mittayi, her first role in a Malayalam-language film, for which she started learning the language. She played the wife of a celebrated Ghazal singer, played by Amar Singh, on whose behest she was offered the part. <mask> collaborated again with Homi Adajania in Cocktail (2012) and Finding Fanny (2014), both critical and commercial successes. 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".While filming Cocktail, <mask> 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. 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. <mask> was required to wear a heavy prosthetic posterior for the role, and her portrayal earned her a fourth Best Supporting Actress nomination at Filmfare. 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". In 2013, <mask> 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. Kapadia was enthusiastic about the part, feeling challenged to play its different traits. Reviews of both the film and <mask>'s work were mixed.The Times of India panned the film's script for making "<mask>'s tryst with comedy seem loud and forced", and Raja Sen deemed her part the most forgettable of her career. Sarita A. Tanwar of Daily News and Analysis considered the film "a rather audacious entertaining attempt" and said <mask> was "in top form", and similarly positive comments were written by Subhash K. Jha. Limited work, Tenet and beyond (2015–present)

For the rest of the decade, <mask> 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. Mihir Fadnavis of Hindustan Times described her role as an "embarrassing, extended cameo" but Rajeev Masand took note of her "droll" presence. Dabangg 3, the third installment of the Dabangg film series, saw her briefly reprise the role of Naina Devi. In her first film of the 2020s, <mask> 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. Initial plans for a re-release were cancelled and the film was made available digitally less than a month later. <mask> 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. <mask> next played arms dealer Priya Singh in Christopher Nolan's spy thriller Tenet. 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. Impressed with her charisma and poise, Nolan, believing she embodied his vision of the character, cast Kapadia in the part. The film opened amid the pandemic to a worldwide audience and, having grossed $364million worldwide, became the fifth-highest grossing film of 2020.Critics reacted positively to her performance; 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". Having admitted to being a reluctant actor for years, <mask> credited Tenet with restoring her passion for film acting. Ali Abbas Zafar's 2021 Amazon Prime political web series Tandav starred <mask> 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. The show, which was Kapadia's first appearance on a digital platform, opened to mixed reviews. A Thursday (2022), Behzad Khambata's vigilante-hostage thriller starring Yami Gautam, features Kapadia as Prime Minister of India Maya Rajguru. , Kapadia's future projects include Ayan Mukerji's action fantasy Brahmāstra and Dinesh Vijan's untitled comedy. Among other projects, she will appear in Pathan led by Shah Rukh Khan and star 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.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. 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.'" <mask> is known for her assertive and moody nature; during the making of Janbaaz (1986), the director Feroz Khan said he had never met a woman with her levels of "pent-up aggression". 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." According to some critics, this approach has sometimes been at the cost of professional opportunities as "her unpredictable nature and moods have distanced many well wishers".In reply to this, she said: "I am moody by nature. But I have never consciously hurt anyone." 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". With Zakhmi Aurat (1988), Kapadia became one of the mainstream actresses associated with a new wave of women-centred revenge films. 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. 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 <mask>'s talent for lending fine striations to complex emotions".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. <mask> said her involvement in independent films was a conscious decision to experiment in different cinema and prove her abilities. 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. 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. Admitting her limited professional drive, she attributed it to the lack of worthy offers and the "huge effort" expended in film acting, which consumes time otherwise spent on her family and private life.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. Similar thoughts were expressed by Mumbai Mirrors 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). Guided by her own judgement, Kapadia normally commits to a project without seeking advice and often willingly works with young or first-time directors, finding their enthusiasm and creativity beneficial to both the film and her performance. Kapadia's screen image has been characterised in terms of her perceived beauty and sex appeal. 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". 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." Mrinal Sen, who directed her in Antareen (1993), compared Kapadia to Sophia Loren and described her face as "a landscape of desolation".Anil Kapoor, her co-star of Janbaaz, hailed <mask> as the most beautiful Indian actress since Madhubala. 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". Critics have been appreciative of Kapadia's acting prowess and some have analysed it in relation to her appearance. 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". 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". 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. 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.M.L. Dhawan from The Tribune commented, "All those who have been following <mask> <mask>'s career from Bobby, Lekin and Rudaali will assert that she is more talented than glamorous". <mask> has described herself as a "spontaneous actor who is guided by instinct" and on another occasion, "a competent actress yet to deliver her best". Awards and nominations

