Urvashi is the ultimate figure queen. She has large legsm flat belly, really large buxom bobs and a turn on face.
Huma Qureshi is incredibly beautiful. Although she started out as a character actress, she has discovered the raw power of her body lately and starting to take off as a glamourous sexy actress.
Her frame is large, her face is beautiful yet erotic. Her forearms ripple with toned flesh. She has large spherical, upright and bold breasts that laugh at the world as they bounce around gently as she walks, Her belly is tight and flat a characteristic she shreds with Tabu.
The most stunning aspects are her legs. They are strong, large, toned and shapely. She is making it a point to show off her awesome thighs in this picture:
Huma has a lovely curved back, large boom tits, incredible fleshy arms and strong calves. Take a loo at the picture below:
I remember Sridevi evoked a kind of arousal that was very different from what one felt towards other actresses of the time. While one fantasized on the sharp features, lustrous hair and erotic long fingers of Rekha, or on the sharp features and round curves of Hema Malini, the large, electric round eyes and wedge-shaped lips of Madhavi, or even the the smooth, generous, tight, dark oily-skinned flesh and massive and mighty upper body and midriff of Radha, or the taunting eyes and full, out-of-this world lips of Ambika, Sridevi’s appeal was all encompassing and divine.
Sridevi’s body was so incredibly beautiful, including every single part and every organ and micro organ. Her hands were long, her upper arms were strong and toned, her forearms tapering and round, her fingers long and curved like a sickle, fleshy at the right places yet flowing like a river. Her nails were long and seemed always manicured naturally. Her face was round and her eyes large and sultry with those huge brown eyeballs. Her hair was thick and black with suggestions of lustrous curls. Her frontal side hair near her ear looped down in a thick curvy bush down the sides of her face, a sign of great vitality and fertility. Her nose was pronounced with a lovely bridge broken slightly in the middle giving it a very raw and natural beauty (which she unnecessarily changed later through plastic surgery). Her lips were slightly on the thinner side pulsating and alive with life. She managed to convert it to add a touch of innocence against the sultry and mature look on the rest of her face. Her neck was long and her shoulders flowing down in a feminine elegance impossible to find among today’s gym going fab fit heroines like Katrina and Jacqueline who have muscular almost manly shoulders.
Sridevi’s legs were one her greatest assets. What made them unique was the richness and plushness of their structure, construction and their smoothness. I do not believe she ever had to use hair removers on her legs. They always seemed so naturally milky smooth and I have never seen any hints of roughness from hair follicles in the 100s of movies and songs and dances where I have observed her.
Her genes are very unique – the way the hair on her head is bushy, dark and grows in a clean thick U shape down her upper cheeks signifying great vitality and fertility – usually this trait also means the woman has a lot of body hair on the forearms, armpits, legs and other places. However, in Sridevi’s case there is absolutely no body hair – creating a unique combination that is absolutely amazing and rare to the point of being divine. She used her legs in the movies in a very versatile way. In many scenes she would reveal only her calves (typical of the scenes where she will have foot bracelets on and be lying down in bed on her chest and lifting up her lower legs and swinging them back and forth). In such scenes those calves conveyed a divinely endowed young and glorious woman, innocently beautiful yet at the same time very large, supple and mature, making for instant desirability and curiosity of what lay ahead in terms of her upper legs. This way Sridevi would use just half of her legs to seem sensuous conveyed a subdued sexuality in a raw and powerful way. Her thighs were something very rare – Nothing innocent or subdued about them! They were pure thunder, thickening rapidly from her knee up and assuming massive and gigantic proportions even an inch or two above her knees. She used these in roles that would be raunchy, provocative, with a need to deflect audience attention from her childish and innocent looks and convey a sense of a mature, generously endowed, highly desirable woman who was dripping full of sex hormones, giving the men viewers more than they ever even dared dream of.
