Table of Contents
Sholay (1975)
The western settlement system sees the escaped prisoners Veeru (Dharmendra) and Jai (Bachchan) defending a village attacked by criminals led by Gabbar Singh (Khan). ‘Sholay’ has it all – dishum-dishum fighting scenes, bromance, comedy, memorable songs, twists, fun dance sequences, and glittering concerts. The negative effect and the worst crime of Bollywood are frozen on a rolling, omnipotent cake.
Mughal-e-Azam (1960)
Translated as the ‘Emperor of the Mughals’ and started in the late sixteenth century in the Mughal period of India, this is the devastated story of Prince Saleem (Kumar), the son of the ruling Emperor Akbar (Kapoor), who fell in love with a dancing slave. Anarkali (Madhubala). This is a true performance of a landmark film, with beautiful sets, great war scenes with hundreds of real elephants, ornate costumes, evergreen points, and natural simulations. It is still a good quote from the past, and it was one of the rare times when a film of ‘Islamic socialism’ (i.e., interest in Islamic people and culture) became the talk of Hindu-focused India.
Mother of India (1957)
The first Hindi film to be nominated as the best foreign-language film at the Oscars, this is a sad story of India’s newly independent rural farming complex and the exploitation of farmers by their co-owners. Following the hardships of Radha (Nargis), a village mother of three sons who was abandoned by her husband and forced to work hard in the fields to support herself. The film focused on the idea of a pure, self-sacrificing mother like the idea of a well-meaning Indian (Hindu) nation.
Dilwale Dulhania Le Jayenge (1995)
Common themes of personal choice compared to family bonds, as well as forbidden love, were re-mixed in the 1990s in this historic game, describing the era. In London, Raj (Khan) is an immature young man, while Simran (Kajol) has a straight line ready for a wedding planned by his powerful father. He travels with InterRailing in Europe, meets Raj, and falls in love behind the Swiss mountains. The popularity of the film (a title translated as ‘The Brave One’s Will Win the Bride’) is seen on a daily basis in the Mumbai cinema Maratha Mandir for 19 years and older. This last romance also raised the bar for boys chasing girls.
Pyaasa (1957)
Filmmaker Guru Dutt, known for bringing tragic news to celluloid, plays Vijay, a writer who struggles with his two best street friends and a savage. Vijay tries but fails to get his poetry book published and is later believed to have died in a train accident. A cunning publisher prints a book and commits murder. Maestro composer SD Burman presents a beautiful, memorable song with poetic verses by Sahir Ludhianvi. With ‘Pyaasa’, Dutt proved himself as a filmmaker who could successfully portray the reality of the world around him.
Guide (1965)
Director Vijay Anand has translated RK Narayan’s English novel into a popular drama. ‘Guide’ tells the story of a man, Raju, who changed from being a tour guide in his youth to a great holy man later in life. The film is considered ahead of its time to portray its characters, Raju (Anand) and Rosie (Rehman), who are romantically involved, and to portray its main character as unscrupulous garbage. Both were very uncommon in the Hindi film of the day.
Deewaar (1975)
Awakening to ‘Mother India’ with its story of a righteous son who opposes evil and a mother caught up in their midst, ‘Deewaar’ sets up a center to fight heroes. Amitabh Bachchan leads the way as a boiling Vijay, who turns to crime to provide for his mother, while his brother Ravi (Kapoor) becomes a police officer. Inevitably, their paths must cross. ‘Deewaar’ was Bachchan’s first step on the road to mega-stardom and portrays his character as a noisy, angry young man blaspheming around him.
Lagaan (2001)
Set in the nineteenth century, ‘Lagaan’ sees a drought-stricken village come together, learn to play cricket, and take in the cruel emperors. Although the combination of cricket and colonialism seems absurd, at first no one could touch this script with the bat. After that, the star Aamir Khan took the lead role and its critical success with the box office ushered in a new era of another topic and various news outlets. ‘Lagaan’, to date, is the last regular Hindi film selected as the best foreign-language film in the Oscars.
