Date of Birth
2 October 1942, Bangalore, India Nickname
Jubilee GirlTomboy
Mini Biography
Asha Parekh was born in a middle-class Gujarati household to a Hindu father, Pranlal Parekh, and a Muslim mother Sudha Parekh on October 2, 1942 in India. Since she was an only child, she became the center of her parents' lives. Her mother enrolled her in classical dance classes at an early age, and Asha excelled at dance to the point where she performed at stage shows. Famed film director Bimal Roy saw her dance at a stage function and cast her at the tender age of ten in Baap Beti (1954). The film's failure disappointed her, and even though, she did a few more child roles, she quit to resume her schooling. At sixteen, she decided to try acting again and make her debut as a heroine, but director Vijay Bhatt fired her from Goonj Uthi Shehnai(1959) claiming she wasn't star material. Almost immediately, film producer S. Mukherjee and writer-director Nasir Husain cast her as the heroine in Dil Deke Dekho(1959) which made her a huge star. Shammi Kapoor became her favorite hero and friend, and they starred in three more films, the most famous being the murder mystery "Teesri Manzil" (1966). The film also led to a long and fruitful association with Nasir, and he cast her as the heroine in six more films.
Her fame gave her enough leverage to get producers to hire her mother Sudha Parekh to design her costumes for most of the films that she starred in. A fallacy that surrounded her was that she was generally considered a glamorous dancer/tomboy and not a serious actress until director Raj Khosla cast her in the tragedienne role in the hit film Do Badan(1966). The truth was directors and audiences knew early on that she had genuine acting talent. She easily compensated for non-actors like Joy Mukherjee and Biswajit, and she held her own against acting giants like Ashok Kumar. Important directors were casting her and repeating her in their films, but Asha also brought out jealousies from her female co-stars. Simi Garewal claimed that Asha tried to cut her part down in "Do Badan", but Asha insisted that she never did that, and as proof, she showed that Simi won the Filmfare Award as Best Supporting Actress for the film. The "Do Badan" team also stood by Asha, especially the director Raj Khosla who later cast her in three more films. Her leading man Manoj Kumar soon directed and starred opposite her in his blockbuster "Upkar" (1967), which also won the Filmfare Best Picture Award. Although Asha earned the title "Jubilee Girl" because of the continuous string of box office successes, such as Ziddi (1964), Shikar (1968), Aan Milo Sajna (1970), she also hit a rare bump with Raj Khosla's Chirag(1969). But she also earned her first Filmfare nomination as Best Actress for the film, and Khosla didn't blame her for the film's failure and in fact, cast her soon again and came up with a huge hit, Mera Gaon Mera Desh(1971).
However,success brought controversy. Once again, a female co-star claimed that Asha cut her role down in the film. This time, Asha confronted Padma Chayya directly and told her to think before she spoke as Padma got twice the number of songs than Asha did in Mera Gaon Mera Desh. Aruna Irana allegedly said that Asha reduced her role in Nasir Husain's box-office smash "Caravan" (1971), but facts back up Asha that she would never cut another performer's role, as Aruna had more songs than Asha, and she received a Filmfare nomination, while Asha wasn't nominated for the film at all. However, Asha did win the much coveted Best Actress Filmfare Award for Shakti Samantha's Kati Patang (1970). She played a deglamourised woman in a white sari pretending to be a widow whose vulnerable smile hides a painful past. Asha was thrilled when she won the award, but Mumtaz, her box-office rival and former co-star from "Mere Sanam" and "Bhai Bhai", complained that she was more deserving for her own performance in "Tere Mere Sapna".
Asha was hitting the heights of fame and glory even though she was now 30, an age where heroines normally would pack it in. But her passion for dancing sent her abroad on a extended trip to do dance shows and as a result, turned down important film roles. When she came back in 1973, she found that a younger and bolder breed of heroines like Hema Malini and Zeenat Aman got those roles and now ruled the roost. Asha focused on her distribution concern which she had started with Nasir Husain when he directed her in the film Baharon Ke Sapne (1967) and would continue to do so for twenty one years. She also threw herself in her charity work, even having a Santa Cruz hospital named after her. She lived with her parents in her beautiful seaside bungalow, whose innovative design drew a lot of attention. Asha's passion with dance continued and her performance of famous dance ballets like "Chauladevi" won her acclaim. She did supporting roles in films, garnering Filmfare nominations as Best Supporting Actress for Udhar Ka Sindoor (1976) and Raj Khosla's massive hit, Main Tulsi Tere Aanghan Khi (1978), which also won the Filmfare Award as Best Film. But the rest of her supporting roles as mother and bhabhi (sister-in-law) disenchanted her, with the exception of her strong performance in "Hathyar" (1989). And her back problems forced her to give up doing dance shows.
