Biology student at Parle college who started with a flop film (Abodh), then struggled for years until her success with the 'Ek do teen' song in N. Chandra's Tezaab. Her overtly sensual dance style continued to bring her fame in the 'dhak dhak' song in Beta and 'choli ke peeche' in Khalnayak. Now Mrs Nene, she reigns as one of the leading female stars of Bollywood, proving her acting ability with fine performances like Prakash Jha's Mrityudand.
Name : Madhuri Dixit
Pet Name : Bubbly
Born on : 15th May 1967
Place of Birth :Mumbai
Mailing Address : Vijaydeep, 3rd FloorIris Park, Juhu, Bombay 400049, India
Height : 5 feet 4 inches
Weight :51 kg. (112.2 lb.)
First Film : Abodh
First hit film : Tezaab
Fav. Hero (Indian) :Balraj Sahani
Fav. Hero (Foreign) : Gregory Peck
Fav. Heroine (Indian) : Nargis
Fav. Heroine (Foreign) : Ingrid Bergman
Three all time favorite desi films
Ganga Jamuna, Sholay, Padosan
Three all time favorite foreign films
All about Eve, Amadeus, Non Voyager
Hates : Interviews, especially if there is a string of them.
Favourite Food : Maharashtrian dishes/backed, cheesy stuff.
What scares you the most?
Cockroaches
Obsession
My films, my work
Dream Man
Sir Winston Churchill: Orator, warrior, PM and writer
Dream Woman
Smt. Indira Gandhi: Power, wit, dignity
All Time Favourite Dance Numbers:
Vyajyantimala -- Jewel Theif -- 'Hothon pe aisi baat...' Sandhya -- Jal Bin Machli Nritra Bin Bijli -- 'Kajara lagake...' Waheeda Rehman -- Neel KamalPadmini -- All her films Helen -- Inteqaam
Pet Name : Bubbly
Born on : 15th May 1967
Place of Birth :Mumbai
Mailing Address : Vijaydeep, 3rd FloorIris Park, Juhu, Bombay 400049, India
Height : 5 feet 4 inches
Weight :51 kg. (112.2 lb.)
First Film : Abodh
First hit film : Tezaab
Fav. Hero (Indian) :Balraj Sahani
Fav. Hero (Foreign) : Gregory Peck
Fav. Heroine (Indian) : Nargis
Fav. Heroine (Foreign) : Ingrid Bergman
Three all time favorite desi films
Ganga Jamuna, Sholay, Padosan
Three all time favorite foreign films
All about Eve, Amadeus, Non Voyager
Hates : Interviews, especially if there is a string of them.
Favourite Food : Maharashtrian dishes/backed, cheesy stuff.
What scares you the most?
Cockroaches
Obsession
My films, my work
Dream Man
Sir Winston Churchill: Orator, warrior, PM and writer
Dream Woman
Smt. Indira Gandhi: Power, wit, dignity
All Time Favourite Dance Numbers:
Vyajyantimala -- Jewel Theif -- 'Hothon pe aisi baat...' Sandhya -- Jal Bin Machli Nritra Bin Bijli -- 'Kajara lagake...' Waheeda Rehman -- Neel KamalPadmini -- All her films Helen -- Inteqaam
Madhuri in a Nutshell
Madhuri Dixit, the Madhubala of the nineties, the Maryln Monroe of Bollywood, has stolen the hearts of the young and the old alike. She has quite a range of fans, right from little kids in the railway station dancing to the beat of Ek do teen, college gir ls aping her costumes and dance movements from her Hum Aap Ke Hai Kaun, to M.F. Hussain, the magnificent painter who is completely fida over her charms.