Pakeezah (1972)
Lucknow, 1900. Sahibjaan (Kumari) ‘dance girl’ marries the noble Salim (R Kumar), despite her father’s disapproval. Sahibjaan soon feels unworthy of her husband and runs away. Will the couple reunite and the ‘respectable community’ welcome them? Fifteen years has been done (not helped by personal disagreements between the director and his leading girlfriend, and his wife), this has a dramatic sound that is seamlessly embedded in the story, creating perhaps the most astonishing portrayal, with songs of intense love insight. on the Indian screen. The title means ‘Pure’.
Amar Akbar Anthony (1977)
The escapist formula honored by director Manmohan Desai (‘Dharam Veer’, Roti ‘) culminated in the late 1970s film about three brothers – each named in the title – who were separated at birth. Filled with clichés and impossible scenarios, ‘Amar Akbar Anthony’ has set up a commercial model that many modern Bollywood filmmakers continue to follow. Thirty-five-year-old Amitabh Bachchan, a film star, has despised his portrait of an Angry Young Man – created by a series of dramatized dramas – with his huge comedy role.
Do Bigha Zamin (1953)
Bimal Roy’s old song touches on themes related to the subdivision of rural and urban areas, but at its core is about man’s desire to reclaim the world he owns properly. Shambhu (Sahni) is a resident of ‘do bigha’ (two-thirds of a hectare) sitting on the road to a new mill. The city is a big, horrible episode – Shambhu moves to Calcutta to earn money and save his country, but he is deeply embroiled in a pit of poverty and depression.
Jaane Bhi Do Yaaro (1983)
Inspired by Michelangelo Antonioni’s 1966 film ‘Blow-Up’ 1966, ‘Jaane Bhi Do Yaaro’ (‘Who Pays the Piper’) tells the story of two Mumbai photographers, Vinod (Shah) and Sudhir (Baswani), who took the picture of the image without knowing it. corrupt businessman (Kapur) assassinating a government official. The two found the body and struggled to make sure it didn’t end up in the hands of the motley gang – the killer, his rival, two colleagues, and a journalist, all interested in the case.
Kaagaz Ke Phool (1959)
In a tragic film life, actor Guru Dutt died in a flat in 1964 after allegedly drinking alcohol and alcohol: his failed relationship with actor Waheeda Rehman is said to be one of the causes. falling into depression. Six years earlier, Dutt was performing ‘Kaagaz Ke Phool’, in which he starred in a film-loving director (played by Rehman). The film ended with the character Dutt – a depressed filmmaker – dying in his chair in the film studio.
Bombay (1995)
This tragic film covers one of the darkest periods in modern Indian history: the 1992 and 1993 Bombay riots. A love story about star lovers from various religions who fled to Bombay to start a family was so controversial in its release in 1995 that the house of director Mani Ratnam was bombed. Nevertheless, its heart, moral center, and cry for peace in India were heard, and ‘Mani Ratnam’ became a critical and commercial success.
Mr. India (1987)
Shekhar’s most famous Bollywood film ‘Elizabeth’ Kapur. Arun (Kapoor) becomes an invisible hero Mr. India, who uses his power to fight the evil Pagan (Puri) who intends to take over the world. Packed with as many masala ingredients as possible, this is the pure nonsense of the camp. But it is told in such a deceptive way that the viewer surrenders his power. ‘Mr. India is a great joy, especially Mogambo’s motto ‘Mogambo Khush Hua’ (‘Mogambo is happy’) which became the nation’s madman.
Satya (1998)
‘Satya’ was one of a number of criminal films that began to appear in the late 1990s, and director Ram Gopal Varma was recently linked to the genre. The film is about Satya (Chakravarty), who entered the criminal world of Mumbai unknowingly. What makes ‘Satya’ different from other criminal films is the realistic portrayal of the daily life of criminals and the abuse of Varma on the subject. It is considered one of his best films.
Dil Chahta Hai (2001)
Prior to the rise of India’s urban dynamics in the mid-2000s, director Farhan Akhtar made his first speech on the subject of three Mumbai boys whose language reflected the way people often speak – a refreshing change from other Bollywood films of the time. . Akhtar has never been able to improve his first film, but with ‘Dil Chahta Hai’ he introduced a storytelling style that was new to the Indian audience, where everything from dialogue and design to music was subtle and realistic.