Her thighs were nothing less than magnificent, able to compete head on with Caucasian thighs like those of Bo Derek (considered the benchmark for strength, size of build and sheer amount of tight and shapely mass). As she wore shorter and shorter dresses or bikinis, her thighs were jaw dropping in terms of the massive and disproportionate growth of the girth of them as one traverses each centimetre upwards from her knees. At their widest and thickets point the diameter of each of them is supposed to be over 30 inches (2.5 feet!). An average grown Indian man’s equivalent measurement is about 18 inches and an average Indian woman’s is about 19 inches. These truly thunderous things were also unique for their genetic purity – perfectly symmetrical, with intensely fair and shiny skin, they had a close resemblance to the carvings of Ajanta and Ellora which depicted the generously endowed Apsaras of heaven.
In Himmatwala, she reveals their full magnificence, with a bikini that leaves almost the entirety of her thighs uncovered her legs shining on screen in close up scenes that lasts minutes, letting the audience fully take in the enormity and sheer magnificence of her thighs . The movie was a landmark for Bollywood. Prior to this, Bollywood used to highlight beauty, sensuality and glamour of their heroines in a very different way. With the immensely beautiful, fair, mostly north India heroines of the 50s and 60s (such as Nargis, Madhubala etc.) the focus was on facial beauty, perfection of the features, and the fair complexion and glowing skin, the body was seldom highlighted. The women of the north tended to have beautiful yet less curvaceous bodies. With the coming of Hema Malini, the north got a taste of the south. Hema was truly an apsaras, generously endowed with a curvy body swelling round breasts, supple arms, and perfect hourglass figure. However, the cameramen of Bollywood used the old techniques and did not highlight the most attractive parts of Hema’s body in a way that is compelling and insistent. Rekha came into the scene and it was another wasteful decade, the films focusing on her allure and beauty and not her lissome, curved and large body.
Sridevi started in Telugu movies, the directors and cameramen there knew how to present physical beauty of their heroines in a stunning way. They did this through song and dance sequences. They had this formula almost perfected for Sridevi, for she acted in so many cliché’d movies which followed a copy cat script. Broadly there would be a few categories of songs:
- Hero pursuing and irritating the heroine, Sridevi – this is usually the first song of the movie, the hero and heroine are meeting for the first time, the heroine is haughty and posh and insults the hero or does other bad things that makes the hero and his friends chase her around while she gets increasingly irritated. She also dances when running round and being pursued (strangely). In these songs, generally the focus is on the overall figure as Sridevi wears a figure hugging dress like a tight pant and a sleeveless t-shirt or a pair of shorts and top. The purpose is to get the juices flowing with the audience in anticipation of the slow revelation of Sri’s body later on. This is the starter/appetizer course of the multi-course meal that the Telugu Sridevi movies served.
- A casual dance or two with random opportunities used to showcase glimpses of Sridevi’s body. The song would happen when she is getting friendly, the hero is secretly in love with her, or sometimes later in the movie, to reaffirm love after a mis-understanding. Generally, this song would major on the mood and minor on her body – her large calves in a miniskirt or her flat yet supple belly and button in a saree, the tightness and tension of her upper cleavage in a salwar, or the massiveness of her rear in a tight jeans. This is the soup course that gets the appetite going
- The group dance – this is usually the least exciting but Telugu producers never lose an opportunity to innocuously plant stolen moments highlighting some aspect of Sri’s physical beauty – her fleshy yet lissom forearms, her lovely long fingers and beautiful nails, her pulsing red lips, her finely crafted, regal neck and shoulders or something else. This is the salad course.
- The wet song – this is the main meat course. Also usually the highlight of the movie, usually happening when Sridevi has the realization that she actually loves the hero emotionally and also physically. This is generally preceded by Sri rolling in bed and crushing a pillow between her swelling generous breasts or raising and rubbing together her naked calves lying down on a bed chest down and squeezing her uncontrollably heaving breasts against the mattress. The song then explodes into a celebration of Sridevi’s heavenly body. This song can take many forms, the most typically being the rain song, highlighting her explosive figure, her flowing form, the sheer electricity of her long, strong, sinewy, fleshy and writhing arms, the smooth slow drumbeat sway of her enormous hips, the glow of perfection emanating from her belly button that is deep set in a vortex of fair and firm flesh, the layers of which that dance up and down with the song. The song goes on, making our imagination linger on the barely concealed heat from the friction happening between her enormous inner thighs as they press and rub against each other her as she moves and sways with an electric energy, the heaviness and stubbornness of her excited, large firm and round breasts that press with such a mighty force on her blouse as the hero holds her from the back around her hips and she pretends to bend forward and get away, and finally the ouch on her face as she feels the sharp pain of desire deep in between her legs.