So what is it that makes Madhuri, the symbol of womanhood in Indian cinema? Is it her "the girl -next- door" charm, unlike the sophisticated types of Zeenat Aman and Parveen Babi, that appeals to the masses? Oh, lest you be mistaken, Dixit is probably o ne of the few actresses who has been to school. In addition to her feminine charms, and training in classical dance (Kathak), Madhuri has a bachelors degree in Microbiology. But it was not her education that brought her fame. She got a lucky break when Su bhash Ghai spotted her dancing talent during the shooting of Awaara Baap. He told her that if she stopped doing itsy-bitsy roles, he would relaunch her in his films. Madhuri of course jumped at the opportunity, and since then there is no looking back.
There was a time in the Tezaab girl's life when she was threatened by the onslaught of new teenage movies. But for producers who are looking for an actress with more than just sex appeal, Madhuri is the best bet. She can not only gyra te, but can act too . Take for example, the film Prem Granth by Raj Kapoor productions. Madhuri’s superb performance as a low caste village belle who moves from one tragic situation to another a la Nargis in Mother India, confirms that Madhuri’s mass appeal and her consoli dates her number one position in the industry.
So does the nimble feet damsel have any plans for family and relationship, or does she like the many screen legends before her, let life pass by and live in the mirrored existence of the synthetic screen? "I think one should feel that one wants to get mar ried and settled. And I feel there’s such a lot to do with my career that I don’t want to settle down at this moment, " says the Menaka of Master painter M.F. Hussain.
So what is it that makes Madhuri, the symbol of womanhood in Indian cinema? Is it her "the girl -next- door" charm, unlike the sophisticated types of Zeenat Aman and Parveen Babi, that appeals to the masses? Oh, lest you be mistaken, Dixit is probably o ne of the few actresses who has been to school. In addition to her feminine charms, and training in classical dance (Kathak), Madhuri has a bachelors degree in Microbiology. But it was not her education that brought her fame. She got a lucky break when Su bhash Ghai spotted her dancing talent during the shooting of Awaara Baap. He told her that if she stopped doing itsy-bitsy roles, he would relaunch her in his films. Madhuri of course jumped at the opportunity, and since then there is no looking back.
There was a time in the Tezaab girl's life when she was threatened by the onslaught of new teenage movies. But for producers who are looking for an actress with more than just sex appeal, Madhuri is the best bet. She can not only gyra te, but can act too . Take for example, the film Prem Granth by Raj Kapoor productions. Madhuri’s superb performance as a low caste village belle who moves from one tragic situation to another a la Nargis in Mother India, confirms that Madhuri’s mass appeal and her consoli dates her number one position in the industry.
So does the nimble feet damsel have any plans for family and relationship, or does she like the many screen legends before her, let life pass by and live in the mirrored existence of the synthetic screen? "I think one should feel that one wants to get mar ried and settled. And I feel there’s such a lot to do with my career that I don’t want to settle down at this moment, " says the Menaka of Master painter M.F. Hussain.
Her story : 
Madhuri wanted to become a micro-biologist - however that just wasn't destined to be. An offer from Rajshri Productions brought Madhuri her first role, the film `Abodh' (1986) released and forgotten, it wasn't until godfather Ghai saw Madhuri and gave her a tiny dance sequence in `Karma' (1986), that things improved. The dance sequence was omitted from the final cut. Ghai promised Madhuri better roles, on the condition that she stop doing tiny roles in insignificant films. Thus, Ghai gave Madhuri `Uttar Dakshin', and then a proper launch in `Ram Lakhan' (1988). Ghai also took the step of putting an eight page advertisement in the trade magazines featuring Madhuri, proclaiming that producers of the calibre of Boney Kapoor, Yash Chopra and six others had signed Madhuri for their forthcoming projects. It was all together another matter that none of the forementioned producers had signed Madhuri for their films. Madhuri however, didn't have to wait for Ghai's `Ram Lakhan', N.Chandra's `Tezaab' and ek, do, teen char took the nation by storm, Miss Dixit had arrived, and the whole world knew. Tezaab went on to complete a golden jubilee, and was thus a bigger hit than Ram Lakhan. A superb performance followed in Dil (1990) - which brought Madhuri her first Filmfare award, a rapport was struck with Indra Kumar which resulted in two more blockbusters Beta (1991) and Raja (1995). 