Footnotes

References

Bibliography

External links

1957 births
Indian film actresses
Living people
Gujarati people
Indian Ismailis
Actresses in Hindi cinema
20th-century Indian actresses
Best Actress National Film Award winners
Actresses in Tamil cinema
21st-century Indian actresses
Actresses from Mumbai
Filmfare

masks: Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Kapadia Dimple Kapadia Kapadia Dimple Kapadia Kapadia


title: Ashvin Kumar

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<mask> is India's youngest Oscar-nominated and two-time national award-winning filmmaker, who has written, directed and produced a wide range of films, including India's only Oscar nominated short film Little  Terrorist (2004), documentary Inshallah, Kashmir (2012) and Inshallah Football (2010); feature-length thriller The Forest (2012);  coming-of-age tale Dazed in Doon (2010) and his debut film Road to Ladakh (2004) starring Irrfan Khan. In 2005, he became the youngest Indian writer/director with an Academy Award Oscar nomination, <mask> is also the first Indian to be nominated at the European Film Academy with his film Little Terrorist which has been part of official selections to over 130 film festivals, winning awards in 25 of them, including the British Academy of Film and Television (BAFTA) LA. <mask> faced a roadblock with Indian censors for his film No Fathers in Kashmir which initially received an 'A' certificate. He wrote an open letter to Prasoon Joshi, the director of CBFC, as well as appealed to the FCAT. The film got released with a U/A certificate on 5 April 2019. Background

<mask> was born in Kolkata, India and is well-known fashion designer, <mask>'s son. He did his schooling from La Martiniere Kolkata, Modern School and The Doon School, Dehradun.He describes his experience as a student at Doon as "overall pretty miserable". He went on to study at St. Stephen's College, New Delhi, where he was an active member of the renowned Shakespeare Society and then at Goldsmith's University, London, where he received a bachelor's degree in media and communication and briefly, at the London Film School. He has described himself as a "resounding dropout" and of his experience at film school he says, "The institutionalization of cinema was suffocating. I wanted to learn on the job. I wanted to be adventurous." The lack of opportunities to make short films led him to move from New Delhi to London. Films

No Fathers in Kashmir

No Fathers in Kashmir, previously Noor, is a story of hope and forgiveness told through the eyes of two teenagers experiencing first-love and heart break.It is a coming-of-age narrative of innocence and tenderness set in Kashmir . The screenplay of Noor was one of eight projects selected to Sundance Institute / Mumbai Mantra Lab 2014. The script was also awarded a development grant by Asia Pacific Screen Academy. In February 2016, Noor's Kickstarter campaign raised £74,000 ($100,000). The Kickstarter platform provided funding for the film without being held to anyone else's agendas, or having to compromise the creative vision of the script. To support the crowdfunding campaign, <mask> traveled across the UK to visit Kashmiri communities in London, Glasgow, Manchester, Rochdale, Bradford and Birmingham and held free screenings of his films, Inshallah, Kashmir and Inshallah, Football. Currently, the film has hit a roadblock with Indian Censors that have awarded the film an 'A' certificate.<mask> has written an open letter to Prasoon Joshi and has appealed to the Film Certification Appellate Tribunal (FCAT). Road to Ladakh

