Meet actress who worked with Akshay Kumar, Govinda, Salman Khan, was once slapped by Rekha, quit acting at peak of her career due to..., is now...
This actress worked with several big names such as Akshay Kumar, Govinda, Salman Khan, and more. However, despite giving power-packed performances, this actress' fate had something else for her. Let us tell you we are talking about none other than Aarti Chabria.
Aarti made her Bollywood debut in 2001 with the film Lajja. It was a star-studded film with actors like Rekha, Madhuri Dixit, Mahima Chaudhary, Sonali Bendre, Jackie Shroff, Ajay Devgan, Danny, and Gulshan Grover.
As per media reports, during the shoot of the film, Rekha was supposed to slap Aarti multiple times. When the shot got over, it sent shockwaves to Aarti and it became tough for her to digest that she was slapped so many times. Rekha and Rajkumar Santoshi then explained the concept behind the shot to her, which finally made her feel at ease.
Aarti had been a part of several films including Nakul Kapoor in Tum Se Achcha Kaun Hai, Akshay Kumar in Awara Paagal Deewana, Govinda in Raja Bhaiya, and Salman Khan in Partner. Over the years, she gained major prominence in the industry.
However, what followed next shook everyone. Despite all the films, Aarti was never considered among lead actresses. Soon she decided to distance herself from Bollywood.
Aarti got engaged to Australia-based chartered accountant Visharad Beedassy in Mauritius. Later in 2019, the couple decided to get married and tied the knot in 2019. After 5 years of the wedding, the couple were blessed with a son.
Now, Aarti is away from the world of glitz and glamour, but enjoys a massive fan base on social media.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Hindustan Times
a day ago
- Hindustan Times
Reframing the courtesan: Umrao Jaan
Watching Muzaffar Ali's Umrao Jaan restored by the National Film Archive of India was like taking a peek at a favourite Banarasi saree, one that has carefully folded in mulmul wrap, still fresh with the memory of when you last wore it. Rekha in and as Umrao Jaan. (HT Photo) A cinematic classic, the film which returned to theatres 44 years after its original release in 1981, lets the contemporary audience revisit the bygone world of tawaifs in its full complexity. Set in Faizabad and Lucknow of the 1840s, this period drama is about a distinct group of independent women performers who ushered in a unique salon culture during the 18 and 19th centuries. Connoisseurs of the fine life and all its trappings including dazzling jewellery and exquisite silks and brocades, they were often highly cultured and more educated than the average woman of their times. Some played an active role in resisting colonial rule and were active during the Uprising of 1857. Umrao Jaan is centred around the life and times of Umrao Jaan Adaa, one such famed tawaif of Lucknow. The screenplay is adapted from Mirza Hadi Ruswa's semi biographical Urdu novel of the same name. The story of Amiran, a young girl who is kidnapped and sold to kotha owner Khanum (Shaukat Kaifi) and who goes on to become a sought after tawaif – a role assayed to perfection by Rekha – recreates the feudal, decadent society of the period. While her talent makes Umrao Jaan a performer who is much sought-after, she is also repeatedly abused as a bazaari aurat, a woman outside the pale of polite society. A reflective Umrao reminiscences about all that's happened to her: the kidnapping that was a result of a criminal neighbour wreaking revenge on her father, arriving at the kotha, her most intense but failed relationship that has left her broken... It tells of how the talented performer and versatile poet was straitjacketed by patriarchy into being a mere object of desire and little else. Rekha and Farooq Sheikh in Umrao Jaan. (HT Photo) What makes Umrao Jaan beautifully distinct is its near tactile quality with the evocation of historical elements like a gentle silken pashmina draped around the neck never poking the skin. It can be interpreted as a romantic film, a musical about a woman's quest for dignity, a tale about heartbreak, all of which are intertwined strands much like Umrao's beautiful silk parandis onscreen. A cinema of loss, longing, and introspection, it has the protagonist asking the big question, 'Who Am I?' even as she faces a string of harsh life situations. The many poignant scenes with Umrao looking into