15 Best Actors
My personal favorite 15 FAVORITE ACTORS of all time.
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Known for his trademark gelled spiked up crew cut with sunglasses, Shah Rukh Khan (SRK) is an Indian Bollywood movie star, movie producer, magazine model, showman, public speaker, author, philanthropist and television host/personality working predominantly in Hindi cinema.
Khan began his on-camera acting debut in 1987 at the age of 21 by guest starring in various Indian serial drama soap opera TV shows as well as appearing in numerous television commercials and brand advertisements for products. He studied theatre arts and drama during his second year of college after participating in numerous school plays. He landed a few acting gigs in Delhi, before acting on Indian TV and became popular. Khan came down to Mumbai to shoot a TV series with self doubt and under confidence. So he came for a year to give it a shot. He began auditioning for starring roles in Hindi movies in 1990 after the death of his mother (his father died a decade earlier in 1980). Khan's parents died early, which made him heartbroken in Delhi. Khan decided to pursue a full-time acting career and relocating to Mumbai to start afresh, hoping to enjoy acting and overcome the dejecting death of his parents, as there was nothing for him to go back to. He began auditioning for starring roles in Hindi movies in 1990 after the death of his mother (his father died a decade earlier in 1980).
After recuperating from a career-ending sports injury, he landed his breakout breakthrough feature film starring role in the Silver screen in June 1992, and rose to prominence in the mid-to-late 1990s. Khan shot to stardom in his first feature film "Deewana" (1992) which won him the first of 13 Filmfare awards -- the Bollywood equivalent of an Oscar. He continued starring in blockbuster movies throughout the 2000s with a mixed bag of career fluctuations, establishing himself as a very bankable, versatile movie star in the early-to-mid 2010s. Following a 4-year sabbatical hiatus in the wake of the corona-virus pandemic, Khan made a resurgence comeback in 2023, and continues to act and star in A-Lister blockbuster movies.
Referred to in the media as the "Baadshah of Bollywood" and "King Khan", he has appeared in over 100 films, and earned numerous accolades, including 14 Filmfare Awards.
He has been awarded the Padma Shri by the Government of India, as well as the Ordre des Arts et des Lettres and Legion of Honour by the Government of France. Khan has a significant following in Asia and the Indian diaspora worldwide. In terms of audience size and income, several media outlets have described him as one of the most successful film stars in the world. Many of his films depict and portray Indian national identity, Indian patriotism, and connections with diaspora communities, or gender, racial, social and religious differences and grievances.
Shah Rukh Khan has been TAG Heuer's brand ambassador in India since September 2003 & is close friends with Amir. He is Bollywood's most bankable movie stars with brand endorsements & resides in the affluent suburbs of Bandra, Mumbai, India with his wife and children.Khan of Khans, Shahrukh Khan. King of Cinema Shahrukh Khan.
Like magic on Screen!!! Looks natural in all of his films. Looks like that to me anyways!!!- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.- Actor
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Dharmendra is one of the biggest stars of Indian cinema. Dharmendra Deol played the romantic hero in woman Cedric films from 1960-1968 and became romantic hero from 1968-69 and played the role of action hero from 1971-1997. Dharmendra has appeared in 306 films.
He is known as 'Garam' Dharam in Bollywood. Had the looks of a real gentle man, masculine body of a he-man and when it came to his films, he had a very humorous touch in his dialog-delivery and the timing.
Dharmendra's original name is Dharam Singh Deol. He was born in a Jat Sikh family in Phagwara in Kapurthala district in the Indian state of Punjab to Kewal Kishan Singh Deol and Satwant Kaur. He spent his early life in village Sahnewal and studied at Government Senior Secondary School at Lalton Kalan, Ludhiana. He did his intermediate from Ramgarhia College, Phagwara in 1952.
The heroics in his films - Phool Aur Patthar (1966), Jugnu (1973), Raja Jani (1972) and Loafer (1973) - are all quite remarkable and unforgettable. He got nominated for Filmfare best actor 4 times in his career though he couldn't get one but got "The Life Time Achievement" award in 1997 from Filmfare for his achievements, splendid performance during his times and wonderful career in Bollywood. Dharmendra was fond of movies from a young age. He participated in the Filmfare new talent contest, which he won and came to Mumbai from Punjab looking for work. He made his debut with Arjun Hingorani's Dil Bhi Tera Hum Bhi Tere (1960). After which he got supporting roles in the film Boy Friend (1961) and was cast as the romantic interest in several woman oriented films from 1960-1967, where the story revolved around the heroine's character and, he was usually cast as a romantic hero opposite senior established leading actress of the time and later, from 1974 on-wards, as an action hero. His major breakthrough was playing supporting role to hero Rajendra Kumar in Aaye Milan Ki Bela, where his character was negative and supporting role in patriotic film Haqeeqat (1964) and playing romantic interest in woman oriented films from 1960-1967 and playing supporting roles to Balraj Sahni, Ashok Kumar, Biswajit in some films from 1960-67 like Soorat Aur Seerat, Bandini, Mamta, Ghar Ka Chirag.His sensitive side was explored by Hrishikesh Mukherjee in Anupama (1966) and Satyakam (1969), the latter is considered one of the best performances of his career. He got solo hero stardom with the blockbuster, Phool Aur Patthar (1966), which was his first action film but he became established action hero from 1971 film Mera Gaon Mera Desh. He projected himself as romantic hero with films like Pyar Hi Pyar, Aaya Sawan Jhoom Ke, Mere Humdum Mere Dost and Aaye Din Bahar Ke. He cemented his image as action hero with successful films like Seeta Aur Geeta (1972), Raja Jani (1972), Jugnu (1973), Kahani Kismat Ki and Yaadon Ki Baarat (1973). Dharmendra formed a popular onscreen pair with Hema Malini who later became his second wife. Hema Malini was the biggest female star of 1970s and they went on to star in hits such as Tum Haseen Mein Jawan, Sharafat (1970), Seeta Aur Geeta (1972), Raja Jani (1972), Jugnu (1973), Pratiggya (1975), Sholay (1975), Charas (1976), Azaad(1977), Dillagi (1978), among many others. Dharmendra proved his versatility and comic timing through Pratiggya, Chupke Chupke and Sholay. In Ramesh Sippy's Sholay (1975) he shared screen space with Amitabh Bachchan, Sanjeev Kumar and Amjad Khan and is still remembered for his inimitable portrayal of Veeru. His best romantic pairing was with the actress Asha Parekh with whom he had 5 hits - Shikhar, Aaya Sawan Jhoom Ke, Aaye Din Bahar Ke, Samadhi and Mera Gaon Mera Desh. His next best pairing was with Hema Malini, with whom he did 35 films of them 31 had them as a leading romantic pair and Dharam Hema had 20 hits and 15 flops. Dharm Hema married in 1980 and Dharm-Hema have 2 children together, Esha and Ahana and he has two sons, Sunny Deol and Bobby Deol from previous marriage with Prakash Kaur.
Often in 1960's till 1971 he played the romantic lead opposite female leading ladies in woman oriented films where the female protagonist's role overshadowed his roles with Dharam playing only supporting role in these films opposite Meena Kumari, Nutan, Mala Sinha, Sharmila Tagore. Phool Aur Paththar was the turning point in his career and established him as an action hero and as a solo lead hero.Artistically and popularity wise his peak period was the 1971-1979 where he did multi star as well as solo hero films in action and comedy genres and when his performances was appreciated by critics as well as audiences. Critics panned every film he did from 1985-2002 with exception being critically acclaimed films Burning Train, Ali Baba Aur 40 Chor, Jhutha Sach, Dharm Aur Qanoon, Rajput and Ghulami. He was the 2nd highest paid actor along with Vinod Khanna in Hindi films from 1976-1982 and Dharam alone was 3rd highest paid Hindi actor from 1987-1993 of A grade Hindi Films.