<mask>'s first film was Road to Ladakh, which took 9 months to make, although the actual filming was done in 16 days. The film is 48 minutes long, and was released in 2004. <mask> has described this film as his "film school", referring to him dropping out of the London Film School and investing the course fees into the making of this film. <mask> learnt production and post production by immersing himself into various roles and learning the craft on-the-fly while putting his own film through the many stages of production. He describes it as a process of trial and error from which he emerged with a completed film. For starters, "Road to Ladakh was a disaster of a film shoot, we were lucky to get the film done" "Out of a ten-day shoot, it was raining on five days.So, we had to finish the shoot in half the time. There was just one petrol pump (in Spiti valley where the film was shot) – we had seven cars and two trucks and a cast and crew of 40 people (who were staying in camping tents that later got flooded) looking at me for directions at every step. There I was – my first film, in Ladakh, and I thought to myself – what the hell have I got myself into?" The experiences of this shoot are captured in the making-of documentary The Near Un-making of Road To Ladakh which accompanies the film on a DVD released for the first time in India in 2009 through Junglee Video (the DVD label of Times Music) in a double bill with Little Terrorist. The DVD also contains an entertaining and informative making-of documentary of Little Terrorist and is available at music and DVD shops all over India. Says the Mid-Day newspaper review "an elaborate tease that takes you into the minds of two lonely people who can scarce afford to trust each other. One's an enigma while the other snorts coke like it was a meal."Plot summary

Starring Irrfan Khan, known for his roles in The Warrior, Slumdog Millionaire, A Mighty Heart, The Namesake, The Amazing Spider-Man and Life of Pi and Koel Purie from Everybody Says I'm Fine!, Road to Ladakh follows the surreal rites of passage encounter between a dysfunctional, coke-snorting fashion model and an ultra-focussed, strong-silent stranger who are thrown together by chance. Set in the magnificent wilderness moonscape of Ladakh, India, the road journey and the strange encounters that follow provide a dramatic backdrop for the relationship that develops between the two. Both are outsiders, both are lonely and both crave the human contact that their roles in society deny them. The film, written, directed, edited and produced by <mask>, is poised between elusiveness and engagement, suspicion and tenderness – at once hilarious and sinister, bizarre and moving, psychedelic and intensely real. A road-movie that drew the talents of a multi-national European crew whose overly ambitious Himalayan adventure was so fraught with disasters that it nearly failed. Road To Ladakh is a suspenseful tale of falling in love with the wrong kind of mysterious stranger near the borders of India and Pakistan. A road-movie that drew the talents of a multi-national European crew on an overly ambitious Himalayan adventure so fraught with disasters that it nearly didn't get finished; as documented in The Near Un-making of Road To Ladakh.Little Terrorist

His second film, Little Terrorist (2005), was substantially more successful, winning an Oscar nomination, a nomination for the European Film Awards as well top prizes at the Tehran International Short Film Festival, Flanders International Film Festival, Montreal World Film Festival, Manhattan International Short Film Festival and the São Paulo International Short Film Festival. The film has been invited to over 120 film festivals around the world. This film was shot in the tight budget in the deserts of Rajasthan. Plot summary

The film was based upon a real-life incident in the year 2000 where a young goatherd crossed the Indian-Pakistan border and was subsequently imprisoned by the Indian police. Sri Atal Bihari Vajpayee, the then Prime Minister of India,  freed the boy as a peace gesture intended to improve Indian-Pakistan relations. In the film, a 12-year-old Pakistani boy named Jamal mistakenly crosses the border into Indian territory while attempting to retrieve a cricket ball. While Indian soldiers search the village for the Pakistani "terrorist", the boy is given shelter by an elderly Brahmin schoolteacher named Bhola, despite the latter's deep-rooted prejudice against Muslims, and the objections of Bhola's niece, Rani .The story is set near the Gujarat border between India and Pakistan, but the film was made in five days in a village outside Jaipur in Rajasthan. <mask>'s mother, the fashion designer Ritu <mask>, designed the clothes for the actors. The film is a "live action short", just 15 minutes in length. It has been described as the first short film to get a commercial release in India. Film-making and awards

The film was crewed through the Shooting People organisation; members who liked the script paid their own fares to travel to India to film it. <mask> became the only Indian to be nominated for an Oscar in the short film category. The Forest