Andaz Apna Apna (1994)
Rajkumar Santoshi’s ‘Andaz Apna Apna’ brought together two young, budding stars, but the resulting film was a box failure. Its religion has grown over the years, revealing fan clubs and websites and ensuring the recording of television ratings from time to time. Amar (Aamir Khan) and Prem (Salman Khan) are both wastrels who both want to marry a wealthy woman but are embroiled in a controversy involving twin twins and a notorious criminal, Crime Master Gogo (Shakti Kapoor).
Awaara (1951)
Known as The Show Man, Raj Kapoor’s most popular film is Oedipal’s melodrama that explores the natural debate against upbringing. Will the gangster’s son always be a criminal? ‘Awara’ explores the class divisions in newly independent India, which does not include the film’s ‘riding’ hero, Raj (Raj Kapoor), all the time. Its amazing success outside of India – especially in the USSR, Africa, China, Greece, and the West Indies – was directly responsible for introducing the world to the use of Hindi cinema.
Dil To Pagal Hai (1997)
This hit music romance and box-office explore the romantic lives of dancers in the music group. There is Rahul (Khan), who does not understand how two people can fall in love. Pooja (Dixit) believes in the ideology of soulmates and lives by the statement that ‘someone, somewhere made for you’. Finally, we have Nisha and her belief that love begins as a friendship and two good friends have the power to love each other to the end. ‘Dil To Pagal Hai’ is remembered as one of Yash Chopra’s most iconic.
Om Shanti Om (2007)
A beautiful recently released song, ‘Om Shanti Om’ has achieved what other films like before it tried and failed miserably – to ridicule the negative aspects of the Hindi film industry. ‘Om Shanti Om’ handles this while wearing a reincarnation costume story. Om (Khan) is a young artist who fell in love with star Shanti (Padukone) in the 1970s. Shanti, however, falls in love with a cunning producer, Mukesh Mehra (Rampal), who murdered her. To this day, Om is now a star determined to take revenge on Mehra, now based in Hollywood.
Shree 420 (1955)
Leading actor and director Raj Kapoor have portrayed his on-screen character in ‘Shree 420’ and other films following Charlie Chaplin’s Little Tramp. Here he plays Raj, who comes to Bombay to make a living and falls in love with Vidya (Nargis). However, Raj’s need to make money quickly led him to collaborate with corrupt businessman Dharmand (Nemo) and his colleague, temptation Maya (Nadira). The film portrays a state of tension between unemployed youth and the growing sectarian divisions in the country at the time.
Jab We Met (2007)
With only one previous film (‘Socha Na Tha’) behind him, director Imtiaz Ali has announced his arrival on stage with a film starring real-life lovers Shahid Kapoor and Kareena Kapoor. ‘Jab We Met’ has launched the Imtiaz Trademark style, which combines romance and travel. Suicide-stricken businesswoman Aditya (Shahid Kapoor) meets Geet-eater (Kareena Kapoor, in a job description), who is fleeing her family. They went from being an unexpected travel companion to a friend, eventually becoming a lover.
Parinda (1989)
Bollywood’s quintessential crime film, ‘Parinda’ is about the brothers of street children Kishen (Shroff) and Karan (Kapoor). When Karan returns after completing his studies abroad, he realizes that his brother has become a gang member working for Anna (Patekar). Proud of the beautiful planning of the late Renu Saluja and the stellar sound design, the film is known for the noir management of director Vidhu Vinod Chopra, as well as a brilliant circular imitation.
Shaan (1980)
Ramesh Sippy’s follow-up to his work explaining ‘Sholay’ (1975) went beyond his expectations and left many viewers in awe. But the story of two men (Bachhan and Kapoor) fixing their paths and collaborating with a sharpshooter (Shatrughan Sinha) to avenge the death of their policeman brother at the hands of Shakaal (Kharbanda, amazingly original) has grown very well. . Evil is the first and the quality of the film seeks to excel.
Zindagi Na Milegi Dobara (2011)
Translated as ‘You only live once, this buddy-meets-mid-life-crisis movie sees three friends taking a road trip to Spain: Arjun (Roshan) is a man who loves work; Imraan (Farhan Akhtar) wants to trace his biological father, and Kabir (Deol) is unsure of his future marriage. ‘Zindagi Na Milegi Dobara’ had a message for middle-class Indians living a new dream of freedom with well-paying jobs: it’s okay to be incompatible or have a happy love.
