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EDITORIAL Is Bipasha Basu in beedi jalai le in Omkara more graceful than Helen was in mera nam chin chin chun in Howrah Bridge? There are many who may not agree with such comparison at all. They will most probably argue that Nadira in mud mud ka na dekh in Shree 420 has been just unbeatable. Some are likely to rediscover the virtues of now-forgotten Kukoo. In their attire, screen conduct and dances they have mirrored the images of their respective eras. The dress has turned skimpy, movement remarkably fast and lyrics and boogie stunningly suggestive. By and large they have been identified with unconventional image of the women of their times. Not surprisingly, therefore, they are called vamps, sex bombs, sexy sirens and what not. None of them seems to mind it. They find in such expressions vindication of their appearance as well as performance. They have acted as perfect foils to Nargis Dutts, Meena Kumaris, Madhubalas and Hema Malinis. It is a tribute to their skills that even the highest paid actresses have been tempted to follow in their footsteps. Madhuri Dixit (ek do teen in Tezaab followed by identical displays in Bade miya chhote miya and Lajja), Raveena Tandon (cheez bari hai mast mast in Mohra), Aishwarya Rai (ishq kameena in Shakti and kajra re in Bunty aur Babli), Urmila Matondkar (chamma chamma in China Gate), Shilpa Shetty (main aai hoon UP, Bihar lootne in Shool), Sushmita Sen (mehboob mere in Fiza and shakalaka baby in Nayak) and Karishma Kapoor (yeh .....more |
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Why corruption does not hurt economic growth By Dr Bharat Jhunjhunwala Germany-based Transparency International has found in a worldwide survey of more than 11,000 Company Executives that Indian companies were most corrupt ...more Military imbalance with Pakistan....? By Chandra Mohan There is a sudden spate of "hard luck" stories (including a letter written by Chief of Air Staff to the Defence Minister) highlighting how there is a slump in ratio of India's conventional military capability vis-a-vis Pakistan. This is a .......more To
hang Afzal Guru or By Dr. Jitendra Singh The question is not whether to hang Afzal Guru or not to hang. The question is what are the basic issues that the various ......more By Jyotsna Pandit The UN Secretary General, Kofi Annan, has warned that the next war will not be waged over oil, but over water, which is becoming the scarcest natural resource. His predictions are echoed by a World Bank study, ..........more |
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EDITORIAL Is Bipasha Basu in beedi jalai le in Omkara more graceful than Helen was in mera nam chin chin chun in Howrah Bridge? There are many who may not agree with such comparison at all. They will most probably argue that Nadira in mud mud ka na dekh in Shree 420 has been just unbeatable. Some are likely to rediscover the virtues of now-forgotten Kukoo. In their attire, screen conduct and dances they have mirrored the images of their respective eras. The dress has turned skimpy, movement remarkably fast and lyrics and boogie stunningly suggestive. By and large they have been identified with unconventional image of the women of their times. Not surprisingly, therefore, they are called vamps, sex bombs, sexy sirens and what not. None of them seems to mind it. They find in such expressions vindication of their appearance as well as performance. They have acted as perfect foils to Nargis Dutts, Meena Kumaris, Madhubalas and Hema Malinis. It is a tribute to their skills that even the highest paid actresses have been tempted to follow in their footsteps. Madhuri Dixit (ek do teen in Tezaab followed by identical displays in Bade miya chhote miya and Lajja), Raveena Tandon (cheez bari hai mast mast in Mohra), Aishwarya Rai (ishq kameena in Shakti and kajra re in Bunty aur Babli), Urmila Matondkar (chamma chamma in China Gate), Shilpa Shetty (main aai hoon UP, Bihar lootne in Shool), Sushmita Sen (mehboob mere in Fiza and shakalaka baby in Nayak) and Karishma Kapoor (yeh mera dil pyar ka diwana in Don) come in this category. Some of them have consciously chosen to do what is called an "item number" --- a term whose origin is not known but is used to mention a highly evocative dance and song. They have found it a sure way of boosting their sagging career. By now the producers have found that if deftly executed it is an ingredient that can set their cash registers ringing. As a publicity strategy many of them invariably send a word about the "item number" which may or may not have relevance to the theme of their film. It is to be noted that there are quite a few talented actresses who are happy to specialise in "item numbers". Malaika Arora (mahi ve in Kaante), Kashmira Shah (patli kamar in Jungle), Isha Koppikar (ishq samundar in Kaante), Shweta Menon (humko tumse pyar hai in Ishq) and a few others constitute this nearly exclusive club. One can only admire the pace of their rhythm. Clearly there is tremendous amount of study and hard work involved in their exercise. Any such topic will be incomplete without referring to Zeenat Aman, Aruna Irani, Bindu, Pravin Babi and Padma Khanna. They have been bold and daring. Zeenat got an opportunity to capture the hippie influence in the country. Her dum maro dum (a R.D. Burman creation) portrayal in Hare Rama Hare Krishna had the younger people at one time dancing to her tune. Aruna Irani and Bindu are still active in the arena in varied roles. Pravin Babi represented a fairly heady mixture of oomph and innocence. Their present crop is following a sizzling dare-to-bare approach. Purists are likely to frown upon them. But, as one "item girl" herself remarked: "There is nothing wrong with a film that brings to fore human feelings like lust, desire and passion, as long as it retains its youthfulness, class and aesthetic value." This once again brings us face to face with the old saying that only connoisseurs can admire the real beauty.
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