- There is sometimes a dessert course that appears unexpectedly, with Sri half naked and wearing a classical Apsara dress, An ornate brassiere to barely cover her breasts, necklaces decked around her neck, a golden ring around her belly just above where her hips start to fare out impossibly, a super tight bejewelled half pant like dress that starts at her underbelly and stops well above her knees, covering her ass, hips, loins, and thighs so tightly that there is very little left to the imagination of how magnificent Sri’s lower body is. The camera does wonder sin this song, making Sridevi jump nay times and zooming in to fill the screen with her hips and upper legs as they rise and fall in slow motion – every angle is captured, be it her hips that bend and curve in a bursting circle, the flesh of her hips and buttocks pushing with a might that you fear, might rip and tear apart the loincloth as Sridevi moves with a mirth casting a magical sexual arousal on all who might cast their eyes. Her giant thighs that arc impossibly from her hips to her knees to contain the most massive, tight and fleshy structure possible within the limits of physics – truly causing bolts of thunder to hit you as they stomp up and down. This song makes you realize Sridevi is closest to the mythological Urvashi the Apsara, who was both on the clap of a saint’s thigh and said to have the most full and beautiful thighs among all Apsara.
Jacqueline broke into the Bollywood scene with a splash a few years ago with Housefull 2. It was in the wake of Katrina’s entry bringing global girls with a remote connection to India, but with the beauty and body appeal Bollywood craved for. There was an acute shortage of well built, tall, fit and sexy leading ladies in Bollywood. Tabu, who had it all – world class body, mass, tone, fitness, and alluring looks – was getting older, taking it easy and looking for arty stuff mainly, Priyanka was being very selective, Aishwarya had started to age and shift to matrimony. Women like Sushmita Sen had the looks, but were reed thin and could not woo the audience craving for large and lissome girls like Sridevi, Dimple and Juhi of the past era. Kajol was too short and dark and Kareena, although possessing the goods (great legs and arms, nice back etc) was overexposed and stretched across too many movies.
Into this setting comes Jackie, a woman from Sri Lanka. She looks anything but Sri Lankan – her build and features are absolutely Caucasian. She is not overly tall, just tall enough to framed her superb body well on screen. She comes from a family descending from British settlers in Sr Lanka, which explains her European looks. She is a machine, whether it be her ambition, her discipline, her ability to stretch any amount for success. She trains in the Gym really vigorously and follows a protein rich diet. She is fabulously fit and willing to extend herself to get the effect shot each time. The recent example of her learning Pole Dancing for the song in Gentleman was a good example.
Her most arresting features are her hawk-like face with inset eyes, her muscular shoulders and arms, her flat and taut belly revealing in a mild way her six pack abs that sit beneath, her large, muscular and powerful thighs, her protruding and bulbous calf muscles etc. On closer examination, her ear which appears like a clean triangular wedge sitting flat and fully connected to her face is very alluring and unusual for an Asian woman,
The roles Jackie plays are not very demanding and often the focus is on her hotness and daring character. She typically comes up as a fearless and fun loving girl, who is very engaging and funny. She also can turn on the heat instantly, teasing the hero and taking the temperature up instantly. She wears the tiniest shorts in Bollywood, they are right up to the start of her lower butt cheek in most cases. The full and heavy thighs are exposed as are the strong muscular claves and her amazing flat belly with a hint of a six pack underneath.
Lisa Ray must be well over 50. She is India’s Liz Hurley, sauve, spohisticated, ageless and with a bomb of a body! Even after fighting cancer etc. she is still in perfect shape in fact more sexy than she was 30 years ago.