the mirror transforms the mirror itself from mere prop to vital metaphor. Muzaffar Ali's direction presents the historical moment and the unique ethos of the courtesan's world without overtly glamourising or underplaying it (as in the recent HeeraMandi). His approach ensured that Umrao Jaan was part of the rich list of authentic period films of the era like Junoon (1978) and Shatranj Ke Khilari (1977), which also continue to get better with each viewing. Its continued resonance can be attributed to the excellent Urdu dialogues by Shama Zaidi, Javed Siddiqi, and Ali himself, the sublime song lyrics by Shahryr, Subhashini Ali's painstaking costume design that included heirloom jewellery (now back in fashion), and Ali and Bansi Chandragupta's production design. Though Ali, unlike Shyam Benegal or Satyajit Ray (directors of Junoon andShatranj Ki Khiladi, respectively) isn't too invested in actual history, he employs an element of historicity via the fiercely anticolonial rebel-dacoit Faiz Ali (Raj Babbar). Rebel-dacoits were, of course, involved in the resistance against British rule that emerged after the annexation of the Kingdom of Awadh in 1856, which itself fanned the flames of the conflagration that was the Uprising of 1857. Muzaffar Ali, director of Umrao Jaan (Gokul VS/Hindustan Times) Faiz Ali creates a beautiful twist in the storyline towards the end. Unlike the other men in her life, he accepts Umrao for who she is, a powerful woman. In his company, she is at her gutsy best. His brief presence in her life turns her towards reinventing herself as she walks away from the Lucknow kotha. For the contemporary viewer, Umrao's story is 'modern' and the film's logline could read: 'a successful woman, baffled by existential questions, tries to find herself as she navigates the world'. This is not far off the mark. Ali used elements of love and loss but adds the angle of introspection to open the narrative to more than one generation. This means Umrao Jaan transcends the labels of historical drama or tawaif film. The exploration of her search for identity and her evident dignity helps Umrao's character emerge as a sensitive, emotionally mature and creatively accomplished woman who is not just an 'object of desire' like Zohra in Muqqaddar Ka Sikandar (1978) or so many other depictions of tawaifs as mere gaane,bajanewalis. Pertinently, the pejorative term was coined by the colonial administration to maintain their civic tax ledgers and is a perverse interpretation of salon culture. Viewed almost four-and-a-half decades after it was made, Umrao Jaan remains as fresh as ever. Nilosree Biswas is an author, filmmaker, columnist who writes about history, culture, food and cinema of South Asia, Asia and its diaspora.
Pink Villa
3 days ago
- Pink Villa
Maaman Ending Explained: Why did Soori's Inba decide to stay away from his nephew despite loving him?
Disclaimer: This article contains spoilers. Maaman, starring Soori in the lead role, hit the big screens on May 16, 2025. Following its theatrical run, the movie became available for streaming on the OTT platform, ZEE5, from August 8, 2025. If you've watched the movie and are still confused about its ending, here's a quick explainer for you. What is Soori starrer Maaman about? Maaman begins in a village near Trichy, where Inba's (played by Soori) sister, Girija, is constantly taunted by her in-laws for her inability to bear a child. After 10 years of medical treatment and continuous prayers, Girija finally gets pregnant. During this joyous time, Inba takes extraordinary care of his sister, which even catches the attention of her gynecologist, Rekha. Impressed by his selflessness, Rekha develops feelings for him and eventually falls in love. Girija gives birth to a baby boy, Nilan, affectionately nicknamed Laddu. Inba becomes extremely protective of his nephew and does everything to fulfill the child's wishes. As years pass, Inba and Rekha (Aishwarya Lekshmi) decide to tie the knot, despite her parents having reservations. After their marriage, Laddu proves to be a precocious and often demanding presence in their lives. Initially, Rekha brushes it off as typical childhood behavior, but over time, she grows increasingly frustrated due to the lack of privacy and space in her relationship with Inba. Even their planned honeymoon gets canceled due to Laddu's antics. This leads to an argument between Inba and Rekha. Though they appear