1990 onwards, a hit film per year followed including Saajan, Khalnayak, Prem Pratigaya, cumulating in Hum Aapke Hain Koun (1994), hindi cinema's biggest blockbuster to date. Madhuri mania ensured the success of `Raja' (1995), a film with many flaws, thus Madhuri was renamed `the female Amitabh Bachchan'. Unfortunately after the success of `Raja' (1995), Madhuri's films started to collapse at the box office. Yaarana, Rajkumar, Prem Granth, Mahaanta, one after the other. Luckily for Madhuri she gained praise for her performance in `Prem Granth' (1996) and for her looks in `Rajkumar' (1996). By now it had dawned on the industry that Madhuri's lataks and mataks ensure a films success, not. The presswallas had by now written Madhuris obituary, and annouced that it was time for Madhuri to pack her bags and get married. An issue was made of Madhuri co-starring with Akshaye Khanna who was younger in age to Madhuri in Mohabbat. It was also widely stated that Madhuri favoured films produced by her secretary Rikku, even though all of Rikkus productions failed at the box-office. Madhuri was never far from controversies, her much publiced affair? with Sunjay Dutt caused a storm, when Sunjay's wife issued a press statement proclaiming her desire to have Sunjay back. The Choli ke peeche song in 'Khalnayak' also caused a stir. With women liberation groups asked for a ban on Madhuri. After the not so great 'Koyla', director Rakesh Roshan stated that Madhuri could no longer play the youthful type, and continued to make unsavoury comments. Madhuris response was a dignified silence. Madhuri is on top of the league when it comes to being unaffected by what is written about her. Very rarely if ever has Madhuri retaliated to comments made about her in the press, by either journos or collegues. Prakash Jha's 'Mrityudand' (1997) ensured critical acclaim if not box-office success, Madhuri still had the fire that was shown in Tezaab, the intensity that came to light in Beta. Age, said the industry was catching up, Yash Chopra's Dil To Pagal Hai (1997), proved otherwise. A phenomenal success at the box-office, mass acceptance by the audience. Madhuri never looked better, danced better or acted better, her latest offering was indeed her best till date. Madhuri went on to win a handful of awards for her performances in Mrityudand and Dil To Pagal Hai, and even dedicated her Filmfare award to her critics. In 1998 Madhuri had only one major film to her credit CN Chandra's Wajood, unfortunately the film failed to recreate the hysteria of Tezaab (1988). 1999 it seems will be Madhuri's golden year, for an actress who rarely trends the path of unconvential roles, this year has Madhuri in a host of different characters. MF Hussain's 'Gajagamini' is an art film that has Madhuri playing arange of characters. In Boney Kapoor's 'Pukar' Madhuri's got a negative role, as well as the usual dose of triangular love stories, Madhuri's first south Indian film, 'Engineer', is a techno thriller.
Past Present & Future
THE woman with the most dazzling smile. The 'female Bachchan'. The Ek, do, teen girl. Painter Maqbool Fida Husain's muse. Madhuri Dixit - sorry - Mrs Madhuri Nene needs no introduction.
But ever since her marriage to NRI Dr Sriram Nene, critics seem to have written her off. And it didn't help matters when her last release Aarzoo bombed. For the world, Madhuri Dixit's life seems to be going downhill. Has she said goodbye to Bollywood? We'd like to think otherwise.
Madhuri Dixit's career evolved along with her talent. The actress, who once scrambled between studios working two shifts a day, slowly but surely climbed the pinnacle of success. Once there, she maintained her standards. No more working on Sundays and only four films a year.
In the makeup cabin during one of her last movies she said, "An hour before the shooting is very relaxing. I sit back and assess myself personally and professionally. I also use such times to pay attention to little details like cutting my nails or check the split ends in my hair!"