Tamanna has a confidnece in her chisel cut features and extreme beauty that borders on arrogance. She finds she is perfect stuff of fantasy for Telugu men audiences. Her ultra fair skin contrasts again the the dark skin of her co-actors like night and day. Her hazel eyes make her look like she is from outer space in the midst of the tough hairy, mustachioed and ill kept Telugu men. Her lips are large and red and they look like they have been cut with diamonds, perfect edges and chiseled corners making them look just like the famous hollywood actress Jessica Beil’s lips – often described as the most beautiful living lips int he histroy of mankind. the most attractive feature
Take a hard look abofe and compare with Jessica:
You can see the strong resemblance between the two ladies’ lips. Both have protruding large lips that are long and wide. the lips start in a tight thin line way outside the center of the face. the upper lips are curled upwards at the edge, causing a knife edged top endge that points upwards. This is a sign of extreme beauty and very rare anywhere in the world, especially india. Indian women typically have lips that have rounded edges and meld intot he overall shape of the lip.
The upper lip is also in the perfect heart shape, elongated gently and when pouted, curves tightly to form the classic heart shape. The lower part of the pout reveals a tunnel like centre section that curves inwards when pouted. This immediately serves as a stark reminder to imaginative men in the audience of how Tamanna’s intimate and private vagina would curl inwards from the edges.
The lower lips are thick and fleshy. They have deep longitudinal lines running over them visible when the lip is closed and pulled towards the center. This is a classical trait of super models, suggesting a feelsome and grippy kiss that the lips are capable of despite the application of smooth gloss on them.
Nargis Fakhri has the unique distinction of being a latecomer to Bollywood who is making it big. Hollywood actresses often peak close to 40 while Bollywood actresses are usually all done by the time they are 30. well this is changing. Nargis is a perfect example.
She has gorgeous features, extra large and fleshy lips and a body that is two classes above the Bollywood norm, in terms of shape, size, fairness, fitness, texture of skin and voluptuousness. She entered the industry in her 30s looking for money and fame. She used to be a model in the US who was getting nowhere. Half Pakistani and Half american, she just did not fit the western model template. She has spoken often about how hard she had to work on her body, to get it close ot a size zero in attempting to succeed in the US models race.
She comes to Bollywood and everything changes. Her natural large, supple and strong body is an instant hit in Hollywood. In a nation of either impoverished and stunted bodies or potbellied and loose hanging flesh, she made a mark as a curvy, fit and large woman who towers over everyone else.
Bollywood actors and actresses feel inadequate with Nargis around. She reminds India of the physical superiority of the Muslim conquerors who ruled India for a millennium. She has strong facial features such as a long and sharp nose, A long and oval face and large, perfectly shaped and rose red lips that reveal strong, even and lovely teeth. Her eyesockets arch downb to cover the top portion of her eyes in a very European trait. Her bebrows are long and arched to perfection.
Her body is truly an alabaster body. Her arms reveal the right amount of strength and muscle tone a testimno to how well she exercises. He breasts are the best in Bollywood, large, firm, uplifted and round. She has no qualms showing them off as you can see from the side view of the right breast below.
Her belly is flat and her midriff is long and curved. Her stomach muscles are visible now and then, showing how taut her belly is. Her hips are large and wide, which excite Indain men, no problem to show them off in terir natural glory unlike in the west. Her butt is the tightest in Bolloywood, firm and large.
Her legs are magnificent. Long, large, shapely and strong. Her calves are thick and gently musculed and her long and strong calf muscles gently bulge out with pressure as the six footer wears another 4-5 inch high heels. Her thighs are big and strong yet not fat. Their length hides their large circumference and fleshiness. They are heavy and strong enough to crush the average Indian man, where he to get trapped between them.
IN the above picture, Nargis along with Parachute oil company demonstrates the art of oiling. Basically, how to apply oil to legs and thighs to make them shine with glory of health and strength!