The Forest was loosely based upon the writings and exploits of Jim Corbett and uses the tale of a man-eating leopard to address environmental concerns.The film is feature-length (86 minutes), and was released in theatres in India on 11 May 2012. The plot concerns a married couple who arrive at a wildlife sanctuary in the Kumaon Hills to attempt to mend a faltering marriage. An unforeseen threat takes the form of an ex-lover turned wildlife warden. While the husband and lover quarrel, a man-eating leopard is on the prowl, and both men must unite in order to outwit the predator and survive the night. While The Forest is a conventional action film, <mask> intended the film to convey a strong pro-environmental message. The film was produced by Judith James and the music recorded at the Abbey Road Studios. Much of the filming was done at the Corbett National Park and the Bandhavgarh National Park.The film stars Jaaved Jaaferi, Nandana Sen and Ankur Vikal. The Magic of Cinema on the full display. The forest wildlife sequences is filmed by world-renowned Bedi Brothers, Naresh Bedi & Rajesh Bedi (First Indian to win Green Oscar in 1984 and only Indian to have won two BAFTA, British Academy of Film and Television Arts Nomination for two tigers films- Saving the Tigers & Man Eating Tiger), Additional Cinematographer & Sound is done by  Naresh's twin son Vijay Bedi & Ajay Bedi (Youngest Indian to win Green Oscar in 2004 and only Indian to win Nomination for "Craft Category of Editing"  at 28th Annual News and Documentary EMMY awards, New York, USA, 2007). Dazed in Doon

<mask> himself an old boy of The Doon School was invited by The Doon School to create a film, subsequently named Dazed in Doon, that has since become controversial as the School authorities have moved to suppress the distribution of the film, on the grounds that it "doesn't give the School a good name". The film runs to 55 minutes and was made in just four months, from the start of pre-production on 20 June 2010 to the first screening on 23 October 2010. An international crew contributed to the making of the film: post-production was completed in Goa (editing), Italy (picture color correction) and London (sound mixing) with <mask> simultaneously completing post-production on Inshallah, Football . Most crew members worked for a fraction of their usual fees: <mask> persuaded them to participate in the making of film by highlighting the opportunity of teaching young children film-making in a participatory film project that would result in film of their own.<mask> sings the Doon School song 'Lap Pe Aati Hai'  in the soundtrack as well as Howly is Krishna which was improvised during a music recording session in Goa. Making of Dazed in Doon

Imaginox an 'online film school' were the sponsors of the video 'making of Dazed in Doon'. Two British film makers were sent by Imaginox from the UK to join <mask>'s crew on The Doon School campus where they, simultaneously with <mask>'s filming, shot a behind- the-scenes documentary film which can be viewed on www.imaginox.com

Plot summary

The film is a coming of age story about a boy nicknamed "Howly"(Sookrit Malik) with an active imagination who is trying to make sense of life at The Doon School, a prestigious public school located in Dehra Dun in India. Howly's friend, nicknamed "Boozy"(Aseem <mask>), is an excellent sportsman who is about to win the most coveted award for sports at Doon: the "games blazer". Seeing his friend's determination to win, Howly cheats on Boozy's behalf at a high jump qualifier, giving him the points Boozy needs to win the games blazer. Despite Howly's loyalty and hero-worship of Boozy, Boozy refuses to associate with Howly in front of others, effectively relegating Howly to the role of a sidekick. After a particularly bad bullying episode that is witnessed by a School master, Howly is encouraged to audition for a part in the theatrical version of the Mahabharata.Howly discovers a natural talent for acting, and is cast in the lead role of the god Krishna. Thereafter, the mythic world of the Mahabharata, with the philosophical and ethical choices forced upon its characters, merges with Howly's own real-life dilemmas: Boozy discovers that Howly had cheated on his behalf, and that his games blazer had been won unfairly. <mask> attempted to demonstrate a number of positive qualities that he believed Doon instilled in its pupils: a sense of values, ethics, friendship, loyalty, the ability to correct moral choices, and to form independent judgments and decisions. The storyline of the film uses a classic text of ethics (the Mahabharata) to link the growing pains of a schoolboy with the subtleties of Dharma, as outlined in classical Indian philosophy, by linking these concepts to the ethical choices that the characters have to make in their day-to-day lives. Participatory educational project