It's quite unusual to see a normally wary Madhuri being so forthcoming about personal information. "People expect stars to a breed apart. They forget that they are humans too. I'm an introvert and don't speak much but that doesn't mean I'm snooty. If I have done two shifts how can you expect me to be social?"
Although her smile can melt a thousand hearts, her forbidding demeanour has often caused people to feel that she's cold and unapproachable. She doesn't agree. "Am I supposed to get euphoric every time I meet a director, co-star or a journalist?" she concludes, irritated at the accusation.
"My family gives me enough security and warmth. I don't have to look for it outside! After achieving so much success and fame I'm apprehensive about people's motives. I want to be sure that people want to be friends with me and not my fame!"
Did you know that Madhuri once wanted to become a microbiologist? An offer from Rajshri Productions, however, changed her life. Although her first role in Abodh (1986) brought her no recognition, the same year Subhash Ghai promised Madhuri meatier roles on the condition that she stopped accepting itty-bitty parts in insignificant films. He kept his promise. Madhuri starred in Ghai's Uttar Dakshin and then in his star-studded blockbuster Ram Lakhan. Soon her jhatkas in the Ek, do, teen number in Tezab set the screen ablaze. A noteworthy performance in Dil gave Madhuri her first Filmfare award.
From 1990 onwards, Madhuri delivered a hit every year -- Saajan, Khalnayak and Prem Pratigaya.
But soon after a spate of flops, the industry grapevine had begun writing obituaries for Madhuri's 12-year career. However, the kitschy Hum Aapke Hain Kaun (1994), Hindi cinema's biggest blockbuster to date, re-established Madhuri as Heroine No 1. Madhuri mania ensured the success of Raja (1995), a film with many flaws, earning Madhuri the enviable reputation of being one of the very few actresses who could carry a film on her shoulders. Her stellar role in Prem Granth (1996) and the drop-dead gorgeous looks that she sported in Rajkumar (1996) were widely appreciated.
But both were flops. Jha's Mrityudand (1997) brought her critical acclaim if not box-office success, as did Nana Patekar's Prahaar where Madhuri, sans make-up, shocked entranced audiences. Mrityudand also won her the Screen Videocon Best Actress Award and established her as the 'thinking actress', a necessary feather in every self-respecting actress's cap. Dil To Pagal Hai, a feel good romance released in 1998, saw Madhuri raking in the mega bucks and it also fetched her the Filmfare Best Actress award.
With a rumoured Rs. 75 - 80 lakh price tag, Madhuri, until recently, was one of Bollywood's most expensive actresses Although her secretary denies this, the grapevine says she charged Rs. 2 crore for her first Tamil film Engineer. But due to the film industry's youth-obsessed standards, Madhuri was shunted down to the 'ageing star' category. Contends Honey Irani, "Madhuri must move away from the college-girl variety of roles, not because she can't pull them off, but because it was time she took on different and challenging roles."
Madhuri seems unperturbed by her descent from her No. 1 status. "For someone to be No. 1, someone has to give up the position," she points out. Would she miss the limelight? Pat comes the reply, "No I won't. Our lives come a full circle. For someone else to be No.1, someone has to give up the position. Didn't Hemaji bow out to give place to Sridevi? When I joined films I was clear I wanted to make a name, which I have done."