In the early 70s, Dharmendra became the first Indian actor to be voted among the most handsome men in the world. Through the 70s and 80s, Dharmendra worked with some of the biggest names in B'town such as Bimal Roy, Yash Chopra, Raj Khosla, Ramesh Sippy, Rajkumar Santoshi, Hrishikesh Mukherjee and Basu Chatterji. In 1983, Dharmendra diversified into production and launched his elder son Sunny in 'Betaab', which was produced by his banner Vijayta Films and was a huge hit. in 1990, he produced Ghayal starring Sunny Deol in lead. The film was the second biggest hit of the year and won 7 Filmfare Awards including Best Film award and the coveted National Film Award for Best Popular Film Providing Wholesome Entertainment. He would later go on to launch the successful careers of his younger son Bobby in 'Barsaat'(1995) and nephew Abhay Deol in 'Socha Na Tha'(2005) under the banner. He has also periodically made films in his native tongue of Punjabi, starring in Kankan De Ole (Special Appearance) (1970 ), Do Sher (1974), Dukh Bhanjan Tera Naam (1974), Teri Meri Ik Jindri (1975), Putt Jattan De (1982) and Qurbani Jatt Di (1990).
His commercial hits from 1981 included Ram Balram, Professor Pyarelal, Kaatilon Ke Katil, Naukar Biwi Ka, Jaani Dost, Samraat, Bhaghavat, Raaj Tilak, Jaagir, Qayamat, Insaaf Kaun Karega, Insaniyat Ke Dushman, Loha, Sone Pe Suhaga, Mardo Wali Baat, Khatron Ke Khiladi, Nafrat Ki Anandi, Batwara and Elaan E Jung. His film Hukumat in 1987 was highest grossing film of that year. He continued to be strong in 1990s as the best action hero even stronger than Sunny Deol, Sanjay Dutt and Jackie Shroff. His commercial hits in 1990s included Veeru Dada, Naka Bandi, Farishtay, Tehalka, Kshatriya, Maidan E Jung and Dharma Karma.
The low brow action films directed by likes of Kanti Shah damaged his action career in late 90s. Dharmendra was nominated 4 times for Best Actor Award at Filmfare Awards but never won. He was honored with Lifetime Achievement Award by Filmfare in 1997. He made a comeback to A grade films with a role in Pyar Kiya Toh Darna Kya (1998). He joined politics and was elected as a Member of the Parliament in the 2004 general elections, from Bikaner in Rajasthan, on a Bharatiya Janata Party ticket. He returned to acting in 2007 with films Life in a... Metro and Apne were acclaimed and successful. In the latter, he appears with both his sons, Sunny and Bobby for the first time. His other release was Johnny Gaddaar, where he played a villainous role. In 2011, he starred alongside his sons again in Yamla Pagla Deewana released on 14 January 2011 and was a success. A sequel Yamla Pagla Deewana 2 was released in 2013. His also acted with his daughter Esha in his wife Hema Malini's directorial venture Tell Me O Khuda in 2011. In 2011, Dharmendra replaced Sajid Khan as the male judge of the third series of popular reality show India's Got Talent. Dharmendra's first marriage was to Prakash Kaur at the age of 19 in 1954. From his first marriage, he has two sons, Sunny Deol and Bobby Deol both successful actors, and two daughters, Vijayta Deol Gill and Ajeeta Deol. He has 4 grand sons named Karan, Rajvir, Aryaman, and Dharam. Dharmendra fell in love with Hema Malini during the filming of Sholay. She eventually married him in 1980. As the Hindu Marriage Act forbade polygamy, he converted to Islam in 1979 to avoid protests and give legitimacy to his second marriage. The couple has two daughters, Esha Deol and Ahana Deol. Esha is an actress and Ahana is a dancer. Dharmendra has received several honors for his contribution to cinema and was awarded India's third highest civilian honor Padma Bhushan by the Government of India in 2012.- Actor
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Dilip Kumar (1922-2021) is widely considered the greatest acting exponent India ever produced. Born Muhammad Yusuf Khan on December 11, 1922, in Qissa Khwani Bazaar, Peshawar, British India (present-day Pakistan), he is better known by his stage name Dilip Kumar given to him by actress and owner of Bombay Talkies, Devika Rani. Credited with pioneering method acting in Indian cinema in mid-1940s, before Marlon Brando introduced it to Hollywood in 1950s, he has been often called as "Abhinay Samrat" (Hindi for "Emperor of Acting") by the audience. He was the biggest Indian star since Post-Independence period throughout 1960s, starring in some of the biggest commercial and critical successes of Indian cinema. It is to be noted that according to major trade analysts, many of his big commercial successes were films with apparently no commercial/entertainment value, which relied heavily on his histrionics to succeed, an extremely rare feat in the annals of cinema worldwide. Box Office India quoted that any such an instance has never happened with any other star, as their films had to be backed by at least few commercial elements/genres to succeed. Irrfan Khan, while saying that Kumar is the only one who should be called "legend", justifiably quoted the reason as, "the combination of artiste and star that he brought, started and ended with him."
Born to a fruit merchant, Lala Ghulam Sarvar Khan and his wife Ayesha Begum, Yousuf Khan and his family would migrate to Bombay Province, to expand their family business in 1930s which had come to a halt due to the complications of WWII. He had his schooling in Deolali and graduation in Mumbai. He started with managing a shop and selling fruits in an army canteen in Pune. Upon a rebellion in the canteen during Indian National Movement, he gave a speech justifying India's struggle for Independence, which resulted in his eviction from the canteen. A chance encounter with Devika Rani, got him opportunity to work for Bombay Talkies, at remuneration of Rs 1250/- per month. Having no clear intention of working there, he still accepted the job because of the high salary. Kumar later accepted that by the age of 14, he hadn't watched a film, and later in his teenage, watched few English films. Devika Rani selected Dilip Kumar as his stage name (a common tradition back then) from the 3 names suggested by Pandit Bhagvati Charan Verma, which also included Vasudev and Jehangir. Kumar in 1970, in an interview told that, one of the main reason, he agreed to adopt a stage name was out of fear of his father, who was strictly against films due to their poor reputation among the masses at the time. He further said that on being offered to choose among the three names, he expressed that he was okay with any of them. Later, he got to know his stage name, when it was first published in a newspaper.
Kumar's first film as an actor was Jwara Bhata (1944), which was the 6th highest grossing Hindi film of the year, according to some sources, though not really profitable. His performance was severely criticized by the major critic of the time, Baburao Patel of FilmIndia. Similarly the next venture, Pratima (1945) was also flop and his work again criticized. The next venture, Milan (1946), directed by Nitin Bose, proved to be fruitful for Kumar, not only because it was successful commercially, but his acting sensibilities greatly improved during the period of its filming. However his performance was still criticized by FilmIndia. The success of the next film Jugnu (1947), which was the highest grossing Indian film of the year, established him as the first star of Post-Independence India and arguably, the biggest star of the country at that moment. His performance was appreciated by Baburao Patel for the first time. However, he severely criticized the film, writing a letter to the then Home Minister (who later went on to become Prime Minister under Janata Dal in 1977), Moraji Desai, asking him to ban the film. It was banned for a few months, after which the ban was uplifted. The film, already a roaring success, became an even bigger hit, after it was re-released. The period starting from here till at least 1961, was a period of raging success in Kumar's career, both critically and commercially, which cemented his legacy notch above his contemporaries. Post 1961, the workload slowed, with fewer releases thereafter and also slowed their commercial success, although his earlier films still doing great in re-releases, many times higher than many of his contemporaries' fresh releases. During this period, his two main contemporaries were Raj Kapoor and Dev Anand. The three of them were sometimes referred collectively as "the golden trio" of this period, with camaraderie between the three contemporary actors famous and each renowned for their own style.