But she found a new passion, directing television serials such as the hugely popular Kora Kogaz in the early 90's, which convinced her to give up acting permanently in 1995. She formed her production company "Akruti," through which she produced and directed television serials. However, her acting accomplishments were not forgotten as she received the Filmfare Lifetime Achievement Award in 2002. After her mother's death, she sold her huge bungalow and moved into a smaller place to take care of her ailing father until he, too, passed away. She never married and has not had any affairs with her many heroes, claiming that her reputation of being unapproachable probably intimidated men. In her later years, Asha admitted that she did have a long relationship with her boyfriend and that "it was nice while it lasted." Now, Asha devotes all her time to her hospital and other humanitarian efforts. She also has set up a dance academy "Kara Bhavan," which has produced many skilled and talented dancers. In 2009, she was seen judging dances on her own television show. Today, Asha says that she is very flattered to know that she has fans all over the world.
Her fame gave her enough leverage to get producers to hire her mother Sudha Parekh to design her costumes for most of the films that she starred in. A fallacy that surrounded her was that she was generally considered a glamorous dancer/tomboy and not a serious actress until director Raj Khosla cast her in the tragedienne role in the hit film Do Badan(1966). The truth was directors and audiences knew early on that she had genuine acting talent. She easily compensated for non-actors like Joy Mukherjee and Biswajit, and she held her own against acting giants like Ashok Kumar. Important directors were casting her and repeating her in their films, but Asha also brought out jealousies from her female co-stars. Simi Garewal claimed that Asha tried to cut her part down in "Do Badan", but Asha insisted that she never did that, and as proof, she showed that Simi won the Filmfare Award as Best Supporting Actress for the film. The "Do Badan" team also stood by Asha, especially the director Raj Khosla who later cast her in three more films. Her leading man Manoj Kumar soon directed and starred opposite her in his blockbuster "Upkar" (1967), which also won the Filmfare Best Picture Award. Although Asha earned the title "Jubilee Girl" because of the continuous string of box office successes, such as Ziddi (1964), Shikar (1968), Aan Milo Sajna (1970), she also hit a rare bump with Raj Khosla's Chirag(1969). But she also earned her first Filmfare nomination as Best Actress for the film, and Khosla didn't blame her for the film's failure and in fact, cast her soon again and came up with a huge hit, Mera Gaon Mera Desh(1971).
However,success brought controversy. Once again, a female co-star claimed that Asha cut her role down in the film. This time, Asha confronted Padma Chayya directly and told her to think before she spoke as Padma got twice the number of songs than Asha did in Mera Gaon Mera Desh. Aruna Irana allegedly said that Asha reduced her role in Nasir Husain's box-office smash "Caravan" (1971), but facts back up Asha that she would never cut another performer's role, as Aruna had more songs than Asha, and she received a Filmfare nomination, while Asha wasn't nominated for the film at all. However, Asha did win the much coveted Best Actress Filmfare Award for Shakti Samantha's Kati Patang (1970). She played a deglamourised woman in a white sari pretending to be a widow whose vulnerable smile hides a painful past. Asha was thrilled when she won the award, but Mumtaz, her box-office rival and former co-star from "Mere Sanam" and "Bhai Bhai", complained that she was more deserving for her own performance in "Tere Mere Sapna".
Asha was hitting the heights of fame and glory even though she was now 30, an age where heroines normally would pack it in. But her passion for dancing sent her abroad on a extended trip to do dance shows and as a result, turned down important film roles. When she came back in 1973, she found that a younger and bolder breed of heroines like Hema Malini and Zeenat Aman got those roles and now ruled the roost. Asha focused on her distribution concern which she had started with Nasir Husain when he directed her in the film Baharon Ke Sapne (1967) and would continue to do so for twenty one years. She also threw herself in her charity work, even having a Santa Cruz hospital named after her. She lived with her parents in her beautiful seaside bungalow, whose innovative design drew a lot of attention. Asha's passion with dance continued and her performance of famous dance ballets like "Chauladevi" won her acclaim. She did supporting roles in films, garnering Filmfare nominations as Best Supporting Actress for Udhar Ka Sindoor (1976) and Raj Khosla's massive hit, Main Tulsi Tere Aanghan Khi (1978), which also won the Filmfare Award as Best Film. But the rest of her supporting roles as mother and bhabhi (sister-in-law) disenchanted her, with the exception of her strong performance in "Hathyar" (1989). And her back problems forced her to give up doing dance shows.