Silsila (1981)
The film Yash Chopra’s most famous film is based on the alleged realism between Bollywood star Amitabh Bachchan and the late diva, actor Rekha. Sadly, Bachchan persuaded his actress wife, Jaya, to retire to play his screenwriter and the allegations of his wife, Rekha, to imitate this silly film as his screenwriter. Chopra’s attempt to commit adultery with hot songs results in a specific film with a common dismissal. Today, it is regarded as an old-fashioned cult because of its controversial distribution and tense noise.
Anand (1971)
Rising star Rajesh Khanna plays the character, whose days are numbered after being diagnosed with cancer. The film explores his relationship with his doctor, Bhaskar, played by young Amitabh Bachchan (who would have put Khana out of the top of the box a few years later). Anand’s positive outlook on life and his play is a lesson to those around him, as Baskar, a very sensitive man, fights his inability to change Anand’s health status. Aside from the concerts, the film is unforgettable with Salil Chowdhury’s points.
Prem Rog (1982)
Raj Kapoor discusses the controversial issue of remarried widows with this strong criticism of the old family and rental structures, all embedded within a major, commercial film. Compiled by young actress Padmini Kolhapure, who is completely convincing and compassionate as an unfortunate bride who finds the true meaning of love. There are strong edges on the ‘Prem Rog’ and some hammy imitations, but in the end, its loose and continuous shape prevails.
Barfi! (2012)
The success of word of mouth, ‘Barfi!’ Marks the magical relationship between a woman with autism, Jhilmil (Chopra), and a young deaf man, Barfi (Kapoor). The film has the spirit of a fairy tale, as well as Kapoor’s work with blue eyes, and a vivid portrayal as the title character resurrects Charlie Chaplin and his grandfather, Raj Kapoor. ‘Barfi!’ Declared Kapoor as a loyal actor and a rising star rather than just a good boy. He is the fourth generation of the Kapoor family to play in Hindi movies.
Gol Maal (1979)
That’s where it started. At least two generations of Indians will count this as the best domestic jokes ever made, and with good reason. Hrishikesh Mukherjee’s well-designed joke shows two people that Ramprasad (Amol Palekar) doubled as his absent twin and wore a fake mustache, just to convince his new boss Bhavani (Utpal Dutt) that it wasn’t. sports game. Throw in a few fake mothers, the boss’s daughter who falls in love with another ‘brother’, the drunken Keshto Mukherjee, and the memorable lines of screenwriter Rahi Masoom Raza, and this is a joke of all seasons.
Ankur (1974)
‘Ankur’ is the film that started the accompanying film movement of ‘arty-indie’ in Hindi cinema in the 1970s and early ’80s. Shyam Benegal’s first article introduces Shabana Azmi (‘India’s Meryl Streep’) as Laxmi, the maid of the deaf and untouched potter. Laxmi is pregnant with a lonely middle school student Surya (Nag) on her family holiday farm. The whole admirable and realistic film explores the emergence of these events and boldly embraces the strong stereotype of femininity. Gritty and political, this is an important elegiac and rural melodrama.
Ek Tha Tiger (2012)
Salman Khan added a dash of universal technology to his special machismo product on the subject of espionage and romance with an enemy agent (Kaif). Like Tiger, Khan adheres to the image of a muscle-man but also struggles with loyalty questions to his wife or his country – a complexity that cannot always be given to Indian defenders. The same problem appears with Tiger’s colleague, Gopi (Shorey), who may have to solve his friend.
Chak De! India (2007)
Between the smash hit film ‘Ab Tak Chhappan’ (2004) and ‘Rocket Singh: Salesman of the Year’ (2009), director Shimit Amin teamed up with author Jaideep Sahni to give us this very important sports drama. The film tells the story of a dirty Indian hockey player (Khan) who trains a women’s team to win the World Cup. While clinging to the image of the obstacles to victory, Amin and Sahni cleverly weave themes in the context of cultural diversity, religious diversity, and femininity.