Shaheed (1948) is cited by many to be the first true Dilip Kumar film, in the sense his legacy was to be built on performances like this in the years to come. It was a roaring success, highest grossing Hindi film of the year. Andaz (1949), a record grosser at the time, starring Nargis and Raj Kapoor along with Kumar, popularized the theme of love triangles in Indian cinema. His performance in the film was superlatively appreciated by masses and critics alike. Baburao Patel's review headline read "Dilip Kumar draws crowd to cinemas". His dramatic performances in the next films till early 1950s, brought him the title of "Tragedy King". These intense performances, in which he immersed himself, had an adverse affect on his psyche. He consulted psychiatrists in London, who advised him to take up lighter roles. Interestingly, almost all of his lighter roles starting from Aan (1952) and Aazad (1955) were huge commercial successes. His performance in these roles were appreciated by masses and critics alike. Aan (1952) was the highest grossing Indian film ever at the time both in India and overseas. Post Aan, Kumar's popularity again took a big leap, establishing him as undisputedly the biggest star of the country. Devdas released on 30 December, 1955 is considered one of the most iconic performance of his career. Although a moderate success when initially released, the film found greater success in subsequent years though re-releases, making it amongst the most popular role essayed by Kumar. All three Andaz (1949), Aan (1952) and Naya Daur (1957) briefly became the highest grossing Indian film upto that point, a feat later achieved by Kumar's Mughal-e-Azam (1960) in which he essayed the role of Prince Saleem (amongst his most popular roles), a record it held for 15 years. By adjusting for inflation, it is still the Highest-grossing Indian film of all time, as of 2022.
The decade 1950s was the most prolific decade of Kumar's career, with 21 releases of which only 1 film, namely Hulchul (1951) failed commercially. 5 (or even 6) of his films were placed in top 10 highest grossers of the decade by Box Office India. Similarly 9 (or even 10) of his 21 releases were placed among the top 30 highest grossers of the decade. The period from late 1940s to early 1960s is often referred to as the "Golden Age of Hindi cinema and music". The 1950s decade is also important in terms of popularising cinema and filmi music in India and establishing it as a part of popular culture. The decade also saw the rise of stars (in true sense), commercialisation of industry as well as rise in the number of theatres. Kumar was the representative of this period, holding the status of a matinée idol and the country's highest paid actor.
Gunga Jumna released on 6 Jan, 1961, few months after the release of Mughal-e-Azam (1960) and Kohinoor (1960), represents the peak of Kumar's career both as an actor and star. His performance as robust and defiant Gunga is considered by many to be the greatest acting performance in the history of Indian cinema. It won him international laurels. His performance was profoundly appreciated by actors in the West. The film set the template for the "Angry Young Man" films starring Bachchan in 1970s and the theme of brothers on the opposite side of the law. After Gunga Jumna (1961), Kumar's workload slowed significantly, his next venture Leader (1964), failed to be a big commercial success. It did mediocre business. Next film Dil Diya Dard Liya (1966) is the first flop film of Kumar in over 15 years. Ram aur Shyam (1967) is the last big hit of Kumar's first innings (as an actor) in Hindi cinema. It was his first double role film and popularized "double role" and "lost and found" films in mainstream Indian cinema. 1970s saw Kumar's career as a lead actor take a downturn. Age was becoming a factor, and the onset of new stars further convinced Kumar to take a hiatus. Out of his 4 Hindi films released in 1970s, Gopi (1970) was the only clean box office hit. As per the new reports of Box Office India, Bairaag (1976), is either "Hit" or "Semi-Hit". In 1970, he acted in his only Bengali film, Sagina Mahato (which also has a Hindi version, Sagina released in 1974, starring Kumar). The film was reportedly a huge success in Bengal. He won BFJA (Bengal Film Journalist Associations) award for Best Actor for his performance in the film. In 1976, he took a five-year hiatus aligning on the above mentioned reasons.
He returned to the big screen playing the title role of Kranti (1981), the highest grossing Indian film of the decade, when adjusted for inflation. In this phase of his career, he played senior, mature roles who were the main characters of the films. Films were specifically written for him which also starred other actors playing young roles. Films like Kranti (1981), Vidhaata (1982), Karma (1986), and Saudagar (1991) were among the biggest hits of the time and all driven by him despite playing senior roles, a feat that had remained unprecedented even after him as per trade analysts. Some other films also found average success, including Shakti (1982), which starred Kumar along with Amitabh Bachchan in the lead roles. The film won him his last Filmfare Award for Best Actor. His next venture after Saudagar (1991) was the commercially unsuccessful Qila (1998), which also turned out to be his last. He retired from film industry in 1999.
Kumar had been involved in many relationships including Kamini Kaushal, with whom he fell in love on the sets of Shaheed (1948). Their relationship fell apart as Kaushal was married to her brother-in-law after her sister-in-law died in a car accident. Reportedly she married on the insistence of her family to look after the little children of her sister-in-law. His next relationship was with Madhubala, which started on the sets of Tarana (1951). It was a seven year long relationship that ended after the Naya Daur court case in which Kumar sided with the producer B.R. Chopra and testified against Madhubala's father, Ataullah Khan as he declined her to travel to the planned shooting locations at the last moment. However Kumar in his autobiography cites another reason that played an important role in the fallout; Madhubala's father insisted him to act only under his own banner after their marriage. In 1966, he married actress Saira Banu in a private ceremony. Their marriage survived for over 50 years until Kumar's death in 2021-despite undergoing an upheaval-Kumar's alleged second marriage with Asma Rehman in 1981, whom he met at a cricket match in Hyderabad, where she lived. He soon divorced her in 1983, describing this incident as a "grave mistake taken in pressure" in his autobiography.
Kumar died on 7 July 2021, due to kidney complications and other age related issues. He had no children through his marriage. At the time of his death he was survived by his wife Saira Banu.
As of 2022, he holds the record for winning 8 Filmfare awards for Best Actor ( later equalled by Shah Rukh Khan) and was also the inaugural recipient of the award. He has also won numerous other awards including Dadasaheb Phalke award in 1994. He is the recipient of Padma Vibhushan (in 2015) and Padma Bhushan (in 1991), India's second and third highest civilian honour respectively. He is also the only Indian recipient of Pakistan's highest civilian honour, Nishan-e-Imtiaz (in 1998). As of 2021, he holds the Guinness World record for having received the most awards by an Indian actor.
