Funny Wording For Men's 30th Birthday Party

Mumtaz, lovely doll of Indian cinema

Pretty as a doll with her long brown hair, her nose upturned and his eyes soft, sweet Mumtaz (which means the best in Persian and Arabic) was One of the most prominent actresses in the early 70, golden era if ever there was the history of Bollywood cinema. Sensual and innocent at once, super cute, she certainly contrasted by its anti-conformism with Indian celebs that time. After getting to know the playing nymphets, the actress will gain credibility by tackling difficult roles in a series of popular melodramas that have marked their era. It is not surprising then that Sharukh Khan, the current king of Bollywood, though highly attracted by the cinema of the past has said that it remained his favorite actress.

Born in 1947 in Mumbai to Iranian parents of very modest condition (his father sells dried fruit), Mumtaz was forced to work very young to feed his family after the death of his mother. Any young, she went with her sister in the studios of Bollywood, accepting any representation in any movie. Thanks to its great beauty, the teenager was spotted by former wrestler and stuntman Dara Singh, who became a movie star ba. At her side, she will turn 16 films: a long series of juicy nanars Series Z all fans of the genre only dream that one day: Hindi version of Samson and Delilah, the 12 labors of Hercules, or Tarzan in Delhi. In 1965, the has found for example in the unlikely Tarzan meets King Kong, Series B masala sauce with tender heroine survivor of a plane crash and lost in the jungle, Tarzan is fortunately there to save it. (Laughter guaranteed during the apparitions of a King Kong-listed dressed in a costume plush ) and the following year in the secret agent 007 with golden eyes ... what a program!
From a strictly artistic, these films obviously have no interest, however, they will allow the young actress to make her classes before being hired as the second role, in more prestigious productions as Mere Sanam (1965) whose star is Asha or Patthar Ke Parecki Sanam (1967) where it is conspicuous by its spontaneity and its sensuality against the king of film patriotic Manoj Kumar. Pyar Kije Jaa (1966) is a zany comedy with a family "folledingue" in a style very close to light comedy and frankly very Western, including musically. If the players make tons and chattering like magpies, the wind blowing on this insanity family disjunction is more communicative, and the Mumtaz crisp y twist with a tone of hell. Her beauty, her youthful charm and sexy also earned him comparisons with our Brigitte Bardot and Marilyn. More than a real actress, Mumtaz is a nature, a mischievous presence that contrasts sharply with the actresses of the moment. As Sharmila Tagore, she does not hesitate to wear a bikini on screen and roll in the sand alongside Feroz Khan.
But the family melodrama Do Raasta (1969) that Mumtaz will make a star of first magnitude. Although his character as a young bride was not the least depth, the songs (dubbed by Lata Mangeskhar) are superb and it forms a nice duo with Rajesh Khanna, an actor whose fame will experience highs rarely matched in India (it is said that the fans left marks of lipstick on the tires of his car ...). The actress is particularly compelling in the beautiful scene danced and sung in the rain with Rajesh, whose effect is so convincing erotic that many Indians will be guided by the following (roughly one in two). Do Raasta meet unprecedented success (and will remain the favorite actress). It is found that year alongside Jeetendra , A charming playboy Indian cinema in Jigri Dost. Needless to say, the scenes, filmed in an ultra jerky dance where the couple (one could say leg) in a flower garden have aged horribly wrong: yet this kind of sequence was almost inevitable by 1970 in Indian films.
In 1970, Mumtaz found the popular Rajesh Khanna for an amusing parody of spy movies European "true and false." Everything is there, jingles James Bond style at the final duel, the pretty but bland chick sophisticated (Mumtaz) the sets (Cache "futuristic" thief's reminiscent of Fantomas). At one point, the thief is invited to swallow a magic potion to "erect a statue," which allows him to quietly steal the jewels, will be understood, movie buffs seeking the subtlety and depth will not support more than 2 seconds!
But personally I preferred this film to childish yet very admired Khilona (1970) which earned the actress a Best Actress Award. Mumtaz plays the role of a young woman thrown to the mercy of a poet who violates unbalanced and eventually focus on her. Really, I did not understand the critical and popular success as the film, as I found poor construction, the historic ire inconsistent and the interpretation of Sanjeev Kumar unbearable. As for the comic scenes, they are absolutely ridiculous and totally undrinkable for Western audiences (as often in Indian films). If Mumtaz was a sensation at the time in leaving his usual roles as a young carefree girl or pretty brides, I though his interpretation seemed very hollow.
His performance also disappointed me in Hare Rama Hare Krishna (1971), a real UFO in the Bollywood world, recounting the misadventures of a young woman who fled her family to live with hippies in Kathmandu and take refuge in the fumes of opium! Mumtaz is constantly overshadowed by future sex symbol Zeenat Aman of Indian cinema.
Machay Shor Chor (1974) another huge commercial success (this time with the romantic Shashi Kapoor), seemed to me very badly played, or rather watchable and listenable only for great songs!
Suffice to say that I much prefer Mumtaz mischievous and sparkling in the late 60s to the actress just cleared the big success of the early 70s. That said, PREM KAHAN (1975) Raj KHOSLA reconciled me with the actress
Even While many weaknesses facing the film (the fight for independence from India mentioned without much detail, some passages are hardly credible, there lengths) is on the whole quite satisfactory: the songs are superb (one of them, Maine, was the subject of modern times), some passages are very violent and cruel (particularly where the junta Rajesh research by providing large sword in mattresses while his sister inadvertently smothers her daughter by preventing shout) make a strong impression. However, it is still the palpable erotic tension that is felt in the camera between Rajesh and Mumtaz who seemed most effective; Especially in the scene where after a few exchanges in a playful tone, close-ups and looks highlight the strong attraction of two former lovers. The brief appearance of Mumtaz in the snake woman (a horror movie series B, with a predator who charms his victims before changing into python to kill them) marks a curious turn of the star to its inglorious debut and announces already in decline.

Filmed in 1975 but released in 1977, Aaina is a big-budget melodrama with the old one Rajesh Khanna on the decline, in which the character played by Mumtaz becomes a prostitute to support her family. The film, considered very old fashioned, will be a resounding commercial failure if the actress decides to abandon her career and live a luxurious life with her husband, millionaire (she had previously had an affair with the star Shammi Kapoor). But money does not always bring happiness, and the infidelities of her husband will be very unhappy.
In 1989, actress attempting a comeback in a disastrous role of mother (Aandhiyan). The charm of yesteryear seems UNPAID be dormant over the years and worries, and the public recognizes the most beautiful doll in the past. Saddened by the failure of the film and the negative reactions, the actress now refuse all proposals film.
Diagnosed with breast cancer, Mumtaz has courageously faced the disease and several surgeries. Now healed, she has agreed to participate in a documentary on the fight against cancer alongside international stars as big as Olivia Newton John, Jaclyn Smith, William Baldwin and Diahann Carroll. Long live Mumtaz!