Kaala Patthar (1979)
The exploitation of the common man by greedy industrialists is the theme of ‘Kaala Patthar’, which unmistakably refers to the Chasnala tragedy of 1975 in which 375 miners drowned. Amitabh Bachchan plays the depressed Vijay, an embarrassed naval officer who has left a sinking ship; Shashi Kapoor is a pure engineer Ravi, and Shatrugan Sinha escaped Mangal.
Ghajini (2008)
With many similarities to Christopher Nolan’s ‘Memento’, this top athlete relies heavily on the temporary memory loss of his main character. Sanjay (Aamir Khan) is a prominent Indian businessman, and Kalpana (Asin), a model, prides herself on being a Sanjay girl even though they have never met. When Sanjay found out, she decided to confront him but soon fell in love.
Jodhaa Akbar (2008)
The real-life story of the Mughal emperor Akbar (Roshan) and his Hindu wife Jodha (Bachchan) does not follow the facts. But if an art license is used so well, who cares? Ashutosh Gowariker, Oscar-nominated ‘Lagaan’ director, creates the perfect balance of spectacle, concerts, ideas, and story, never forgets the fun aspect, and allows us to enjoy the costume and production design. He conveys his timely message of reverence for all religions with the incomparable splendor of the empire.
Kabhi Khushi Kabhie Gham… (2001)
‘It’s all about loving your parents,’ shouted the trailer ‘Kabhi Khushi Kabhie Gham…’, a film piled up in mushrooms in the true style of Karan Johar (‘My name is Khan’). Here, Johar put together a dream of playing for a broken family. Billionaire Yashvardhan (Bachchan) is a dictator who fires his adopted son Rahul (Khan) by marrying a woman without his consent. Years later, Raj’s brother Rohan (Roshan) tries to bring the family together. Attractive production design, glamorous pieces of music and famous stars, ‘K3G’ (as the film is known) pleases Bollywood for the very best.
Dil Se .. (1998)
‘Dil Se ..’ became Bollywood’s biggest Bollywood filmmaker Mani Ratnam, co-produced by star Shah Rukh Khan. The failure of the box at the time, the story of a Delhi journalist dating a terrorist has gained popularity over the years. Ratnam’s interest in politics may have been at odds with the image of Khan’s son at the time, but at least the actor has one solid drama in his unpopular film.
Lunchbox (2013)
Ritesh Batra’s first film has become India’s most exported in recent times, with a rave review in Cannes followed by a massive US release, where the film ended up being among the highest-grossing foreign language films of the year. Simple but purposeful, ‘Lunchbox’ focuses on the lives of two single people, Saajan (Khan) and Ila (Kaur). They both chase for peace and happiness amidst the chaos and chaos of Mumbai, as they share notes on the tiffin box being brought back and forth.
Khakee (2004)
Amitabh Bachchan entered the scene in the role of an angry police officer in Vijay in ‘Zanjeer’ (1973). ‘Khakee’ explores what happened to the character 30 years later. Vijay is a loyal police officer whose job it is to transport terrorists from a small town to the city. But as the senior officer and his team do their job, they realize that there are influential people who want the death of terrorists – so their lives are in danger.
Maine pyar kiya
Prem (Khan), a boy from a wealthy family, pursues an illicit love affair with a working-class girl Suman (Bhagyashree). So far, Bollywood, but ‘Maine Pyar Kiya’ has managed to simultaneously launch the work of Salman Khan, the director of the cement box Sooraj Barjatya and redefined the love and friendship in Bollywood in a way that has not improved for years. Released in a decade marked by violent masala flicks, this family-friendly film with always green sound and iconic dialogue quickly became popular and widely appreciated.
Parvarish (1977)
It’s often overshadowed by ‘Amar Akbar Anthony’ (same director, same year), ‘Parvarish’ is a very important masala film: a popular film with a little something for everyone. Manmohan Desai’s favorite star Bachchan was once compared to his brother on the other side of the law (sparky, sweet Khanna). The brothers were helped by a romantic interest in the film: two sisters (Singh, Azmi) with different motives and personal plans.