He holds several long standing box office records including giving at least 1 clean hit for 15 years straight, which is at least an Indian record, according to a trade analyst. Since independence till late 2010s, he held the record for giving the maximum number of highest grossing film of the year, 9 times which was then surpassed by Salman Khan. However as per latest Box Office India reports, highest grossing Indian film of 1991 was Kumar's Saudagar (1991) and not Salman Khan's Saajan (1991), thus perhaps re-establishing his long standing record. In regards to his films' success ratio, he is the most successful Bollywood actor (quite possibly, Indian actor) of all time, by a distance, as of 2022. These gigantic records, his overwhelming popularity across Indian subcontinent, North Africa, Eastern Europe, and beyond, especially among South Asian diaspora around the world, makes him easily among the biggest stars cinema has ever seen across the globe. He famously turned down David Lean's offer of the role which ultimately went to Omar Sharif in one of West's greatest critical and commercial success, Lawrence of Arabia (1962), which made a major Hollywood star out of Sharif. Justifying his decision, Dilip Kumar had remarked, "In your own bazaar you enjoy a certain status. What's the point of venturing out into fields unknown where you have no say? No contact with the subject matter." He was also considered for a role in another film Lean was working on, titled "Taj Mahal". Elizabeth Taylor was supposed to play the part opposite Kumar. However, the project was eventually shelved.
According to many, he is probably the first person to perform method acting on screen in mid 1940s. Despite not knowing what it meant by then, he had been practising it since a time when, perhaps, the term wasn't even coined. Kumar, who never went to any acting school, was described by the renowned filmmaker Satyajit Ray as "the ultimate method actor", despite not having worked with him. There are innumerable such complements by numerous luminaries across professions to quote, which is quite not possible; from the likes of the recent statement by Indian born naturalised British economist Lord Meghnad Desai, claiming Kumar to be the greatest actor on global scale to age old statements like the one by, V. Shantaram, one of founding fathers and pioneers of Indian cinema, prompted by Kumar's versatility expressed, "Had Shakespeare met Dilip Kumar, he would have added one more character to the already well-defined ones he had created." Most importantly, Dilip Kumar's complete impact is realized definitely in the fact how he changed the rules of acting and influenced generations of future artistes in Indian subcontinent (even his contemporaries), but also in the truth that at his best, he was the catalyst in expanding the reach of quality cinema, from metros to rural India, from classes to masses, from serious connoisseurs to common entertainment seekers. Some of the greatest critical successes became some of the biggest hits when he acted in them, liked, revered and celebrated by classes and masses alike. His intense, in-depth performances, eloquent silences and the most nuanced expressions observed and enjoyed and celebrated at the same time by the most casual entertainment seekers of his time. There have been some great artistes across the history. And there have been some huge stars across the history. But the instance of both of them being a single entity, elevating and expanding the art form to an even greater point, is true, an extremely rare sight, but equally magical while it lasts.- Actor
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Amitabh Bachchan was born on October 11, 1942 in Allahabad, British India (present-day Prayagraj, Uttar Pradesh, India) to legendary poet Harivansh Rai Bachchan & Teji Bachchan. He also has a brother named Ajitabh. He completed his education from Uttar Pradesh and moved to Bombay to find work as a film star, in vain though, as film-makers preferred someone with a fairer skin, and he was not quite fair enough. But they did use one of his other assets, his deep baritone voice, which was used for narration and background commentary. He was successful in being cast in Saat Hindustani. He got his break in Bollywood after a letter of introduction from the then Prime Minister Mrs. Indira Gandhi, as he was a friend of her son, Rajiv Gandhi. This is how Bachchan made an entry in Bollywood, starting with Zanjeer, co-starred with his future wife Jaya Bhaduri, and since then there has been no looking back.
He married Jaya Bhaduri, an accomplished actress in her own right, and they had two children, Shweta and Abhishek. Shweta is married, lives a non-filmy life and has two children.
Being friends with Rajiv Gandhi, got him to decide to run for seat in the Indian National Congress (political party) from his home town but had to leave mid-term because of controversies, particularly after Rajiv and he were implicated in the now infamous "Bofors" case along with the U. K. based Hinduja Brothers.
After a four year break, he was back in the unsuccessful Mrityudaata (1997), a comeback which the actor wanted to forget. Critics written him off but his career was saved with Bade Miyan Chote Miyan (1998). But four flops in 1999 and incurring debt of over 90 crore rupees of his sinking company ABCL saw him at an all-time low. To make matters worse, after the defeat of the Congress party, Bachchan lost considerable political support, the opposition made him a target, and his credit rating deteriorated to such an extent that a leading nationalized bank, Canara Bank, sued him for outstanding loans. He did bounce back, presenting the Indian version of Who Wants To Be A Millionaire called Kaun Banega Crorepati? (2000). After a series of hits with Mohabbatein (2000), Kabhi Khushi Kabhie Gham... (2001) and Baghban (2003) and Khakee (2004), Bachchan is showing no signs of slowing down and proving the critics wrong once again.
Amitabh and Jaya were interested in getting their son Abhishek married to Karisma Kapoor, the daughter of Babita and Randhir Kapoor, they went through a formal engagement, but later broke it off.
The former Miss World and Bollywood actress, Aishwarya Rai and Abhishek, were formally engaged on Sunday January 14, 2007, at the Bachchan residence in Juhu, Bombay, with the marriage taking place at the Bachchan residence on April 20, 2007.
On November 16, 2011, he became a Dada (paternal grandfather) when Aishwarya gave birth to a daughter in a Mumbai Hospital. He is already a Nana (maternal grandfather) to Navya and Agastye - Shweta's children.
He continues to be one of the busiest actors and singers in Bollywood as well as on TV, as can be seen from the commercials that he appears on, especially on Sahara One. Looks like there are no limits for this super-star and once the "Angry Young Man" of Bollywood.His voice makes his presence on screen that much more electrifying.- Harihar Jariwala a.k.a. Sanjeev Kumar was born in a Gujrati family in 1938. He portrayed many roles irrespective of the age or the type of chararcter. The actor ballooned in size in later years of his life due to the gastronomical pleasures he had inherited by sleeping in a kitchen while he was a child (which became the cause of his death in 1985 when he died of a heart ailment). Interestingly the actor was one of the very few who didn't have any competition within the industry. Sanjeev's notable performances were in films like Sholay, Parichay, Aandhi, Angoor and the Satyajit Ray masterpiece Shatranj Kay Khiladi.
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Pran was one of the leading character actors of Indian cinema. He was born on 12 February,1920 at Delhi. Pran was educated at different places namely Kapurthala, Unnao, Meerut, Dehradun and Rampur as his father late Lala Kewal Krishnan Sikand was a Government Civil Contractor for the construction of roads and bridges. Pran started his career by learning photography in Lahore. A chance meeting with a film producer, got him his first break in 'Yamla Jat' in 1940.
Married in 1945 to Shukla, he had two sons Arvind and Sunil, and one daughter Pinky. At partition in 1947, Pran came to Mumbai and restarted his film career after a brief struggle. He acted in over 400 films in a variety of roles. As a villain, in films like 'Ram Aur Shyam' people shuddered with fear and hated him, and yet loved him as the good, unforgettable 'Mangal chacha' in 'Upkar'. He went on to star in films with the leading actors of various decades from Raj Kapoor, Dilip Kumar, Dev Anand, Rajendra Kumar, Rajesh Khanna, Amitabh Bachchan, Dharmendra to Sanjay Dutt, Sunny Deol and Salman Khan. He was among the highest paid and most sought after character actors of his time, starring in some of the biggest and most acclaimed films of all time.
Being a sports lover and a good sportsmen he had his own football team "Dynamos Football Club" which he financed for a number of years in the fifties. Along with his film career he had been engaged in a number of Social activities, including the Chief Minister's Relief Fund, Maratha Sikshan Sanatha, Film Industry Welfare Trust. He had organised charity events and cricket matches, as well as the 'Hope 86' and 'Hope 87' shows for the needy people in the film industry.