I was watching some Youtube videos last evening. Mostly about Malayalam movies at the turn of the decade from the 70s to the 80s. There are four women who dominate the industry in this time. They are all large ladies, with frames and proportions and asset sizes that would be shocking in today’s day and age. However, those were the days when size mattered and audiences wanted their heroines to be generously proportioned.
For startes – Sheela’s Domination
In the mid 70s, Sheela dominated the Malayalam movie scene. She acted in literally hundreds of movies, the roles he played were vast and varied. Most prominent among these were roles in historical movies of Kalari and Mamangam, where she generally would play the role of a beautiful princess, her beauty well known all over the land, Yet she would be very brave and skilled as a warrior. The supreme gift of her sex was reserved for the bravest and strongest of men. Many movies would involve bathing scenes where compatriots would give her a bath while allowing the audience ot get a sense of her beautiful body, and huge assets. Sheela was famous for her utter beauty, large red lips, sandal colored skin, big rounded breasts and a generous giver of her bodily beauty to the rapt audiences. Below is a video showcasing her beauty:
Enter Srividya
During this time, in came Srividhya. She was short and dark (compared to Sheela) but had an angelic face – a Cleopatra like beautiful nose, tender and beautiful eyes, face like a doll, long silky hair. Being a brahmin and vegetarian, she did not have the suppleness to her body like the other three meat eating heroines described here. Sheela was a Christian and Jayabharathi and Seema were both Naris and all of them ate beef and other meat items. The regular consumption of beef and mutton gave these three women’s bodies a solid build, shiny skin, firmness and strength that Srividya could simply not match. Her body was no less beautiful than Sheela’s – in some senses even more so. She would not reveal as much of it as Sheela did. It was hard to see her in any dress other than an ornate Saree and blouse with Sleeves. However, there have been a few movies where she expressed her hot side as a woman on fire and she would enact these scenes with so much genuine lust in her expressions that the audience would go into raptures. One classic song of Srividya is where she is loved in the bathroom by er husband, exposing the fullness of her body through a wet saree and blouse.
The one song that is a must watch for her fans:
Jayabharathi Asserts her power
Jayabharathi was always lurking in the scene, but arrived full fledged around this time. Her secret was her sheer size, extreme-hourglass figure and willingness to share the bounty of her body with the audience. She was the most generous of the big four, giving her body in ample measures. Her breasts are the stuff of legends. Her midriff has resulted in sleepless nights for millions. Her thighs were so large that it was said to be difficult to make dresses like bell-bottom pants for her, the fashionable dress of the times. An example video showing her massive body :
Enter Seema
Perhaps the most remarkable of the four queens of the days is Seema. Her rise was metroric. Although she did not have the facial beauty of Srividya, nor the enormity and curves of Jayabharathi’s body, she was in one word, radiant. Her screen presence was immense. She brought a new age of dressing to Malayalam Cinema. She wore sleeveless dresses almost always that showed off her shapely upper arms and flesh shoulders.. She often wore mini-skirts that helped show off her well built calves and her enormous thighs. Her butt was the legendary in its massive size, tight structure, firm arcs. It would nowadays be called a “bubble butt” – popular in Brazil, the butt capital of the world, It as simply outstanding in its size, rounded shape and contours.
Seema had medium sized tits, but they were full of life, heaving and thrusting against her skimpy t-shirts and tight blouses. She had a disarming sexuality was hard to ignore. She acted in each scene as though she was very well aware of the power attraction her body exuded flourishing her body generously.
Her hair was striking in its bounce and body. Her lips were very unorthodox. They were rather flat with a pouting lower lip that was so kissable. A must watch video of Seema to understand what is meant by her “radiance”
Bhanupriya was a popular actress in the mid-late 80s and early 90s in Tamil and Telugu. She must have started pretty young, because she seemed to evolve a lot during the 10-12 years on screen. In the early days, you see a very slim and petite girl, and her huge eyes and rounded face are all you remember. Later on, she puts on some of the sexiest curves ever known in the industry, develops bazooka boobs and puts on a sultry look that is unmatched.