<mask> and his crew spent several months on the campus making the film in a consultative and participatory process that included both teachers and students. The film was shot over 25 days, and included a cast and crew of 40 boys and more than 500 extras. As a consequence of dealing with these logistics, which included training a large number of young boys as actors and crew-members and dealing with a heavy monsoon that upset the shooting schedule, <mask> improvised some of the acting and settings of the film, yet keeping to the original story and script.It is perhaps the first time in India that a near feature-length film of this nature has been made with school boys taking key roles both behind and in front of the camera. Censorship controversy

The present controversy between <mask> and the School authorities has the School complaining that the film does not conform with a version alleged to have been shown to the Headmaster

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 before its presentation at the School, and <mask> asserting that the School should have asked for changes at the time the script was being drafted in close consultation with the School's representative, Ratna Pathak Shah, over a period of six months, since January 2010. The script had been submitted and approved, and funding was approved before shooting commenced. As a consequence of this controversy, the School authorities have obtained an injunction from the district court in Dehra Dun to stop the film's release,  and the dispute between director and School continues unabated. The Headmaster of the Doon School asked the Ministry of Information and Broadcasting's censor board to withhold a censor certificate for the film on the grounds that the film is defamatory. The censor board upheld the Headmaster's concerns and awarded the film a U/A certificate, asking <mask> to produce a "no objection certificate" from the School. Further complicating the dispute is the question of ownership of the film: the School asserts that it owns the film; <mask> asserts that the School is contracted to become one of three copyright holders, once the terms of the contract between <mask> and the School have been fulfilled.<mask> asserts, further, that since the School has not yet paid him in full under the terms of his contract, they cannot yet claim their one-third share of the copyright. The dispute has polarized the alumni community of the School (known popularly as Doscos, with the more conservative alumni expressing concern about the School's reputation getting damaged as a result of the film depiction of bullying, etc., and the more liberal alumni expressing concern that the attempt to censor an artist's output is not in keeping with Doon's founding traditions or ethos. The film was originally shown to about 3,000 people who attended Doon's 75th Anniversary celebrations in October 2010. Release of Dazed in Doon online

On July 17, 2013, The Doon School Confessions page on Facebook posted a link to a Pastebin page where there are links to stream or download the film online. Inshallah, football

<mask>'s first documentary film, the National Award winner  Inshallah, football www.inshallahfootball.com, is a feature documentary about an aspiring footballer who was denied the right to travel abroad on the pretext that father was a militant in the 1990s. The film was completed in 2010, and has faced difficulties getting released in India. The film's first screening in India at the India Habitat Center received this review from Tehelka magazine, '<mask>'s camera catches the irony of Kashmir's physical beauty, the claustrophobia of militarisation, the dread and hopelessness of children born into war and the nuances of relationships.It also filters the inherent joie-de-vivre of youth, even if that flows uneasily with Kashmir's collective memory of unmitigated grief ... There is no better way to understand Kashmir right now.'. The film was shot by <mask> himself using five different camera formats "There is a rough, almost unpolished, feel to Inshallah, Football. The narrative runs unfettered, with an energy of its own." says Tehelka, "We shot with five different cameras, from DSLRs to the best equipment. The idea was to watch life unfold and get under the skin of the audience." adds <mask>.Plot summary