Under the patronage of the Late, His Excellency Nawab Ali Yawar Jung, Pran presented a number of charity shows for the refugees of Bangladesh and for the deaf and dumb.
In an illustrious career of over six decades, Pran was bestowed with many awards including 4 Filmfare Awards, Villain of the Millennium honour from Stardust, Padma Bhushan, India's third highest civilian award from the Government of India in 2000 and the DadaSaheb Phalke Award for Lifetime Achievement (highest honour for cinema in India) from the Government of India in 2012. He died on 12 July 2013 at the age of 93 after a prolonged illness in Mumbai's Lilavati Hospital.- Actor
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Vishal Veeru "Ajay" Devgn was born on April 02, 1969, in New Delhi, Delhi to action director Veeru Devgan and his wife Veena Devgan. He is an Indian actor, film director and producer who works in the Bollywood industry and is one of the highest-paid celebrities in India. Devgn started his film career with Phool Aur Kaante (1991). He is known for films like All The Best: Fun Begins (2009), Hindustan Ki Kasam (1999), Ishq (1997), The Legend of Bhagat Singh (2002), Singham (2011), Total Dhamaal (2019) etc. He is married to actress Kajol with whom he has two children (i.e son Yug and daughter Nysa). He is also the founder and owner of the production banner Ajay Devgn Ffilms.- Producer
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Thomas Jeffrey Hanks was born in Concord, California, to Janet Marylyn (Frager), a hospital worker, and Amos Mefford Hanks, an itinerant cook. His mother's family, originally surnamed "Fraga", was entirely Portuguese, while his father was of mostly English ancestry. Tom grew up in what he has called a "fractured" family. He moved around a great deal after his parents' divorce, living with a succession of step-families. No problems, no alcoholism - just a confused childhood. He has no acting experience in college and credits the fact that he could not get cast in a college play with actually starting his career. He went downtown, and auditioned for a community theater play, was invited by the director of that play to go to Cleveland, and there his acting career started.
Ron Howard was working on Splash (1983), a fantasy-comedy about a mermaid who falls in love with a business executive. Howard considered Hanks for the role of the main character's wisecracking brother, which eventually went to John Candy. Instead, Hanks landed the lead role and the film went on to become a surprise box office success, grossing more than $69 million. After several flops and a moderate success with the comedy Dragnet (1987), Hanks' stature in the film industry rose. The broad success with the fantasy-comedy Big (1988) established him as a major Hollywood talent, both as a box office draw and within the film industry as an actor. For his performance in the film, Hanks earned his first Academy Award nomination as Best Actor.
Hanks climbed back to the top again with his portrayal of a washed-up baseball legend turned manager in A League of Their Own (1992). Hanks has stated that his acting in earlier roles was not great, but that he subsequently improved. In an interview with Vanity Fair, Hanks noted his "modern era of movie making ... because enough self-discovery has gone on ... My work has become less pretentiously fake and over the top". This "modern era" began for Hanks, first with Sleepless in Seattle (1993) and then with Philadelphia (1993). The former was a blockbuster success about a widower who finds true love over the radio airwaves. Richard Schickel of Time magazine called his performance "charming", and most critics agreed that Hanks' portrayal ensured him a place among the premier romantic-comedy stars of his generation.
In Philadelphia, he played a gay lawyer with AIDS who sues his firm for discrimination. Hanks lost 35 pounds and thinned his hair in order to appear sickly for the role. In a review for People, Leah Rozen stated, "Above all, credit for Philadelphia's success belongs to Hanks, who makes sure that he plays a character, not a saint. He is flat-out terrific, giving a deeply felt, carefully nuanced performance that deserves an Oscar." Hanks won the 1993 Academy Award for Best Actor for his role in Philadelphia. During his acceptance speech, he revealed that his high school drama teacher Rawley Farnsworth and former classmate John Gilkerson, two people with whom he was close, were gay.
Hanks followed Philadelphia with the blockbuster Forrest Gump (1994) which grossed a worldwide total of over $600 million at the box office. Hanks remarked: "When I read the script for Gump, I saw it as one of those kind of grand, hopeful movies that the audience can go to and feel ... some hope for their lot and their position in life ... I got that from the movies a hundred million times when I was a kid. I still do." Hanks won his second Best Actor Academy Award for his role in Forrest Gump, becoming only the second actor to have accomplished the feat of winning consecutive Best Actor Oscars.
Hanks' next role - astronaut and commander Jim Lovell, in the docudrama Apollo 13 (1995) - reunited him with Ron Howard. Critics generally applauded the film and the performances of the entire cast, which included actors Kevin Bacon, Bill Paxton, Gary Sinise, Ed Harris, and Kathleen Quinlan. The movie also earned nine Academy Award nominations, winning two. Later that year, Hanks starred in Disney/Pixar's computer-animated film Toy Story (1995), as the voice of Sheriff Woody. A year later, he made his directing debut with the musical comedy That Thing You Do! (1996) about the rise and fall of a 1960s pop group, also playing the role of a music producer.
As of 2022, Hanks is 66-years-old. He has never retired from acting, and has remained active in the film industry for more than four decades.- Actor
- Producer
- Director
John Christopher "Johnny" Depp II was born on June 9, 1963 in Owensboro, Kentucky, to Betty Sue Palmer (née Wells), a waitress, and John Christopher Depp, a civil engineer. He was raised in Florida. He dropped out of school when he was 15, and fronted a series of music-garage bands, including one named 'The Kids'. When he married Lori A. Depp, he took a job as a ballpoint-pen salesman to support himself and his wife. A visit to Los Angeles, California, with his wife, however, happened to be a blessing in disguise, when he met up with actor Nicolas Cage, who advised him to turn to acting, which culminated in Depp's film debut in the low-budget horror film, A Nightmare on Elm Street (1984), where he played a teenager who falls prey to dream-stalking demon Freddy Krueger.
In 1987 he shot to stardom when he replaced Jeff Yagher in the role of undercover cop Tommy Hanson in the popular TV series 21 Jump Street (1987). In 1990, after numerous roles in teen-oriented films, his first of a handful of great collaborations with director Tim Burton came about when Depp played the title role in Edward Scissorhands (1990). Following the film's success, Depp carved a niche for himself as a serious, somewhat dark, idiosyncratic performer, consistently selecting roles that surprised critics and audiences alike. He continued to gain critical acclaim and increasing popularity by appearing in many features before re-joining with Burton in the lead role of Ed Wood (1994). In 1997 he played an undercover FBI agent in the fact-based film Donnie Brasco (1997), opposite Al Pacino; in 1998 he appeared in Fear and Loathing in Las Vegas (1998), directed by Terry Gilliam; and then, in 1999, he appeared in the sci-fi/horror film The Astronaut's Wife (1999). The same year he teamed up again with Burton in Sleepy Hollow (1999), brilliantly portraying Ichabod Crane.
Depp has played many characters in his career, including another fact-based one, Insp. Fred Abberline in From Hell (2001). He stole the show from screen greats such as Antonio Banderas in the finale to Robert Rodriguez's "mariachi" trilogy, Once Upon a Time in Mexico (2003). In that same year he starred in the marvelous family blockbuster Pirates of the Caribbean: The Curse of the Black Pearl (2003), playing a character that only the likes of Depp could pull off: the charming, conniving and roguish Capt. Jack Sparrow. The film's enormous success has opened several doors for his career and included an Oscar nomination. He appeared as the central character in the Stephen King-based movie, Secret Window (2004); as the kind-hearted novelist James Barrie in the factually-based Finding Neverland (2004), where he co-starred with Kate Winslet; and Rochester in the British film, The Libertine (2004). Depp collaborated again with Burton in a screen adaptation of Roald Dahl's novel, Charlie and the Chocolate Factory (2005), and later in Alice in Wonderland (2010) and Dark Shadows (2012).