to resolve it, tensions continue to build. The situation worsens when Girija (Swasika) mishears Rekha referring to her son as 'mental,' when, in fact, she meant Laddu was simply hyperactive. Feeling insulted, Girija creates a rift and kicks out Inba and his wife from her son's ear-piercing ceremony. Around the same time, Rekha receives a transfer order to Madurai. Inba agrees to move out of Trichy to start fresh and bring a balance to his life. What happens after Inba moves to Madurai? After moving to Madurai, Inba and Rekha finally find time for themselves, and Rekha becomes pregnant. However, she soon discovers that Girija has told Laddu that Inba has died, hoping to help the boy cope emotionally and avoid distress. Shocked by this, Rekha demands that Inba completely cut ties with his sister's family, making him swear on their unborn child. But things turn dramatic when Girija, her husband, and Laddu are involved in a serious accident, prompting Inba to visit them, breaking his promise to Rekha. Feeling betrayed, Rekha accuses Inba of prioritizing his sister over their own relationship and decides to end their marriage. Eventually, Rekha gives birth to twins, and Girija meets her to apologize. Later, Laddu visits Rekha and the babies, admitting that his behaviour has caused many of the problems. He asks for forgiveness. Moved by Laddu's heartfelt apology, Rekha decides to put her differences aside and reunite with Inba. He, in turn, promises to find a balance between his love for his wife and his family. ALSO READ: 'Ram Charan 200': Upasana explains the special meaning behind her husband's contact name
Time of India
3 days ago
- Time of India
Rekha's shot for 'Kaisi Paheli on the same set as Amitabh Bachchan's 'Kaun Banega Crorepati', reveals composer Shantanu Moitra: 'She called me to meet, I was stunned'
Vidya Balan 's debut film 'Parineeta' recently completed 20 years. The film was directed by Pradeep Sarkar who passed away in 2023. The film not only made Vidya's career but it was also life-changing for music composer Shantanu Moitra who got a lot of praise for it. The film's music was appreciated widely and Rekha also made a cameo in a song, 'Kaisi Paheli' for which she got immense love. She proved yet again that she's an icon for a reason. In a recent interview, Moitra has recalled his meeting with Rekha which left him awestruck. He revealed that incidentally, the song was shot at the same place where right now Amitabh Bachchan 's 'Kaun Banega Crorepati' is being shot. He said in an interview with Radio Nasha, 'When I found out that Rekha ji was doing 'Kaisi Paheli', I was like, 'Wow'. But let me tell you a story about that. I got a call from Pradeep Sarkar. He called me to the set for the song's shoot. But I was working on some other songs at the time, so I told him that I was busy. He said that Rekha ji wanted to meet me. I was stunned. They took me to her makeup room. They were shooting the song in the same set where they shoot Kaun Banega Crorepati these days. This was the first time I'd been inside a makeup room, and it had those light bulbs around the mirror. Back to camera, the diva was sitting.' Shantanu added, 'She looked around and asked, 'You've made the song? It's amazing, I hope I can do justice to it. I have a small request. I would like you to stay for the shoot.' She was talking to a first-timer, I will never forget it. She would occasionally make eye-contact with me, as if to ask if it was going alright.' by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like This Independence Day, Support India's Elders HelpAge India Donate Now Undo He praised the director painstakingly crafted storyboards, and said that every single shot was designed in advance. Recently, Rekha has spoken about the experience of doing the song. She was quoted by IANS, "'Kaisi Paheli' was not just a song, it was a mood, a vibe, and a metaphor for life. The song was so atmospheric; it reminded me of the time gone by and a certain enigma of a woman who owns her narrative.' She added, 'Even 20 years ago, it stood out; the composition was rare, and the poetry was unlike most songs of that time. As I stepped onto that jazz club set, I became the jazz singer. Even today, when I hear the song, it brings a smile… It's one of those Pahelis you never want to solve; you just want to live it.' The music and lyrics were special when the film came out, and they still feel fresh today.