Inshallah, Football is about 18-year-old Basharat Baba, known as "Basha". His father, Bashir, was a much-wanted leader of the armed group Hizbul Mujahideen. When he left his home in Kashmir to join the training camps in Pakistan in the early 1990s, his son Basharat was barely two months old. Basharat belongs to a new generation of Kashmiris, having grown up under the shadow of a protracted conflict. His passion is football, and he has been coached by Juan Marcos Troia, an Argentinean national and FIFA accredited football coach by profession. Marcos aspires to breed world class players from Kashmir; he and his wife, being attached to both Basha and Kashmir, migrate to Srinagar with their three daughters to take up Basha's cause. Marcos runs a football academy called International Sports Academy Trust; and an exchange program for his most talented players to train at Santos FC, Pele's old club in Brazil.Basharat was one of chosen few, but was denied a passport by the Government of India. The passport in question did come through after Jammu and Kashmir Chief Minister Omar Abdullah intervened. Inshallah, Football tells this story through Bashir's recollections and travails. <mask> describes the film as "the story of three remarkable men – one is his father who fought for his beliefs, another about the football coach who's come all the way from Argentina to start this football academy, and this young man who is struggling to play football." The film has been critically acclaimed and played in competition part of the wide-angle documentary section at the Pusan Film Festival where it also received the Asian Network of Documentary (AND) Fund,  and Winner of Muhr Asia Africa / Documentary /Special Mention : <mask> <mask> (Director) at the Dubai International Film Festival

Censorship controversy

This film has face considerable difficulties in getting the necessary censor certificate, without which it cannot be shown publicly in India. The main stumbling block appears to be the content of the film itself, since it deals with the sensitive and highly political subject of how the Indian armed forces have conducted themselves in Kashmir. The series and timing of events by which this film's review by the censor has proceeded is unusual, and suggestive of political considerations playing a part in the award of a censor's certificate:
 On 28 October 2010, Pankaja Thakur (CEO of the New Delhi office of censor board) reviewed the film and cleared it for a single private screening.An initial review by a senior censor official would normally indicate that the remainder of the certification process is a formality. A review committee in Mumbai, where the film's application for censor certification had been made, subsequently rejected the application altogether. A second review committee confirmed the ban. As reported in The Hindu newspaper, sources from India's Ministry of Information & Broadcasting noted that "the problem with the CBFC's committees is that many of the nominated members are either related to government officials like police officers or have a conservative outlook.". Normally, filmmakers are invited to present their case for gaining certification at such reviews, but <mask> and his colleagues were not invited. However, Sharmila Tagore, the well-known  Indian actress and current chairperson of the Censor Board pressed for a third review. This review was handled in a way that clearly put <mask> at a disadvantage: <mask> received an email from the censor board on 28 December, while in Mumbai, informing him that the review would take place the very next day in New Delhi – 800 miles away.This unexpected shift in venue, and hurried timing of the notification, may have been designed to ensure that <mask> would not be able to present his case directly before the review committee. Following this review, the Censor Board awarded the film an "Adult" ("A") certificate. The award of an "Adult" certificate for a documentary is very unusual, since an Adult certificate is normally awarded to feature films that include graphic violence and nudity. Such films can be shown only to audiences over the age of 18, and most movie theatres in India will not ordinarily agree to screen such films since it is very difficult to for them to make money in the circumstances. (This is not the case, however, with India's burgeoning soft-porn industry, which relies upon the "A" certificates to attracts its particular audience.) The explanation for awarding Inshallah, Football was that the film has "characters talking about graphic details of physical and mental torture they had to undergo. The theme of the film is mature and some dialogues can be psychologically damaging for non-adult audience."<mask>, however, asserts that the real purpose of this censorship is to avoid causing embarrassment to the Indian government, with regard to the conduct of the Indian armed forces in Kashmir. Mrs. Tagore made further comments on the 16th anniversary of the women's press corps that were reported by the online version of Outlook Magazine to which <mask> has responded in an open letter to Mrs. Tagore taking on the wider issue of censorship, the relevance of the censor board using Inshallah, Football as an illustration saying that her comments "...would be mildly amusing if they didn't also cast a shadow on the average Indian citizen's freedoms to produce and receive messages, and if they didn't potentially compromise the livelihood of members of my (and your) fraternity–those troublesome film-makers who don't toe the line and whose discomfiting messages the nation needs to hear." A separate report of Mrs. Tagore's comments is more direct, calling <mask>'s comments 'untrue'. <mask> has responded to this in the aforementioned open letter saying "You said that my statement about being denied a certification for my film Inshallah, Football was 'untrue'. I was hurt; after all, it is not often that I am called a liar in public." Mrs. Tagore has also said in the same interview that Inshallah, Football "(is) a beautiful film and I want everyone to see it," but <mask> counters, "Let me speak plainly. I think you have been used to stamp a sense of 'reasonableness' on the sordid affair of restricting freedom of speech.The decisions of the body you head need to be, or need to be seen to be, more moral, more conservative, more risk-averse, more politically correct and more circumspect (thus, in common parlance, more anal-retentive) than is natural or necessary, even if basic principles of natural justice need to be given a go-by from time to time.". The same open letter also appears on <mask>'s blog where it has attracted a fair share of attention by way of adverse comments not only concerning censorship but the Kashmir issue as well