Velu Nayakan (1999)
Nayakan’, the original Tamil version of the film, was released in Hindi in 1999 in ‘Velu Nayakan’. A landmark crime film, based carelessly on the life of Varadarajan Mudaliar (now Velu Nayakan, played by Haasan), a real mafia shooter in Bombay, and explores the struggle of southern Indians living in the city. It received inspiration from Francis Ford Coppola ‘The Godfather’. The song ‘Thenpandi cheemaiyile’ is one of the most popular songs by Indian filmmaker Ilaiyaraaja, who has now shot more than 1000 films in his career.
Kuch Kuch Hota Hai (1998)
Director Karan Johar began his relationship with Shah Rukh Khan with this love drama promoted by Archie-Veronica-Betty’s third part in American Archie comedy. Rahul (Khan) and Anjali (Kajol) are best friends who study at the same college, but cheap Anjali is threatened by the arrival of Tina (Mukerji). Years later, the widow of Rahul reconnects with Anjali.
Mera Naam Joker (1970)
Star director Raj Kapoor’s semi-autobiographical magnum opus four hours of self-loathing, which crashed into a box and nearly destroyed the director-actor. The sad actor, Raju (Kapoor), invites the women he loved and lost in his life to his last performance. Spoken in three ‘chapters’, this long-running film is full of iffy symbols about the purpose of life, depicts a questionable attitude toward women and bears the brunt of a small episode of motherhood. But for all your mistakes, this is making a landmark film that is not blocked by a moving song.
Queen (2014)
The solid film-making style and plot strategy made ‘The Queen’ stand out from the rest of the 2014 release, which helped it emerge as the most important and favorite box song. In a career-changing game, Kangana Ranaut plays the role of Rani, a secure city girl who decides to go to Europe alone on her wedding holiday after rolling over at the altar. The author’s director Vikas Bahl demonstrates the ingenuity of photographing human behavior and pepper a simple story with lovely characters and clever lines.
Main Hoon Na (2004)
Military man Ram (Khan) sneaks in as a university student in the name of peace between India and Pakistan. While stalking a criminal, Ram also loses his heart because of a professor of chemistry. ‘Main Hoon Na’ is in the world of meta known as international star Shah Rukh Khan burst into song every time Miss Universe (Sen) passes by. Celebrating all the elements of the film – family reunions, the redemptive power of love, dreams played in a song – while I also enjoy how funny it can be.
Rockstar (2011)
Ranbir Kapoor co-starred in the film’s character, Jim Morrison like Jordan in such a convincing way that he had to keep reminding people that he wasn’t a real rock star. Jordan is one of the most complex male actors in Indian cinema. This, along with the hides of hidden India – such as Nizamuddin Dargah, the mausoleum of Sufi saint Nizamuddin Auliya, Delhi – and the final appearance of Bollywood legend Shammi Kapoor (‘Junglee’) make ‘Rockstar’ an addition notable in biopic rock. the pantheon.
Sangam (1964)
This is a film as a love song. Two great friends from childhood, Sunder (Kapoor) and Gopal (Kumar) fell in love with the same girl, Radha (Vyjayanthimala). She marries Sunder, whom she dislikes, but then disappears into battle. When Sunder returns, the discovery of an old love letter sows seeds of suspicion and the friendship is tested. The typical image of the love triangle has been made extraordinary by Shankar-Jaikishan’s timeless music and Raj Kapoor’s love of foreign lands.
Tezaab (1988)
Actress Anil Kapoor followed her hit 1987 hit ‘Mr. India’ with the film (title means ‘Acid’) which gave actress Madhuri Dixit her role, swept the office and won four Filmfare awards (equivalent to Bollywood and Bollywood. Oscars). It tells of a criminal, Munna (Kapoor), who tries to get himself back on the legal side while trying to save his love, Mohini (Dixit), from the hands of his corrupt father. It is loving and violent.
Sahib Bibi Aur Ghulam (1962)
‘Sahib Bibi Aur Ghulam’ is a seasonal film about the end of the era. Abrar Alvi’s familiarity with Bimal Mitra’s Bengali novel is about the stormy relationship between a wealthy, elderly business owner (Rehman), his beloved wife (Meena Kumari) and their young servant (Guru Dutt). It is all about the last days of the old system of mines (tax collection system) in colonial Bengal, nineteenth century. Captured with great sensitivity and the new naming of Guru Dutt’s main man VK Murthy, ‘Sahib Bibi Aur Ghulam’ is Satyajit Ray’s most beloved twin ‘Jalsaghar’.