Off-screen, Depp has dated several female celebrities, and has been engaged to Sherilyn Fenn, Jennifer Grey, Winona Ryder and Kate Moss. He was married to Lori Anne Allison in 1983, but divorced her in 1985. Depp has two children with his former long-time partner, French singer/actress Vanessa Paradis: Lily-Rose Melody, born in 1999 and John Christopher "Jack" III, born in 2002. He married actress/producer Amber Heard in 2015, divorcing a few years later.- Actor
- Producer
- Music Department
Aamir Khan was born on March 14, 1965 in Mumbai. He is one of the most successful Indian Bollywood actors who is also known as "Mr. Perfectionist of Bollywood". With his recent successes in both the Indian and Chinese film markets, he has shouldered his way into becoming one of the world's biggest superstars. Undergoing rapid transformations in his body structure to better embody the variegated characters in his energetic films, Aamir has garnered praise from all parts of the globe. His most visible transformations can be seen in such movies as Lagaan (2001), Fanaa (2006), Taare Zameen Par (2007), Ghajini (2008), 3 idiots (2009), Talaash (2012), Dhoom 3 (2013), PK (2014), Dangal (2016) and Secret Superstar (2017). His recent successes with movies like Dangal, PK , Talaash and TV serial Satyamev Jayate have attracted attention from more serious moviegoing crowds. However, he is perhaps better known for his fabulous comedic roles, as exemplified by his iconic performances in cult comedies such as Andaz Apna Apna, Passion, and Dil Chahta Hai, to name a few. Aamir is also no slouch at TV commercial work.
2001's Lagaan released in China nationwide, beginning what would be a series of Aamir Khan films that would firmly plant Indian filmmaking into the minds of Chinese audiences. 3 Idiots became a cult hit in China farther along in the 2000's, followed by Like Stars on Earth and Ghajini, both of which went on to gain huge followings. Aamir Khan's streak of Chinese box office hits continued into and throughout the 2010's with the rapid-fire release of Dhoom 3 (2013), PK (2014), Dangal (2016) and Secret Superstar (2017).
Aamir was first introduced as a child artist in the 1970's hit Procession of Memories (1973) - he was the youngest child in the trio.
His performance in Earth (1998) as the Ice-Candy man has received rave reviews from Indian and international critics. Using classic "method acting" and an adopted technique inspired by his seniors Sanjeev Kumar, Rajesh Khanna, Dev Anand and Shammi Kapoor, Aamir acts in all genres of Indian films - comedy, action, drama and romance. He is regarded as a complete Indian actor of the post 1990 generation of actors for his diverse choice of roles and films. In 2007 he turned director with the film Like Stars on Earth (2007), which not only brought him immense critical acclaim but was also a huge box office success. Many of his films are considered as cult classics like Lagaan: Once Upon a Time in India (2001), Dil Chahta Hai (2001), Rang De Basanti (2006), Jo Jeeta Wohi Sikandar (1992) and Andaz Apna Apna (1994). He divorced his first wife Reena Dutta on December 09, 2001 and married Kiran Rao in December 28, 2005 and divorced her on July 03, 2021.
In 2008 his first all out commercial action film Ghajini (2008) went on to become the highest grossing film of its time in Indian Cinema and 4th highest inflation adjusted, grossing a total of Rs.226 on the worldwide box office and the first film to cross 100 crores on the domestic Indian box office, making a total of Rs.115 crores. This record didn't last long, though, since his next release 3 Idiots (2009) went on to shatter not only the highest grosser record but many more. It not only made the highest opening first day, first weekend and first week records but subsequently continued to shatter many records on the following weekends and weeks, making many circuits on the way. It made a total of Rs.202 crores domestically and Rs.400 crores on the worldwide box office, becoming the highest overseas grosser to date, a staggering feat given that no other film had even come close to making Rs.100 crores on the domestic box office until then, except for his own Ghajini (2008) the previous year.
Aamir is said to be the actor who first started the trend of actors working in one film at a time, when the others worked in four or five at the same time. He is also known to shun popular film trade magazine awards like Filmfare, Star Screen, etc. as he doesn't have trust in their credibility and transparency. Recently he was awarded the third highest civilian honor Padama Bhushan by the government of India.
Aamir's expansive range of characterizations remains unparalleled amongst his contemporaries. Because of this diversity and his formidable ability to portray different characters believably on screen, he is today regarded not only as one of the biggest stars in Bollywood but also as one of the finest actors in all of Indian Cinema.Looks natural in most movies, but, in some, no...- Actor
- Second Unit Director or Assistant Director
- Music Department
Hrithik Roshan is an Indian actor, born on 10th January 1974, well known globally for his versatile roles, unmatchable dancing skills and attractive looks.
After having appeared in films as a child actor in the 1980s, Roshan made his film debut in a leading role in Kaho Naa... Pyaar Hai (2000) for which he earned Filmfare Awards for Best Actor and Best Male Debut. It was not just a new actor on the block, but a star was born. He became a romantic hero, an action hero and revolutionized the Hindi film industry in significant ways. Never before had any debutant become an overnight sensation of this kind.
After his debut film, he appeared in Karan Johar's family drama Kabhi Khushi Kabhi Gham (2001), which received immense love not just in India but even overseas.
In 2003, Hrithik Roshan, who is often described as "India's Most Complete Actor" stunned everyone and proved once again that it is not just the uber-flattering looks that he brings to the table. This was when he flawlessly essayed the role of an intellectually disabled boy in Koi... Mil Gaya. Not only did the film set the cash registers ringing massively, but Roshan also bagged multiple awards for his acting prowess in the film, including the Filmfare Best Actor award.
The makers turned it into a franchise because of the huge commercial success and love that the film received. The next installment, Krrish (2006) saw Hrithik Roshan playing a superhero, which went on to become the first ever-successful Indian superhero in Indian cinema.
Roshan received his 3rd Filmfare Award for Best Actor in 2006 for his performance as an enigmatic master thief in the action film Dhoom 2, with which he redefined style and action and set new bars. He established himself as a major action star. He took stylized action to a whole new level with Bang Bang in 2014, which did massive business at the box office.
In 2012, he created history in Indian cinema when his film, Agneepath minted a whopping 25 crs only on its opening day. That is the star power and pull of Hrithik Roshan.
We also saw him portray the role of the Moghul emperor, Akbar the Great himself in Jodhaa Akbar (2008) for which he received immense critical acclaim and also an International award at a Film festival.
In 2011, Roshan was seen in Zindagi Na Milegi Dobara, which became an absolute cult classic.
Before becoming an actor, Hrithik toiled as a largely uncredited assistant on film projects, gradually progressing from unglamorous tasks such as set-sweeping, tea-fetching, or clapper-loading up to a major role in story development, camera, direction, and editing.
Since his entry into the industry, Hrithik has parlayed the natural gift of symmetrical features and a tall athletic frame into unimaginable standards. Through unparalleled work ethic, sheer honesty, talent, and commitment as an actor, he also effectively redefined the Hindi film hero. Actors would now have to act and dance and fight for themselves like never before.