But she found a new passion, directing television serials such as the hugely popular Kora Kogaz in the early 90's, which convinced her to give up acting permanently in 1995. She formed her production company "Akruti," through which she produced and directed television serials. However, her acting accomplishments were not forgotten as she received the Filmfare Lifetime Achievement Award in 2002. After her mother's death, she sold her huge bungalow and moved into a smaller place to take care of her ailing father until he, too, passed away. She never married and has not had any affairs with her many heroes, claiming that her reputation of being unapproachable probably intimidated men. In her later years, Asha admitted that she did have a long relationship with her boyfriend and that "it was nice while it lasted." Now, Asha devotes all her time to her hospital and other humanitarian efforts. She also has set up a dance academy "Kara Bhavan," which has produced many skilled and talented dancers. In 2009, she was seen judging dances on her own television show. Today, Asha says that she is very flattered to know that she has fans all over the world.
Trivia
Acted as a child in small roles.
Top Hindi Film Heroine from 1959 to 1973. She has the distinction of being one of the few heroines who had the most box-office hits in a male-dominated film industry.
Director Vijay Bhatt fired her from her debut film as a heroine in "Goonj Uthi Shehnai" (1959) claiming she wasn't star material. Almost immediately, director Nasir Hussain cast her in "Dil Deke Dekko" (1959) opposite Shammi Kapoor, which made her a star.
Never married, Asha says her reputation of being unapproachable probably made people hesitate in asking for her hand in marriage.
Producer-Director Nasir Hussain found Asha to be so professional that he cast her as the heroine in seven films: Dil Deke Dekko (1959), Jab Pyar Kisse Hota Hai (1961), Phir Wohi Dil Laya Hoon (1963), Teesri Manzil (1966), Baharon Ke Sapne (1967), Pyar Ka Mausam (1969), and Caravan (1971).
Nasir Hussain gave her a cameo in their eighth film together, Manzil Manzil (1984).
Claims she didn't have affairs with her leading men but loved playing pranks on them.
As a classically trained dancer, she did stage shows from childhood to middle-age.
Shammi Kapoor is her favorite leading man, and although they played a romantic pair in their four films together, he never made a pass at her in real life and always called her "bhatiji" (niece), while she called him "chacha" (uncle).
In her eagerness to devote more time to do dance shows, she turned down film roles that made stars out of others.
Although, Shammi Kapoor was her favorite leading man, and she also liked working with his younger brother Shashi Kapoor, her dream was to work with the eldest Kapoor brother Raj Kapoor. But it was a half-realized dream because the film that she made with him, "Chor Mandali" (1982) never got released.
Her personal favorite films are Do Badan (1966), Chirag (1969), Kati Patang (1970), Pagla Kahin Ka (1970) and Main Tulsi Tere Aangan Ki (1978).
Her favorite song that was picturized on her is "Jayiye aap kahaan jaayenge" from the film Mere Sanam (1965), sung by Asha Bhosle.
In addition to Nasir Hussain, seven major directors cast Asha more than once due to her immense talent, beauty, and professionalism: Pramod Chakravorthy, Vijay Anand, Raj Khosla, Raghunath Jhalani, Mohan Segal, Shakti Samanta, and J.P. Dutta.
From 1998 to 2001, Asha was the first woman in history to be appointed as the chairperson of the Central Board of Film Certification ("film censor board") for which she received no salary but plenty of controversy, because she requested that many films be censored.
She gave up acting in 1995 to concentrate on her passion of directing television serials, of which she had done many.
She was the president of the Cine Artistes' Association from 1994-2000, and later said that it was time consuming, difficult, and ultimately a "thankless job."
The Asha Parekh Hospital in Mumbai is named after her, because of her many humanitarian contributions.
She is the treasurer of the Cine Artists' Welfare Association Trust(CINTA), which is a home for many film and television artistes fallen on bad days.