Madhuri wanted to become a micro-biologist - however that just wasn't destined to be. An offer from Rajshri Productions brought Madhuri her first role, the film `Abodh' (1986) released and forgotten, it wasn't until godfather Ghai saw Madhuri and gave her a tiny dance sequence in `Karma' (1986), that things improved. The dance sequence was omitted from the final cut. Ghai promised Madhuri better roles, on the condition that she stop doing tiny roles in insignificant films. Thus, Ghai gave Madhuri `Uttar Dakshin', and then a proper launch in `Ram Lakhan' (1988). Ghai also took the step of putting an eight page advertisement in the trade magazines featuring Madhuri, proclaiming that producers of the calibre of Boney Kapoor, Yash Chopra and six others had signed Madhuri for their forthcoming projects. It was all together another matter that none of the forementioned producers had signed Madhuri for their films. Madhuri however, didn't have to wait for Ghai's `Ram Lakhan', N.Chandra's `Tezaab' and ek, do, teen char took the nation by storm, Miss Dixit had arrived, and the whole world knew. Tezaab went on to complete a golden jubilee, and was thus a bigger hit than Ram Lakhan. A superb performance followed in Dil (1990) - which brought Madhuri her first Filmfare award, a rapport was struck with Indra Kumar which resulted in two more blockbusters Beta (1991) and Raja (1995). 1990 onwards, a hit film per year followed including Saajan, Khalnayak, Prem Pratigaya, cumulating in Hum Aapke Hain Koun (1994), hindi cinema's biggest blockbuster to date. Madhuri mania ensured the success of `Raja' (1995), a film with many flaws, thus Madhuri was renamed `the female Amitabh Bachchan'. Unfortunately after the success of `Raja' (1995), Madhuri's films started to collapse at the box office. Yaarana, Rajkumar, Prem Granth, Mahaanta, one after the other. Luckily for Madhuri she gained praise for her performance in `Prem Granth' (1996) and for her looks in `Rajkumar' (1996). By now it had dawned on the industry that Madhuri's lataks and mataks ensure a films success, not. The presswallas had by now written Madhuris obituary, and annouced that it was time for Madhuri to pack her bags and get married. An issue was made of Madhuri co-starring with Akshaye Khanna who was younger in age to Madhuri in Mohabbat. It was also widely stated that Madhuri favoured films produced by her secretary Rikku, even though all of Rikkus productions failed at the box-office. Madhuri was never far from controversies, her much publiced affair? with Sunjay Dutt caused a storm, when Sunjay's wife issued a press statement proclaiming her desire to have Sunjay back. The Choli ke peeche song in 'Khalnayak' also caused a stir. With women liberation groups asked for a ban on Madhuri. After the not so great 'Koyla', director Rakesh Roshan stated that Madhuri could no longer play the youthful type, and continued to make unsavoury comments. Madhuris response was a dignified silence. Madhuri is on top of the league when it comes to being unaffected by what is written about her. Very rarely if ever has Madhuri retaliated to comments made about her in the press, by either journos or collegues. Prakash Jha's 'Mrityudand' (1997) ensured critical acclaim if not box-office success, Madhuri still had the fire that was shown in Tezaab, the intensity that came to light in Beta. Age, said the industry was catching up, Yash Chopra's Dil To Pagal Hai (1997), proved otherwise. A phenomenal success at the box-office, mass acceptance by the audience. Madhuri never looked better, danced better or acted better, her latest offering was indeed her best till date. Madhuri went on to win a handful of awards for her performances in Mrityudand and Dil To Pagal Hai, and even dedicated her Filmfare award to her critics. In 1998 Madhuri had only one major film to her credit CN Chandra's Wajood, unfortunately the film failed to recreate the hysteria of Tezaab (1988). 1999 it seems will be Madhuri's golden year, for an actress who rarely trends the path of unconvential roles, this year has Madhuri in a host of different characters. MF Hussain's 'Gajagamini' is an art film that has Madhuri playing arange of characters. In Boney Kapoor's 'Pukar' Madhuri's got a negative role, as well as the usual dose of triangular love stories, Madhuri's first south Indian film, 'Engineer', is a techno thriller.
Past Present & Future
THE woman with the most dazzling smile. The 'female Bachchan'. The Ek, do, teen girl. Painter Maqbool Fida Husain's muse. Madhuri Dixit - sorry - Mrs Madhuri Nene needs no introduction.
