| 6 | | Actress. Daughter of [[Kaifi Azmi]] and celebrated IPTA actress Shaukat. Graduate of FTII acting course (1972); feature début in Abbas’s mediocre Faasla, released after her emergence in Ankur. Became a regular presence in Benegal films (Nishant, Junoon, Mandi, Susman, Antarnaad). Together with Smita Patil, Azmi is the most prominent star spawned by the New Indian Cinema, working with e.g. Satyajit Ray (Shatranj Ke Khiladi), Mrinal Sen (Khandhar, Genesis, Ek Din Achanak), Saeed Mirza (Albert Pinto Ko Gussa Kyon Aata Hai), Gautam Ghose (Paar), Sai Paranjpye (Sparsh, Disha), Aparna Sen (Picnic, Sati), and Mahesh Bhatt films, including the notorious Arth. Also worked with Western directors (John Schlesinger’s Madame Sousatzka, 1988; Roland Joffe’s City of Joy, 1992). Became a major mainstream Hindi star after Fakira, working in Manmohan Desai’s Amar Akbar Anthony, Parvarish and Prakash Mehra’s Jwalamukhi. Initially practised, in her ‘art’ movies, a style of naturalist acting equated with the absence of make-up, an emphasis on regional accents (e.g. the rural Andhra accent in Ankur and Nishant or the Parsee Hindi in Pestonjee) and the theatre-derived technique of alternating the casual gesture and dramatic high points. Married scenarist Javed Akhtar. Also acted on the stage, including an acclaimed performance in the revived IPTA’s 1980 Hindi version of The Caucasian Chalk Circle entitled Safed Kundali by M.S. Sathyu. First TV drama, Picnic, under Aparna Sen’s direction. Briefly chairperson of the CFS. Known also as a courageous political activist associated with the Nivara Hakk Samrakshan Samiti, fighting the cause of Bombay’s slum and pavement-dwellers, and with various anti-communal organisations, playing an effective, high-profile role in e.g. the 1993 communal riots in Bombay. |
| | 6 | Actress. Daughter of [[Kaifi Azmi]] and celebrated [[IPTA]] actress Shaukat. Graduate of [[FTII] acting course (1972); feature début in [[Abbas]]’s mediocre Faasla, released after her emergence in [[Ankur]]. Became a regular presence in [[Benegal]] films ([[Nishant]], [[Junoon]], [[Mandi]], [[Susman]], Antarnaad). Together with [[Smita Patil]], Azmi is the most prominent star spawned by the New Indian Cinema, working with e.g. [[Satyajit Ray]] ([[Shatranj Ke Khiladi]]), [[Mrinal Sen]] ([[Khandhar]], [[Genesis]], [[Ek Din Achanak]]), [[Saeed Mirza]] ([[Albert Pinto Ko Gussa Kyon Aata Hai]]), [[Gautam Ghose]] ([[Paar]]), [[Sai Paranjpye]] ([[Sparsh]], [[Disha]]), [[Aparna Sen]] (Picnic, [[Sati]]), and [[Mahesh Bhatt]] films, including the notorious [[Arth]]. Also worked with Western directors (John Schlesinger’s Madame Sousatzka, 1988; Roland Joffe’s City of Joy, 1992). Became a major mainstream Hindi star after Fakira, working in [[Manmohan Desai]]’s [[Amar Akbar Anthony]], Parvarish and [[Prakash Mehra]]’s Jwalamukhi. Initially practised, in her ‘art’ movies, a style of naturalist acting equated with the absence of make-up, an emphasis on regional accents (e.g. the rural Andhra accent in Ankur and Nishant or the Parsee Hindi in [[Pestonjee]]) and the theatre-derived technique of alternating the casual gesture and dramatic high points. Married scenarist [[Javed Akhtar]]. Also acted on the stage, including an acclaimed performance in the revived IPTA’s 1980 Hindi version of The Caucasian Chalk Circle entitled Safed Kundali by M.S. Sathyu. First TV drama, Picnic, under Aparna Sen’s direction. Briefly chairperson of the [[CFS]]. Known also as a courageous political activist associated with the Nivara Hakk Samrakshan Samiti, fighting the cause of Bombay’s slum and pavement-dwellers, and with various anti-communal organisations, playing an effective, high-profile role in e.g. the 1993 communal riots in Bombay. |