She also has another very unique features, she is a classic “outie” by nature – her belly button is very prominent by the way the flesh in her stomach curves and carves lusciously in a vortex to make way for the jewel but instead of deep hole one would expect, the belly button is actually more like parallel layers of serrated skin with a long and narrow shape, with outside skin folds, set like gold flakes.
She seldom traditionally revealed this aspect of her body and she was probably shy about how different she looked in that area from the other peers and competitors such as Radha, Sridevi, Jayapradha, Shobana etc. who were all perfect innies with large round and deep belly buttons. When she first gave the world a glimpse of the marvel in Kaidi 786 and Gopura Vasalile, the whole world gasped because it was such a titillating, surprising and erotic sight.
See pictures below from her two early movies – the first from the movie Kaidi 786 with Chiranjeevi, when the hero inadvertently gets a glimpse of Bhanu’s jewel.
The second picture clearly shows Bhanu’s belly button as a narrow horizontal slit on top followed by the main button which is horizontally oriented with a tight aperture shaped like a narrow eye, the surprising thing is, it is not deep set, circular and dark like one would expect in such a curvy woman, but parallel layers of tight skin only a millimeter or so below the surface.
This same basic shape is further evidenced in her early Tamil film Gopura Vasalile, as in the pictures below from her wet song. This clearly shows the horizontal orientation of her belly button. not only that, it also shows how the sharp curvy clefts on her outer body line are oriented towards the belly button, the button being the crown jewel. There are lines marking edges of flanks of flesh that radiate out from the sideways edges of the button to the outer midriff, almost as though the flesh has been pulled to the Center from either side and knotted together in a tight strong knot made by the eye of the button.
If you see all the early movies of Bhanupriya, although there are umpteen rain songs and other sexy poses she makes, where she reveals her shapely and cury midriff, she never reveals her deep secret – actual belly button. Her button is not considered to conform to the best of breed, a large, rounded, deep and dark button like what the top stars in this department, such as navel queen Shobana’s below
Bhanu – Later Years
Now fast forward a few years to the last 80s, in the movie Khshatriyan with Vijayakanth, there is fantastic scene where the hero massages Bhanu’s navel with oil. Take a look at the shot below:
Here is another late stage picture from a Malayalam movie in the 90s, when a sleeping Bhanu is being watched by a young boy.
Here is another example from the later ears of the circular enlarged innie button – the infamous Angam Unadhangam song with Satyaraj, from Pudhu Manidhan (1991) – where she looks absolutely ravishing and flaunts her newly shaped large dark and round button throughout.
Now comes the surprising part – In the last pictures, you will see that the shape of Bhanu’s navel has totally changed. It has taken the more traditional form of a deep hole with a wide rim, which was idealized by popular movie trend in 80s in South India as the ideal shape to have for the woman’s belly button and navel. Gone are the connections between the button and the outer midriff’s curves as illustrated earlier.
My belief is that since the belly button was one of Bahnupriya’s most important assets for the commercial success of her movies, directors may have urged her to have cosmetic surgery to convert her narrow, tight, serrated button into a more traditional rounded and deep button. There is no other explanation for the dramatic change in the shape of Bhanu’s belly button from the mid 80s to the late 80s.
But this was a totally wrong move, in my belief. I find Bhanu’s original belly button to be far more unique, much more representative of the tight and supple body Bhanu has, which generates and radiates a unique sexual energy. The stunning curves of her stomach and navel which form a backdrop for her belly button are out of this world. The serrated shallow button that was almost like an outie’s gave away a shockingly erotic image, the glimpses of which startled the audience and aroused them with to the possibilities of south Indian feminine beauty that is so diverse and surprising. By going to a traditional belly button like Shobana’s or Sridevi’s I feel Bhanupriya did a great dis-service to herself and the male audience.
Bhanu had great legs too though she was too shy to show them off. There are few rare songs where you can get an idea
Take a look at her back from the same song in Rajadurai – well toned and strong!