Began a highly successful career as a television director in the early 1990s with a Gujarati serial "Jyoti." Her production company, "Akruti", has come out with television serials "Palash ke Phool", "Baaje Payal", "Kora Kagaz" and a comedy "Dal Mein Kaala."
Was recognized as the first Gujarati to become a superstar in Hindi films, and at the height of her fame, she paid tribute to her Gujarati heritage by starring in her first Gujarati film, "Akhand Saubhagyarati" (1963), which became a big hit. Coincidentally, the title "Akhand Saubhagyarati" would be used for a Gujarati television serial that Asha produced in 2005.
Asha claims that she starred in a "very sweet film" with Shashi Kapoor titled "Sweetheart," (1970) directed by Suraj Prakash and written by Brij Katyal, but it was never released. (She also appeared in another unreleased film "Jaane Janna", again with Shashi Kapoor, in the 1980's, where she had a supporting role.).
She claims to be a bad cook and doesn't like salads, because they remind her of diets.
She said that although it is difficult to be a woman director in the television industry, she has no problem commanding respect from everyone on the set when she is shooting television serials.
When Asha was shooting for films, she would always carry her food from home. Her heroes Shammi Kapoor, Shashi Kapoor, and Rajesh Khanna looked forward to eating her fried fish and Goan fish curry.
Asha has formed a group of five other actress friends to ease loneliness, so she,Sadhana, Nanda, Waheeda Rehman, Shammi, and Helen meet regularly at each other's homes to chat, have lunch, or watch a movie. Asha has urged other retired performers to do the same before it's too late as nothing is more therapeutic in life than companionship. In 2013, she, Waheeda, and Helen went on a 10-day Scandavian cruise, but Nanda, Sadhana, and Shammi couldn't join them because of poor health.
She received the 7th International Indian Film Academy Award for outstanding achievement in Indian cinema on June 16, 2006 in Dubai. She was chosen unanimously by the advisory board for her status as an industry icon, and for her career as actress, producer, director, and also having been the first female chairperson of the Indian film censor board.
She received two Lifetime Achievement Awards in 2007: One from the Fifth Annual Pune International Film Festival in India, and the other from the Ninth Annual Bollywood Awards in New York, USA.
Is a fan of actor Dilip Kumar and was disappointed when they didn't get to act together in a film, although they came close with the film _Zabardast(1985)_ for her frequent director Nasir Husain.
Shatrughan Sinha made his debut in a small role in Sajan (1969), which starred Asha. He stopped talking to her because of a comment she made on the set, and he continued to ignore her in their next film together Heera (1973). Many years later, he felt that his behavior was immature and started talking to her again, and said that she was "very gracious about it". In 2010, he said that they are very cordial to each other.
Although actress Sharmila Tagore claimed that she was first offered Kati Patang (1970), a claim confirmed by the film's director Shakti Samanta, Asha denied that she was ever second-choice for the role that won her the Filmfare Best Actress Award.
All five of her films with actor Dharmendra were hits. She denied an affair with the handsome actor with the ladies man reputation by stating that "I drew the lines in our friendship quite clearly".
Unlike her favorite hero Shammi Kapoor, she rarely attended musical recordings of her films and was amazed and flattered that music composers and lyricists still wrote beautiful songs for her.
Didn't want to act in the film "Baharon Ke Sapne" (1967) for her longtime director Nasir Hussain, but he talked her into it. She had a lot of fun with her then-unknown leading man Rajesh Khanna, but by the time she worked with him again on Kati Patang (1970)and Aan Milo Sajna (1970) he had become a huge star, and they didn't have time to have fun. She didn't work with him until much later in Dharm Aur Qanoon (1984), when they played character roles, but she maintained that Khanna was always okay with her.
Had a complicated working relationship with Manoj Kumar. In their third film together, Manoj was not only the hero of "Upkar," but also the writer and director. He shushed Asha when she complained about the number of takes for a very early morning shot. She got upset and stopped talking to him. She didn't attend the film's premiere, even though the film's critical and box office success raised her asking price. However, she agreed to act with Manoj in their last film together "Sajan" (1969) at which time they started talking again. In 2009, she referred to him as a "very intelligent person". And in 2012, he attended her 70th birthday party.