With the kind of roles Hrithik has played on screen, there is no doubt about his acting prowess and versatility. From playing a intellectually disabled boy in Koi... Mil Gaya (2003) to an emperor in Jodhaa Akbar (2008); from playing a quadriplegic in Guzaarish (2010) to a visually impaired man in Kaabil (2017), he has played diverse characters effortlessly with his sheer talent.
In 2019, Hrithik continued taking on challenging roles as he marked two decades in the movies. In Super 30 (2019) he played the character of a Bihari Mathematician, Hrithik effortlessly slipped into the shoes of real-life Math genius Anand Kumar. He followed this up with War (2019), a larger-than-life Intelligence Agent gone rogue, while on a covert mission. Hrithik Roshan added act & action to his character. The actor aced at adding mystery to the thrilling story line with his screen presence as Kabir, which is considered one of the most charismatic characters he has played till date on screen.
Hrithik, a hot favorite for award show performances because of his smooth dance moves, high energy, and immense charm has won 66 awards out of 84 nominations, having a win rate of an outstanding 79%. Hrithik has also won many Style and Glamour awards for his appearances and red carpet outings. He was in fact voted as the 'Most Handsome Actor in the World' in 2018 by worldstopmost.com
Hrithik married his childhood sweetheart and longtime girlfriend, successful interior designer and businesswoman Sussanne Khan in December 2000. They have two sons: Hrehaan, born in 2006, and Hridaan, born in 2008. While the two got divorced in 2014, they chose to maintain cordial relations with each other for their kids and even today are good friends.- Producer
- Writer
- Actor
Rajiv Hari "Akshay Kumar" Om Bhatia was born on September 09, 1967, in Amritsar, Punjab to Aruna Bhatia and Hari Om Bhatia. He is an Indian actor, film producer, former model, and television personality. He went to Bangkok to learn how to use a sword and also worked as a waiter in a restaurant. He studied martial arts in Hong Kong. It was a student who suggested that he should try modeling. Because of his success as model, he was offered films. Along with his good looks and excellent martial art skills, he was always the first choice to do adventurous movies. He does his own stunts in his films. His breakthrough performance was in Saugandh (1991). He was well known for his Khiladi series, an Indian version of James Bond, such as Mr. Bond (1992), Khiladi (1992), Main Khiladi Tu Anari (1994), Mr. & Mrs. Khiladi (1997) and Khiladi 420 (2000). He dated strings of his co-stars including Raveena Tandon, Shilpa Shetty Kundra, Pooja Batra and Rekha. His recent critically acclaimed performances include Airlift (2016), Baby (2015) and Rustom (2016). He is married to former actress and now author Twinkle Khanna with whom he has two children.- Actor
- Music Department
- Producer
On Stats Alone, The Most Popular Actor In The History Of Cinema!
The only actor to enjoy near God-like status across the length and breadth of India for a quarter century!
Elected in several expert online polls, as The Greatest Actor In The History Of World Cinema !
With 100+ All-Time Blockbusters- 48 Platinum Jubilee hits + 27 Golden Jubilee hits + 26 Silver Jubilee Hits, & 17 average hits, over 25 yrs.
So these quite wonderful film business websites have come up with a inflation adjusted analysis of few of his random films, which I shall present about now, just to open the eyes of today's audiences, to just the massive quantum of collections, achieved by this one actor alone. They've done this chronologically for just few of his mildly to very successful (~42/125 ie 1/3rd) lead/parallel lead films leaving out vast sums of his other massively successful films , from late 60s to late 90s, & only inflation-adjusted worldwide collection numbers, so audiences of today can get a decent idea.
1. Raaz - 284 Crores 2. Bandhan - 437 Crores 3. Aradhana - 1092 Crores 4. Ittefaq - 266 Crores 5. Doli - 344 Crores 6. Do Raaste - 1014 Crores 7. Kati Patang - 540 Crores 8. Safar - 426 Crores 9. The Train - 284 Crores 10. Sachcha Jhutha - 781 Crores 11. Aan Milo Sajna - 710 Crores 12. Amar Prem - 387 Crores 13. Mehboob Ki Mehndi - 233 Crores 14. Anand - 220 Crores 15. Haathi Mere Saathi - 903 Crores 16. Andaz - 516 Crores 17. Maryada - 581 Crores 18. Dushman - 644 Crores 19. Apna Desh - 492 Crores 20. Shehzada - 223 Crores 21. Daag - 689 Crores 22. Namak Haraam - 212 Crores 23. Aap Ki Kasam - 311 Crores 24. Prem Nagar - 440 Crores 25. Ajnabee - 243 Crores 26. Roti - 388 Crores 27. Prem Kahani - 168 Crores 28. Maha Chor - 143 Crores 29. Mehbooba - 177 Crores 30. Chhaila Babu - 197 Crores 31. Aashiq Hoon Baharon Ka - 146 Crores 32. Muqabla - 175 Crores 33. Amar Deep - 139 Crores 34. Thodisi Bewafai - 143 Crores 35. Kudrat - 174 Crores 36. Fiffty Fiffty - 179 Crores 37. Rajput - 339 Crores 38. Ashanti - 217 Crores 39. Dharam Kanta - 272 Crores 40. Maqsad - 318 Crores 41. Swarg - 85 Crores 42. Aa Ab Laut Chalen - 153 Crores
Have a look at that. And we've just begun checking (a random 1/3rd of his films) !
He was born on 29 December 1942 in Amritsar, Punjab, India, and entered Hindi films in the year 1965 when began shooting for Raaz and did 180 films - 163 feature films and 17 short films. By 2011, he held the record for maximum number of films as solo lead hero and least number of multi star cast films in Hindi Cinema. Of the 163 films - 106 were solo hero films and 22 were multi star films and 29 films had him in special effective guest appearances(though only 97 solo and 20 two hero films only released and 11 unreleased from 1966 till 2013).He ranked first and won the United Producers All India Contest held in 1965 by beating 10000 candidates and the prize of it was acting in films Akhri Khat and Raaz. He first tasted success as an actor with 3 consecutive hit films like Aakhri Khat,Raaz and Aurat.His first brush with super-stardom was when outburst from his fans forced the director to change the story of Baharaon Ke Sapne's ending from a tragic one to a happy one after 1 week of its release. Though Baharon Ke Sapne was average in some centers it was declared flop in most places. In 1969 Rajesh Khanna achieved super-stardom with Shakti Samantha's 'Aradhana" (1969).He became the craze of the nation, and critics across India started calling him the First Superstar of both Indian Cinema (No. 1 Actor) and Hindi Films and remained so alone as the Superstar for 7 years (1969-1976) and had to share the status with Amitabh from 1977-1991 till he left films to join politics in 1991.He overtook his predecessors Dev-Dilip-Raj, Shammi Kapoor,Rajendra Kumar in terms of extreme popularity with audience and critics, quality of performances, variety of roles and films by doing quickly 47 films from 1966-75 which included 36 Golden Jubilee Hits(21 of the 36 were platinum) and 4 silver silver jubilee hits and only 7 flops in 9 years. He also made the world record of having 17 successive super-hits in 3 years from 1969-71 which included 15 consecutive solo super-hit films and 2 two hero films namely Andaz and Maryada. The main difference between him and his predecessors,successors, contemporaries was that Khanna's films ran successfully in whole of India and not just Hindi speaking areas and he did films of every genre simultaneously and has more critically acclaimed films to his credit than all other Hindi Actors of every generation. He stands out even by selection of his films as he regularly did both offbeat alternate cinema along with commercial potboiler films and had success in both.He introduced intelligent cinema to the masses with ease. Those 15 consecutive hit solo lead hero films from 1969-71 were Aradhana, Doli, Bandhan, Ittefaq, Do Raaste, Khamoshi, Safar, The Train, Kati Patang, Sachaa Jhutha, Aan Milo Sajna, Mehboob Ki Mehendi, Choti Bahu, Anand and Haathi Mere Saathi. His next release Maalik flopped ending thereby the record.