Biography:
Bhanupriya (or Bhanu Priya) is a former leading actress of the Telugu, Malayalam, Tamil, Kannada films from 1980 to 1993. She also acted in Bollywood in the late 80s/early 90s. She is an expert classical dancer. She was often referred to as the ‘other Sridevi’.She was born on 15th January 1967 in Rajahmundry, Andhra Pradesh and was settled in Chennai, Tamil Nadu at a very young age.Her birth name is Manga Bhama. When she started acting she changed her name to Bhanu Priya. She is 5′ 6½” (1.69 m) height.Bhanupriya has acted in over 111 films as a heroine in various languages. She has acted in over 35 Telugu films, around 30 films in Tamil and also 14 Bollywood films and a few Kannada, Malayalam films.
Bhanupriya began her film acting career when she was just 16 years old. She made her debut in the Telugu movie Sitaara in 1983, directed by Vamsy, which was a big hit.In the early stages, her roles focused on her bharatanatyam skills, and she often played second fiddle to other heroines like Vijayashanti and Sridevi. Bhanupriya evolved and transformed throughout the 80s. She took on more prime roles opposite major heroes like Chiranjeevi and Venkatesh.
She is famous for her large beautiful and expressive eyes, which led her to a career in modelling. Her most famous ad was of Eyetex, a popular eyeliner. Cinematographer and director P.C.Sriram once described her as having the most beautiful and photogenic face among south Indian movie actresses.
Banhupriya’s Evolving physique and maturity
As Bahnupriya matured from being a teenager to a young and full woman, the roles she was cast in also changed. From being cast as the young innocent girl, she slowly started taking up roles that celebrated her slowly and surely maturing beauty. In her earlier movies, although she did mildly revealing and suggestive songs, her body was slim, taut and girlish.In a few years, she had changed altogether.
During the transitional phase, her body started filling out with her breasts becoming slowly larger and firmer, her midriff adding lovely curves and her butt filling out nicely. See the song below for a close look at her maturing body as she transitions from teenage to her early twenties
Her body took on a perfect hourglass shape. Her midriff developed with some of the most rounded, smooth and shapely curves ever seen. The flesh in her stomach started to curve and carve a luscious vortex to make way for the jewel of her belly button. But in the center of this heavenly abode, instead of deep dark crevice one would expect, the belly button was surprisingly unique, two parallel horizontal clefts set like golden flakes, the lower one like a shallow eye that is presiding and seeing with pride all the impact that this immense beauty creates on the world.
In 1988, Bhanupriya acted in a landmark movie called Kaidi 786 opposite Chiranjeevi. At 21 years, she had come of age. The movie announced the new Bhanupriya to the world like no one else. Since she had a different image of the innocent girl before, the director had to do some innovative work to draw audience attention to the new Bhanu. Her ripe and overflowing facial beauty had to be emphasized and so had her mature curves. The director did this through a couple of scenes where Bhanu and the hero are unaware of each other, the first a sequence where Bhanu pretends to sleep while is actually seducing the hero, the second where the hero accidentally sees her undress. These two are must watch sequences
There was a huge gap in her film-career when she was at the top place in the Tollywood especially – due to her sheer fault that instead of building her career which was so colorful, she got attracted to the Bollywood’s offers and that’s precisely where she erred being downgraded against competition which were less interested in her dance skills. But she makes no excuses. And she has a lot of plans for herself taking up a research in dance and add new styles to the contemporary repertoire besides establishing a dance institution for the youth.
Bhanupriya fell in love with Adarsh Koushal, an award-winning photographer based in the United States and son of famous Bharatanatyam artist Sumathi Koushal in United States, and married him. Shortly after her marriage, she too re-located to the U.S. where gave birth to a daughter. Now, they are settled in Chennai.
She has bagged a Nandi Award for Best Actress in 1988 for her performance in Swarna Kamalam. She also won the Filmfare Best Actress Award (Telugu) for the same film that year. She has two Nandi Awards for Best Supporting Actress to her credit, one for the film Lahiri Lahiri Lahirilo in 2002 and the other for Chatrapati in 2005.
Bhanupriya is now based in Chennai and planning to direct a film , with classical dance as lead role. She had also acted in a television serial, Shakthi , that is telecast on Network channels.
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