I.S. Johar came to her with a film offer, but director Vijay Bhatt told her to turn down the offer as he had cast her in Goonj Uthi Shenai (1959), but he soon fired her and she was without work until she was cast in Dil Deke Dekho (1959), which made her a star.
Claims to have turned down Yaadon Ki Baaraat (1973) for her longtime director Nasir Hussain that Zeenat Aman later accepted.
Claims to have turned down hit films that Hema Malini later accepted, such as Sharafat (1970) and Seeta Aur Geeta (1972), the latter earned Malini the Filmfare Best Actress Award.
Turned down hit films that Sharmila Tagore later accepted: Kashmir Ki Kali (1964), An Evening in Paris (1967), Aradhana (1969) (Tagore won Filmfare Best Actress Award), and Choti Bahu (1971).
Her first hero Shammi Kapoor initially wanted actress Waheeda Rehman to be his heroine for "Dil Deke Dekho" (1959) but agreed to meet Asha and saw that she was reading Harold Robbins' novel "The Carpetbaggers." He told the then sixteen-year-old that she was too young to be reading such a racy novel, and she cheekily responded, "Yes Chacha (Uncle)." And they hit it off immediately. For the rest of their lives, he called her bhatiji (niece) and she called him chacha (uncle).
She beat out a then-unknown Sadhana for her breakout role in the hit film "Dil Deke Dekho" (1959). But Sadhana soon got her big break with the hit "Love in Simla" (1960) and found a husband on the set, the film's director R.K. Nayyar.
Before Asha became a star with "Dil Deke Dekho" (1959), she shared scenes with Madhubala (the biggest female star in Hindi films) in "Jwala". Since Madhubala fell ill, the film was shelved. When she died in 1969, Asha attended her funeral and paid her last respects. "Jwala" resumed with various actresses doubling for Madhubala and was released two years after her death in 1971.
Asha Parekh was one of the highest paid actresses of her time.
She is fluent in several languages: Gujarati (her mother tongue), Hindi, and English. She had also delivered Punjabi dialogue in some regional films.
Personal Quotes
When asked if there was a special man in her life: "Of course there was. I'm a normal woman. I may be a nice maiden. But I'm certainly no ice maiden."
When asked if she missed having a family of her own: "There was a time when I did. Now, when I see so many marriages on the rocks, I feel I'm better off unmarried. So many couples are together because they have no choice."
Explaining her decision to stop acting in films: "No more bhabhi or mother roles for me. I can't bear to see myself sobbing for some undeserving male who's out busy fighting the goons while I make his favourite dishes in the kitchen. I'd rather be out there doing all the 'dishum dishum'."
Her respect for non-Indian films: "At least they are focused, compact and have emotions. No dhishum dhishum or five songs just to move the negligible storyline. . .I wish [Indian] films today were not copies of foreign film. There are good Hindusthani topics to pick from."
I share my birthday with that other far, far greater Gujarati, Mahatma Gandhi. But unlike him, I was anything but a peace ambassador. Whenever I entered the studio everyone would run for cover.
Today's songs are not very melodious. When you have a romantic song how can you have 100, 200 boys and girls dancing behind, where do they come and go, it looks very funny to me. Also the way of picturising a romantic song has lost its meaning. I may be totally wrong, but when we had these romantic songs, there was a story to tell in that song, whereas right now there are all exercises and aerobics going on.
[on whether she regretted not having a husband and children] I don't think so. There was a time when I did want to get married. I used to love children, I still love children. But now I feel that I am happy I am not married and don't have kids because I don't think I would have been able to cope up with them.
[commenting on the lasting popularity of her film "Teesri Manzil" (1966) in 2012] It was a hit film. It had beautiful music. And it was a fun film. It was fun working because I think Mr. Vijay Anand was one of the most fantastic directors we ever had.
I enjoyed working all these directors and it's difficult to pinpoint any one of them. But I enjoyed working with Mr. Vijay Anand because technically he used to make fabulous films. His camera-work was absolutely mind-blowing. The way he used to shoot, the way he used to take his shots was fabulous.
Salary
| Mera Gaon Mera Desh (1971) | 3 lakhs |
Where Are They Now
(October 2002) Threw a big bash to celebrate her 60th birthday attended by former co-stars, admirers, colleagues, politicians, and friends.
(October 2012) Celebrated her 70th birthday by throwing a big bash, attended by some of the biggest stars in Hindi films.