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India.com
a day ago
- India.com
Meet actress, who made her debut with blockbuster, then gave 18 flops, now in a live-in relationship with..., she is...
A striking newcomer once entered Bollywood alongside two powerhouse stars, captivating audiences instantly with her poise and presence. While the spotlight favored those leading names, she overshadowed them in key scenes, introducing herself as a force to reckon with. Who is this actress? That actress is Mugdha Godse, who made her Bollywood debut in Madhur Bhandarkar's 2008 film Fashion, co-starring Priyanka Chopra and Kangana Ranaut [1] . In Fashion, she portrayed Janet Sequeira, an ambitious supermodel navigating the highs and lows of the glamorous world — a role that earned her a Filmfare nomination and won her the Stardust Award for Breakthrough Performance. Before her acting debut, Mugdha was a successful model, crowned Gladrags Mega Model in 2002 and honored as Miss Body Beautiful. She also reached the semi-finals of Femina Miss India 2004, where she won Miss Perfect Ten. What films were done by Mugdha Godse? Fashion, she appeared in several films including All the Best: Fun Begins (2009), Jail (2009), the horror thriller Help opposite Bobby Deol (2010), and Gali Gali Chor Hai and Will You Marry Me? in 2012. Despite initial acclaim, many of her later films failed to leave a mark, and she gradually faded from mainstream cinema. Her filmography includes Help (2010), Will You Marry Me? (2012), Gali Gali Chor Hai (2012), Heroine (2012), Bezubaan Ishq (2015), Satyagraha (2013 – cameo), Ishq Ne Krazy Kiya Re (2015), Romila (short), Abhinetri (2016), Laali Ki Shaadi Mein Laddoo Deewana (2017), Bhosle (2019 – limited release), Afra Tafri, Terror Strikes Beyond Boundaries, Dhoni Kabhi Nahin Haarte, The Journey of Karma, Kaagaz Ke Fools, and Blood Story. Most of these films either went unnoticed or bombed at the box office, contributing to her long list of flops despite her talent and screen presence. With whom Mugdha Godse is in relationship with? Mugdha Godse has been in a live‑in relationship with actor Rahul Dev, who is 18 years her senior. The couple has been together for over 12 years, embracing their unconventional bond openly and receiving respect from family and followers alike. Rahul has spoken candidly about accepting the age gap, saying that happiness matters more than social norms and their relationship stands as testament to that belief. More about Mugdha Godse Mugdha remains a fitness advocate, regularly sharing her gym sessions and healthy lifestyle snapshots on social media. Though her presence on the big screen has been sparse since 2015, she continues to be vibrant and expressive in the public eye. She's also participated in reality shows such as Khatron Ke Khiladi and Power Couple, and engages actively in fashion and fitness conversations.
Indian Express
2 days ago
- Indian Express
Portrait of a writer: The refugee, ‘pagal' and Bollywood star who is bringing Manto to Pune
Lakshmi Mansion, an old building in the iconic Mall Road of Lahore, used to attract a certain kind of people, who came asking for 'Hazrat Manto'. They had turned the Indo-Pakistani writer Saadat Hasan Manto into a pir (holy man). One day, a young theatre actor from Delhi turned up at the door, looking for memories, anecdotes, and a feeling. He stayed with the family and had long conversations with them, visited the grave of Manto, and slept where the writer used to sit. 'Tum jaisa pagal nahi dekha hai koi (I have not seen a crazy person like you),' Manto's daughter, Nighat Patel, told him. The actor was Ashwath Bhatt, whose intense eyes had witnessed untold horrors in his own homeland. Bhatt was a part of the Kashmiri Pandit exodus from Srinagar in the early 1990s. As refugees, his family was struggling badly. He himself was disturbed, angry, and a mess. That's when Bhatt happened to pick up a book by Manto. 'When I read it, it just hit me out of the blue. It was like a big, big jolt. I wondered who this guy was. All I was seeing in my environment at that time of my life, if I use one word, it would be 'hypocrisy'. I related a lot to what this chap, Manto, was saying,' says Bhatt. It was also a time that Bhatt was growing into theatre, the only space where he used to forget all his insecurities and troubles and just focus on the rehearsal or whatever exercises his director had asked him to do. He did a play of a Manto story, Thanda Gosht, which was a runaway hit in Delhi. It was only a matter of time before Bhatt would think of a play that would be not only about Manto's stories but the writer himself. Ek Mulaqat Manto Se was born in 1998, whose first audiences were Bhatt's friends at the National School of Drama (NSD), India's top theatre training academy. Bhatt, though, did not stage the play publicly. He kept developing it, researching every nuance, adding and honing its details. He stayed with the story even as he graduated from NSD and was selected to join the London Academy of Music and Dramatic Art. At last, in 2002, Ek Mulaqat Manto Se opened at the Nehru Centre in London to acclaim. Bhatt, now a famous Bollywood actor based in Mumbai, will bring the play to Pune's The Box on July 26 (Saturday), 7 pm. Ek Mulaqat Manto Se is in two parts, pre-and post-Independence. The writer, who chronicled the horrors and abuse of the Partition, ensuring that the world never forgets, is at the centre of Bhatt's play. The narrative revolves around Manto's childhood, family, and friends, the persecution he faced, and his self-ridicule. It talks about Manto's depression and drinking, his time in Bollywood, before the Hindi film industry was called that, and the irony, hypocrisy, and moral decay of the society that he satirized in his works. 'Manto is known for his irreverent writing, holding up a mirror to society, especially at ugly times. He is hailed as one of Urdu's finest and most controversial writers. The performance is based on articles written by Manto,' says Bhatt. He plays Manto and addresses the audience directly in an effort to answer the question: 'Why I write what I write?' Ek Mulaqat Manto Se is being revived after five years, and Bhatt keeps adding and changing it. 'I will keep doing the play till I am dead. It will end with me, or when I am creatively dead and cannot perform,' he says. Bhatt adds that Laxmi Mansion was redeveloped for commercial establishments. 'The house was not saved or made into a foundation or preserved as a museum. What they did was give Manto the Nishan-e-Imtiaz, Pakistan's highest civilian honour, in 2012. Manto would have laughed,' says Bhatt. Dipanita Nath is interested in the climate crisis and sustainability. She has written extensively on social trends, heritage, theatre and startups. She has worked with major news organizations such as Hindustan Times, The Times of India and Mint. ... Read More
