Film Career
Laxmikant initially started acting in bit roles in Marathi stage plays. Berde made his movie debut with the Marathi movie Lek Chalali Sasarla. While balancing between Marathi stage plays and movies, Berde got his first brush with fame around 1983-84 with the hit Marathi stage play "Toor Toor".
Subsequently in 1985 he acted as a second lead to Mahesh Kothare in the Marathi movie "De Dana Dan" and then alongside super star Ashok Saraf in "Dhoom Dadaka". Both these movies turned super hits in which Berde established his trademark comedy style making him famous overnight.
From 1986 to 1996, Berde went literally on a "success rampage". A string of blockbusters such as Aamhi Doghe Raja Rani, Hamaal De Dhamaal, Ashi Hi Banwa Banvi, Balache Baap Brahmachari, Eka Peksha Ek, Bhootacha Bhau, Thartharat and Zapatlela catapulted Laxmikant Berde to super stardom.
In most movies, he starred either alongside director-actor Mahesh Kothare or with director-actor Sachin and Ashok Saraf. The Laxmikant Berde- Ashok Saraf pair is recognized to be the most successful lead actor pair in Indian cinema (if the number of super hit movies are to be taken into account). That decade will be best remembered by the Marathi film industry as the "Ashok-Laxya" era. Both actors remained thick friends until Berde passed away. In most movies, Berde was paired with actress Priya Arun.
Berde's first Hindi film was Sooraj Barjatya's Maine Pyar Kiya starring Salman Khan in 1989. Some of his other popular Hindi films include Hum Aapke Hain Koun..!, Mere Sapno Ki Rani, Aarzoo, Saajan, Beta, 100 Days and Anari. Berde also kept working as the lead actor in super hit Marathi stage plays like "Shantecha Karta Chalu Aahe" and others.
Berde died in 2004. In the last years of his life, Berde floated his own production house, Abhinay Arts, named after his son. Very few know that Laxmikant Berde was very good Ventriloquist and Guitar player.
Read more about this topic: Laxmikant Berde
Famous quotes containing the words film and/or career:
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)
“Each of the professions means a prejudice. The necessity for a career forces every one to take sides. We live in the age of the overworked, and the under-educated; the age in which people are so industrious that they become absolutely stupid.”
—Oscar Wilde (1854–1900)