But ever since her marriage to NRI Dr Sriram Nene, critics seem to have written her off. And it didn't help matters when her last release Aarzoo bombed. For the world, Madhuri Dixit's life seems to be going downhill. Has she said goodbye to Bollywood? We'd like to think otherwise.
Madhuri Dixit's career evolved along with her talent. The actress, who once scrambled between studios working two shifts a day, slowly but surely climbed the pinnacle of success. Once there, she maintained her standards. No more working on Sundays and only four films a year.
In the makeup cabin during one of her last movies she said, "An hour before the shooting is very relaxing. I sit back and assess myself personally and professionally. I also use such times to pay attention to little details like cutting my nails or check the split ends in my hair!"
It's quite unusual to see a normally wary Madhuri being so forthcoming about personal information. "People expect stars to a breed apart. They forget that they are humans too. I'm an introvert and don't speak much but that doesn't mean I'm snooty. If I have done two shifts how can you expect me to be social?"
Although her smile can melt a thousand hearts, her forbidding demeanour has often caused people to feel that she's cold and unapproachable. She doesn't agree. "Am I supposed to get euphoric every time I meet a director, co-star or a journalist?" she concludes, irritated at the accusation.
"My family gives me enough security and warmth. I don't have to look for it outside! After achieving so much success and fame I'm apprehensive about people's motives. I want to be sure that people want to be friends with me and not my fame!"
Did you know that Madhuri once wanted to become a microbiologist? An offer from Rajshri Productions, however, changed her life. Although her first role in Abodh (1986) brought her no recognition, the same year Subhash Ghai promised Madhuri meatier roles on the condition that she stopped accepting itty-bitty parts in insignificant films. He kept his promise. Madhuri starred in Ghai's Uttar Dakshin and then in his star-studded blockbuster Ram Lakhan. Soon her jhatkas in the Ek, do, teen number in Tezab set the screen ablaze. A noteworthy performance in Dil gave Madhuri her first Filmfare award.
From 1990 onwards, Madhuri delivered a hit every year -- Saajan, Khalnayak and Prem Pratigaya.
But soon after a spate of flops, the industry grapevine had begun writing obituaries for Madhuri's 12-year career. However, the kitschy Hum Aapke Hain Kaun (1994), Hindi cinema's biggest blockbuster to date, re-established Madhuri as Heroine No 1. Madhuri mania ensured the success of Raja (1995), a film with many flaws, earning Madhuri the enviable reputation of being one of the very few actresses who could carry a film on her shoulders. Her stellar role in Prem Granth (1996) and the drop-dead gorgeous looks that she sported in Rajkumar (1996) were widely appreciated.
But both were flops. Jha's Mrityudand (1997) brought her critical acclaim if not box-office success, as did Nana Patekar's Prahaar where Madhuri, sans make-up, shocked entranced audiences. Mrityudand also won her the Screen Videocon Best Actress Award and established her as the 'thinking actress', a necessary feather in every self-respecting actress's cap. Dil To Pagal Hai, a feel good romance released in 1998, saw Madhuri raking in the mega bucks and it also fetched her the Filmfare Best Actress award.
With a rumoured Rs. 75 - 80 lakh price tag, Madhuri, until recently, was one of Bollywood's most expensive actresses Although her secretary denies this, the grapevine says she charged Rs. 2 crore for her first Tamil film Engineer. But due to the film industry's youth-obsessed standards, Madhuri was shunted down to the 'ageing star' category. Contends Honey Irani, "Madhuri must move away from the college-girl variety of roles, not because she can't pull them off, but because it was time she took on different and challenging roles."
Madhuri seems unperturbed by her descent from her No. 1 status. "For someone to be No. 1, someone has to give up the position," she points out. Would she miss the limelight? Pat comes the reply, "No I won't. Our lives come a full circle. For someone else to be No.1, someone has to give up the position. Didn't Hemaji bow out to give place to Sridevi? When I joined films I was clear I wanted to make a name, which I have done."
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