The timing of this award of an Adult certificate to Inshallah, Football is curious, since it coincided with the award of an Adult certificate for a No One Killed Jessica, a film based upon the murder of Jessica Lall by Manu Sharma, a wealthy man with strong political ties to the ruling Indian National Congress. In both cases, there is an appearance of the Indian censor board having taken political considerations into account in their award of Adult certificates. <mask> says that he will now appeal to the CBFC tribunal

Inshallah Kashmir

<mask>'s latest film on Kashmir, Inshallah Kashmir is the story of contemporary Kashmir. A series of counterpointed testimonies, the heartbreaking coming-of-age of ordinary people; warped and brutalised by two decades of militancy and its terrible response. Tehelka says, "Although the camera and narrator usually provide the impartial eye in a documentary, stitching the story together, in Inshallah, Kashmir it is the Kashmiris who weave their deadpan narrative into a cohesive picture. Their matter-of-fact monotone says more than an entire valley of screams could."The film won <mask>llah Kashmir opens with ex-militants describing the torture they underwent when captured by the army. A Hindu describes his sentiment on being a part of the minority in the region at the height of militancy, when his grandfather was shot dead by militants. A politician and her husband describe the horror of being kidnapped and in captivity for over a month – and despite that, forming a human bond with the militants, and helping them escape when the army closed in on them. One understands from this section that militancy was not binary in nature. It was a dynamic and complex, resulting from various socio-political, economic and religious issues. Disappearances and fake encounters led to the creation of mass graves, hidden away in sensitive border areas that civilians and journalists are not permitted to access in the name of national security.Human rights lawyer and activist Parvez Imroz reveals to us the presence of almost a thousand such graves in the valley. Rape victims from Kunan Poshpora describe the trauma they went through at the hands of the army and the stigma that they still face due to the incident. The film then leads us to 'normalcy' or the social ramifications the last twenty years of devastation brought to the valley. Militancy in Kashmir resulted in the Government of India deploying tens of thousands of armed troops in the region. We hear the story of one boy who lost his leg because he was caught in crossfire. The film ends on a poignant note with a young artist saying 'I need my space.' Online release

On 18 January, Alipur Films uploaded the first seven minutes of the film Inshallah Kashmir : Living Terror online.Social networking sites like Facebook and Twitter picked it up and the link had over a ten thousand hits in a week and generated curiosity and contempt alike. Views had crossed over fifty thousand within a week. The idea of releasing Inshallah Kashmir online and free of charge was to take the film to the masses, and to make it accessible to as many people as possible – in Kashmir, within India and around the world. The full film went online on 26 January 2012, on the Indian Republic day and had over almost fifteen thousand hits that day. Since then, the film has been screened at festivals around the world. The film has been given the 'A' certificate by the Central Board of Film Certification. Filmography
Road to Ladakh (2003)
Little Terrorist (short film, 2004)
The Forest (2009)
Inshallah, Football (2009)
Dazed in Doon (2010)
Inshallah, Kashmir (2012)
I Am Not Here (2015)
No Fathers in Kashmir (2019)

Awards

References

External links

Indian documentary filmmakers
Film directors from Kolkata
Film producers from Kolkata
Indian documentary film editors
The Doon School alumni
Living people
Censorship in India
1973 births
21st-century Indian film directors
Film editors from West

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