Anju Mahendru was his girl friend in 1968-1972, the then aspiring actress but they had breakup in 1972 when Anju was not ready for marriage while Khanna wanted to marry her, and Khanna married his fan Dimple Kapadia in March 1973, 8 months before Dimple's debut film Bobby released in theaters.
Khanna's pairing with Mumtaz always produced much success as they had all of their 8 films together as major platinum jubilee hits.His films with Sharmila Tagore, Asha Parekh, Tanuja, Hema Malini and Zeenat Aman was a favorite with audiences too in 70's.
From 1976 on-wards till 1978, he had 5 box office hits as lead hero(2 silver jubilee hits, 2 platinum hits, 1 average hit), 3 hits in guest appearances, 1 flop in guest appearance and 8 films of him as the main lead flopped unexpectedly although his performances and the film's music were praised by critics and thereby 76-78 is considered his bad phase.
K.Balaji wanted to establish himself in Hindi film industry as a producer and thereby wanted to remake his Tamil film Sivaji Ganeshan starer Dheepam in Hindi. At a time when Khanna's films were not working at the box office, Khanna got this film out of the blue and went on to become a big hit. Khanna bounced back with twin success of Amardeep and Prem Bandhan then again started giving many critically acclaimed and commercially successful films including 35 Golden Jubilee Hits(includes 25 platinum) and 14 SJH starting from 1979 till 1991 and had 9 average hits from 1976-1996. In the 80's his films opposite Tina Munim, Hema Malini, Reena Roy, Rekha, Shabana Azmi, Smita Patil and Poonam Dhillon were big hits.
He produced three films and co-produced 4 films. He had total 105 box office hits(91 as lead hero and 14 in guest appearance) from 1966-1991.He left film industry in 1991 and entered politics by joining the Congress Party in 1991 and became a member of parliament. Khanna was awarded Filmfare Special award in 1991 for having starred in 101 films as the solo lead hero(92 solo film released till 1992 and includes 7 unreleased solos and Anuraag) and having done just 21 two hero films(only 19 released till 1991) but having appeared in 153 films in short span of 25 years between 1966-1991. Has won most number of All India Critics Award for Best Actor for a record 7 times and was nominated for same 10 times.He holds record for being the actor to win maximum BJFA awards for Best Actor - 4 and was nominated the most for it - 25 times.He is still adored and fondly remembered by the masses. Songs from his films adorn the lips of youth and adolescents. He was the first mega-star and has left behind a storehouse of the finest moments in film history.- Actor
- Producer
- Second Unit Director or Assistant Director
Shashi Kapoor is one of the leading actors of Indian cinema having appeared in 160 movies - 12 in English and 148 in Hindi. He has appeared in 148 Hindi films - of them played the solo lead hero in 61 films, was lead hero in 53 released multi star cast Hindi films, 2 unreleased multi star film and 21 Hindi films had him in supporting role, worked in 4 films as a child artist and made 7 guest appearances.
Indian actor of Bollywood, Parallel Cinema, and International productions; Shashi Kapoor is the youngest son of theater and film actor Prithviraj Kapoor and his wife Ramsarni "Rama" Mehra Kapoor. Shashi grew up traveling around the country with his father's acting trope "Prithvi Theatres." from 1940-59. He began appearing on stage from the age of four. He also began working in films in the early 1940s. As a child, he appeared in 4 films from 1948-53 which includes 2 films of his eldest brother Raj Kapoor as the hero and Sangram, where Shashi played Ashok Kumar.
By 1956, an 18-year old Shashi was both actor and assistant stage manager for "Prithvi Theatre." That year, "Shakespeareana" --a traveling theater group under English actor Geoffrey Kendal, and "Prithvi Theatre" were both booked to play in Calcutta. While checking the audience reaction from backstage, Shashi's glance fell on Jennifer Kendal. Shashi soon learned she was playing Miranda in "The Tempest," and secured an introduction. The two began courting, and expressed a desire to wed. Geoffrey Kendal was uncertain about loosing not only his daughter, but his leading lady and theater manager. He insisted that the couple wait at least two years. Shashi began touring with "Shakespeareana" and in 1958 he again asked for Jennifer's hand in marriage and was again refused. However, Jennifer decided to go against her father's wishes, and in July of 1958, the couple were married in the traditional Indian style in Bombay.
Shashi debuted as a leading man in Yash Chopra's Dharmputra (1961). From 1961-64 his Hindi films with him as the solo heroes were box office flops. But Nanda believed that Shashi does have the potential to be popular leading man and signed happily 8 films opposite him over the period 1962-1968. Except for their first 2 films together and Juaari, other 5 films of the pair Nanda-Shashi turned out to be super-hits from 1965-70.A versatile actor, Shashi worked in both mainstream popular Hindi cinema, art films and in Indian-set English-language films, such as those made by the film-making team Ismail Merchant and James Ivory. He was one of the first Indian stars to go international, as he worked in both British and American films, and directed the Soviet Union co-production _Ajooba (1991) which was a disaster.He tried his hand at English films when his Hindi films were flops from 1961-64 and achieved success in 1963 with 2 commercially successful English movies.He did 6 English films as lead hero till 1983 and then played villain in Deceivers and another lead role in 1993 and rest 4 English films had him in supporting role as narrator/guest appearance from 1987-1998. Shashi started having solo hits opposite Rakhee, Asha Parekh, Sharmila Tagore, Zeenat Aman from 1968-1975 but had a weak period as a solo lead hero from 1974-1978 where he had 13 flops off 24 films as solo lead and this made him accept multi star cast films from 1976-85. He achieved success in multi star films from 1976-84.In the multi star films he did , he was paid more than co-stars Vinod Khanna, Amitabh Bachchan, Jeetendra, Rishi and Randhir Kapoor. But Sanjeev Kumar,Pran and Dharmendra were paid at same rate as Shashi in the films where they were his co-stars. Only Rajesh Khanna was paid more than Shashi in the 2 films they did together. He played supporting role to Rajesh Khanna at peak of his career in Prem Kahani and then in Alag Alag.
He won the Filmfare Best Supporting Actor Award for Deewaar (1975). He won two Filmfare Best Movie Awards for his work as producer and star of Junoon (1979) and Kalyug (1981).He costarred in 11 films with Amitabh Bachchan of which 4 (Deewar,Trishul, Suhaag,Namak Halal) were successful,1 (Kala Pathar)was average hit and rest 6 were flops. Shashi Kapoor did 61 solo lead hero films in Hindi and, of them, 35 were super-hits. Shashi did 55 multi-star cast movies where Shashi was one of the lead heroes and, of them, 33 were super-hits, 20 were flops, 2 remain unreleased.
Shashi and Jennifer had three children; Kunal Kapoor, an actor and ad director, Karan Kapoor a photographer and sometimes actor, and Sanjana Kapoor, an actress who has run Prithvi Theatre in Mumbai since 1993. After his wife Jennifer died of cancer in 1984, Shashi started becoming obese and began taking on fewer roles in films, and shifted his focus to character roles.His first break as supporting actor after he became obese was given by Rajesh Khanna in film Alag Alag where his role along-with the lead pair of the film was appreciated.
In 2010, Shashi was presented with the Filmfare Lifetime Achievement Award.