Baahubali: The Beginning and Baahubali 2: The End (2015, 2017)
These blockbusters play as Bollywood ‘Black Panther’. Inspired by Indian fairy tales and a series of comic books by Amar Chitra Katha, director SS Rajamouli a two-part poem about a young man, Shivudu, who later received his name Mahendra Baahubali (don’t ask, it’s complicated), presents some of the amazing Indian cinema the most ever. Both films combine high dreams and action with a sense of almost Shakespearean drama, leading to a double-edged building that knows when it should be restored. Like the ‘Wakanda forever!’ Style ‘Black Panther’, ‘Baahubali’ will always be associated with the song ‘Jai Mahishmathi’.
Aiyyaa (2012)
Filmmaker Sachin Kundalkar took one of three similar stories he had previously told in the 2009 Marathi language film ‘Gandha’ and made it a Hindi madcap comic with fictional characters. Meenakshi (Mukerji) fell in love with a Tamil boy Surya (Prithviraj) after being attracted to her scent. Unusual characters around Meenakshi include his father, who smokes four cigarettes at a time; grandmother with gold teeth; and her friend Mynah (The Best Day), with Lady Gaga’s strange fascination.
Mr & Mrs ’55 (1955)
Director Guru Dutt is using a common conspiracy to have a dramatic effect on the massacre of India’s upper-class sub-county in the post-independence era. Anita (Madhubala) can inherit her father’s fortune only if she gets married – leading her female aunt to suggest entering into a ‘fake’ marriage with cartoonist Preetam (Dutt) and ‘divorce’ as soon as possible afterwards. But, still, both Anita and Preetam are in love … Dutt’s unique style of directing is used creatively during the songs: the camera seems to be motionless. The film is best remembered today with songs sung by Geeta Dutt (director’s wife) and with real humor. It is an unstoppable film and flawlessly distributed.
Garam Hawa (1973)
Also known as the ‘Hot Winds’, this is perhaps the most important and accurate Indian film depicting the plight of young Muslims in northern India following the 1947 Separation. Set in the late 1940s, Salim (Sahni), an elderly Muslim shoe tailor should decide. to leave or not to leave his ancestral home in Agra and to move across the border into newly formed Pakistan. At the time, Hindu-Muslim differences at home threatened to tear apart his family. Director MS Sathyu, a Marxist activist, created the sad story of the lives of innocent people separated by hatred and suspicion. The excellent performance of Balraj Sahni will make you cry, and the problems are the same for India today.
Hum Hain Rahi Pyar Ke (1993)
In this version of Cary Grant’s ‘Houseboat’ (1958), Vyjayanti (Chawla), the happy daughter of an old Tamil family, escapes an impending marriage and finds relatives of three children who decide to hide her in their home, under the nose of their guardian Rahul (Khan). When Rahul finds him, he becomes the ruler of the children and the next is a love story between the opponents. A wonderfully beautiful song is accompanied by this fun, simple and fun family song.
Lootera (2013)
Vikramaditya Motwane also thought of O Henry’s short story ‘The Last Leaf’ of the film about a simple girl, Pakhi (Sinha), who loves a robber, Varun (Singh), when he arrives in his hometown pretending to be a criminal. archaeologist. Successfully reviving the 1950s era, culminating in the debut of a Dev Anand radio drama, ‘Lootera’ comprising an ace professional team composed of director Aditya Kanwar and cinematographer Mahendra Shetty, who gave the film a unique, timely look.
Parineeta (1953)
An obscure beauty is the order of the day in this version of the Bengali novel. As he was cured by director Bimal Roy, it is a myth of true love lost and found, cleverly played by famous actors Ashok Kumar and Meena Kumari. The 2005 re-enactment was well received in the same way, and made Vidya Balan a star overnight in India.