Indian Express
3 days ago
- Indian Express
Ratan Thiyam showed that the more rooted you are, the more universal you become
Written by Salim Arif It was in Lucknow that I first got to see a Manipuri production of Bhasa's Uru Bhangam, done by actors from Imphal. The person who had directed that exceptional piece of theatre was Ratan Thiyam, and the play left a huge impression on me. The combination of raw tribal intensity and lyrical visual dynamics lent the Mahabharata-based text a new vigour and sensitivity rarely seen in Indian theatre. For me, Thiyam became a director to follow. It would be later that he would become a friend and mentor. Indian theatre, then, was finding its idiom with the incorporation of elements of traditional performing arts in contemporary plays. Hayavadana, Ghashiram Kotwal, Charandas Chor, Ala Afsar were part of this new trend of using traditional folk and classical art embellishments in theatre. Habib Tanvir, BV Karanth, KN Panikkar were creating exciting productions that inspired several young directors to follow suit. Ratan Thiyam was one of them. A painter and a poet, what made him different was his keen understanding of the traditional performing art forms of Manipur and a unique visual sense. Thiyam's parents were acclaimed Manipuri dancers, and Ratan da, (as I called him) imbibed the delicate nuances of dance form and music before he joined the National School of Drama (NSD) in 1971. He was also an expert thang-ta (the vigorous sword fight of Manipur) practitioner. The training under Ebrahim Alkazi at NSD opened a whole new world of visual and performing arts for him. Yakshagana, kathakali, tamasha, bhavai, nautanki, as well as kabuki and noh were all part of the training exposure. These were complemented by regular visits to art galleries and film festivals. He also acted as Yuyutsu in Alkazi's ambitious Andha Yug, done in kabuki style and staged at the Purana Qila open-air theatre — a role he got, he was fond of saying, because of his ability to run and climb the steep stairs of the ancient fort. Ratan da understood the value of a culturally rooted theatre during his days at NSD. He learnt the importance of stagecraft — of a well-mounted production with aesthetically used colour schemes, spectacular visuals created with the precise use of lights and aural texture — under Alkazi's watchful eyes. These would become his hallmark in plays like Uru Bhangam, Karnabharam, Chakravyuha, Ritusamhara, Uttar Priyadarshi, to name a few. Like Akira Kurosawa, Thiyam assimilated the narrative traditions of Greek and Japanese theatre and our own Natyashastra to create a spectacular body of work. After graduating from NSD in 1974, Ratan da opened his Chorus Repertory Theatre in Imphal, his hometown, in 1976 and started to groom actors. By 1978, he was touring with his plays to far-off places across the country. It was in January 1984 that we, as third-year students of NSD, went to Imphal to work with Ratan da for three months and do a production of Andha Yug using Manipuri art forms. Those three months gave us an insight into how Ratan da kept his theatre going in difficult conditions. Those were the days of insurgency, and curfew was imposed by 6 pm every evening. Working with Petromax lanterns, without electricity or basic facilities, we were kept away from the city in a camp created on the land where his repertory stands today. It was an open field near a pond, and each day we were shown several performances and learnt from various gurus in that space. Afterwards, all these elements would come together in our production of Andha Yug. At the time, the only access to the outside world was the evening newspapers that came from Calcutta by air, and we would rush to get them and return before curfew set in. This was the way his actors were trained for years, and we were only following the pattern. It was remarkable that all the props, costumes and accessories were also made by his team, some of whom would also cook for us. The financial support that Ratan da got for his company as a grant was not much, and he subsidised it by hiring out light and sound equipment to others and getting some additional money for his team. Since that trip, Ratan da remained a life-long mentor and a friendly elder who would look me up whenever he was in Mumbai. I still remember his calls after he saw my work in Bharat Ek Khoj, Mirza Ghalib and Chanakya. I would also look forward to opportunities to visit Imphal to meet him. Ratan da became the director of NSD in 1987 for two brief years. Before he left, he organised a much-awaited convocation that had batches from 1974 to 1986 return to take their diplomas from Alkazi, who agreed to come back for the occasion. It was interesting to see Ratan da take his own diploma certificate — signed by himself — from Mr Alkazi. Later on, as the chairperson of NSD, he was responsible for getting the Theatre Olympics to India in 2017-18. Ratan da put Manipuri theatre on the world stage. After Habib Tanvir, he remains the most acknowledged and awarded of Indian theatre practitioners abroad. Like Habib saab, he brought a socially conscious worldview to his plays. But unlike Habib saab, his plays were created in difficult political circumstances. The yearning for peace amidst Manipur's political turmoil remained a lasting theme, often layered under the spectacles he created on stage. The fusion of a strong regional sensitivity with a modern sensibility will remain Thiyam's lasting legacy, proving that the more rooted you are, the more universal you become. The writer, an NSD alumnus, is a theatre practitioner and costume designer