Sharmeelee (1971)
‘Sharmeelee’ is a typical example of that Bollywood storytelling theme: good twins versus bad twins. Ajit (Kapoor) marries the shy Kanchan (Raakhee), who thinks she is a living Kamini (and Raakhee), not realizing they are identical twins. Kamini sees the couple in a nightclub and decides that they can have the home happiness they desire by eliminating their gentle sister and replacing her. The unusual structure is played directly as it carefully examines the state of external beauty and inner beauty. The main selling point of the film today is a song by SD Burman, especially Lata Mangeshkar’s much-anticipated solo single ‘Megha Chhaye Aadhi Raat’ (‘Dark clouds cover the sky’).
The Secret Star (2017)
An Indian film with a lot of money boasting of a leading woman, ‘The Secret Star’ is more than just Bollywood music. The film follows the journey of Insia (Wasim), a teenager who dreams of running away from his abusive father and becoming an artist. After the spread of his video singing a song while wearing a niqab to protect his identity, he must face his father’s wrath or give up his dream. At its heart, however, this is a film about the relationship between mother and daughter exploring women’s positions in traditional Indian society, dominated by men.
Jagte Raho (1956)
The experimental film directing two boys Amit Maitra and Sombhu Mitra sees Raj Kapoor playing a dry citizen trapped in a city apartment after colliding with a thief. An unnamed Kapoor character moves from one part of the building to another, meeting a few people, all hiding hidden secrets. The single-character film mainly features the appearance of well-known Hindi film actors, each starring different city dwellers Kapoor began to fear, and later came to be despised.
Chandni (1989)
Last love triangle: Rohit (Kapoor) and Chandni (Sridevi) meet in marriage and fall in love again. But just before they get married, an accident removes Rohit’s legs and self-esteem, forcing Chandni out of the relationship. He meets Latit (Khanna), who is also heartbroken, and things get tough. The storytelling of director Yash Chopra, which gives a clear view of a woman in troubled love, makes ‘Chandni’ stand above the pack.
Madhumati (1958)
Director Bimal Roy’s extraordinary intervention to enter a commercial movie was a fun game of revenge, romance and rebirth, in which something was thrown out of the supernatural. Anand (Kumar) born in the village moves to the village to take the place of the evil Ugaranarayan (the famous Pran), who rapes and kills Anand’s lover, Madhumati (Vyjayantimala). The sad Anand finds someone like Madhumati and talks to him to get Ugaranayaran to admit his guilt. The film has some excellent Salil Choudhury points.
Gunga Jumna (1961)
This 1961 drama helped set the pattern for what would be Bollywood’s foundation: the stories of the brothers on different sides of the law. Poverty-stricken Gunga (Kumar) collects enough money to support his younger brother Jumna (Khan). Jumna becomes a police officer, and Gunga joins a gang after defending his love for a powerful landlord. The brothers looked at the inevitable confrontation.
Devdas (2002)
Exaggeration, however, is still heartbreaking: Sanjay Leela Bhansali’s adaptation of Sarat Chandra’s simple novel has marked the director’s extraordinary theater development, whose films include ‘Guzaarish’ and ‘Saawariya’. His style was high quality and bold in ‘Devdas’. Its main characters, Devdas (Khan) and Paro (Rai), are childhood lovers, but the sectarian divisions and black parents cause them to split up. Filled with indifference, Devdas continues to indulge in alcohol and ends up in the hands of a dancing girl, Chandramukhi (Dixit). Chandramukhi loves broken Devdas, but he can’t think of anything but Paro, alcohol and death.
Thief Jewel (1967)
This intriguing spy tells of Vinay (Anand), a common young man like a precious thief, Amar (and Anand). It’s three hours of corruption, with loose values, fast women and a running hero. Its resilience is not only due to its extraordinary visual effects – the film is candy-colored, high-quality and appealing – but also comes from a bright text that carefully reveals layer after layer and finally transforms one of the Hindi cinema favorites in its head. Nearly 50 years later, the details are still a marvel.
Chhoti Si Baat (1975)
An expert in showing the middle class of the city, the main character of the director Basu Chatterjee in ‘Chhoti Si Baat’ has also become a simple man (technically played by Palekar) who faces simple problems and finds simple solutions to deal with. Arun is an insecure man who dreams of seducing Prabha (Sinha). He is taken under the wing of the fun-loving Colonel (Kumar), who helps young men to overcome their shortcomings. Transformed by ‘School for Scoundrels’, the film is best remembered for its 1970s Bombay show and its bizarre comedy.
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