(Note: This is a reprint of an article published in the INDIA TODAY commemorative issue “The Best of India” dated January 2, 2023)
Great times, bad times. Indian cinema is the most prolific and qualitatively heterogeneous in the world, and Bombay industry production is the most extensive in its influence and influence. , here are 10 of his creators who will forever remain in our hearts. What most of them have in common is a flair for unforgettable musical scores and an adventurous spirit for setting their own studio and film production banners. You can lynch me by leaving out quite a few strongmen from this strictly limited roll call of 10. And Sai Palange definitely belongs in this eternal hall of fame.
Mehboob Khan (1907-1964)
The bit-part actor, once a horseshoe repairman, owned a chatsper to become a perfectly dressed producer and director. mother india (1957), a remake of himself Orat (1940). In addition to presenting Nargis in her career-best role, it detailed the daily struggles of the peasant class and was nominated for an Oscar. Sprinkled with drama. Andaz (1949), sleek and modern tones had Nargis, already engaged to Raj Kapoor, and lovestruck Dilip Kumar (to die for). Amar (1954) was also the first to portray Dilip in a strongly negative hue.
V. Shantaram (1901-1990)
Forces of Nature started in the free-to-play movie with Dadasaheb Falke as the doorboy at the Hubli Theatre. That streak yielded a whole harvest—Manus (1939), Dr. Kotnis ki Amar Kahani (1946), Dahej (1950), de arken barra hearth (1957).U-turn in a flashy musical janak janak payal baje (1955) and Navran (1959), the latter an ode to the magnificence of color after recovering from an eye accident, and both are odes to his new muse Sandhya.
Kamal Amrohi (1918-1993)
A temperamental poet and one of a quartet who wrote chaste Urdu poetry for the poetry of K. Asif. Mughal – E-Azamhe had a strange way for leading women to breathe soul into his rippling canvas. Mahal (1949), “India’s first horror film” spun a web around Wraith…a memorable Madhubala. Darela (1953) is an incredibly underrated depiction of the female condition, in which Meena Kumari is metaphorically trapped in four walls. Pakeeza (1972) has his most readable signatures: sumptuous sets, minimalist acting, and magnificent paintings of haunting melodies. Razia Sultan (1983) pales in comparison. his dream project Arkuri Mughalalas, remained a dream.
bimal roy (1909-1966)
Inspired by the neorealism of Vittorio De Sica bicycle thief (1948) and rich Indian romantic traditions as well, Roy has crafted a superb blend. His work includes such timeless pieces as: Do Biga Zamin When Parinita (1953), Devdas (1955), Madhumati (1958, Uncharacteristic Ghost Story), Sujata (1959), Paraff (1960), Kaburi Walla (1961) and Bandini (1963). His soundtrack, which alternates between Salil Chaudhary and his SD Burman, is still a hit on YouTube. Bengal Famine and Vivekananda’s documentary show where he was anchored.
large kapoor (1924-1988)
The son of actor and theater director Prithviraj, he was a native cinematographer. At 24 years old, taking direction arg (1948), Portrait of an Artist, in which he established himself as an actor, director, and often editor berthart (1949), Awara (1951), Shree 420 (1955), a triptych that integrated entertainment with the Neruvian ethos and pretty much laid the DNA of popular Indian cinema. As he goes from Trump to showman, from socialist-era socialist-era drama to more big-budget self-indulgent epics, circles to great music, often baroque visuals, and Chaplin-like acting is a constant. It was left.
K. Asif (1922-1971)
Upon arriving in Bombay from Etawah, he was occupied with learning the filmmaking alphabet.Grand debut at Fool (1945) aside, he arguably achieved legendary status as the creator of Mughal-e-Azam (1960), which took 12 years and repeated cast changes to reach the finish line. Naushad’s raga-encrusted score, Madhubala’s heart-searing turn as Anarkali to Dilip Kumar’s brooding Salim, breathtaking sets (that Sheesh Mahal!), and Russian author Sergei Eisenstein. The latent, perhaps inadvertent influence of , shows what is in my opinion, the best Hindi film ever made. bottom. love and godafter the main character, Guru Dutt, took his own life.
Guru Dat (1925-1964)
Having passed away at the young age of 39, his training as a dancer with Uday Shankar has always seemed a relevance. His talent for lighting and framing was already evident in his two Bombay his noir films in which he debuted. barge (1951) and Jarre (1952). After a detour to romantic comedies in the mid-50s (Earl Pearl, Mr & Mrs 55), he set out to create a classic—Piaasa (1957), Carga’s Ke Fool (1959) and Sahib Bibi Aur Ghuram (1962) — It still burns like a ghostly candle flame.
Ramesh Sippy (1947-)
Producer GP Sippy’s prodigy, he had an Army story in mind before Salim-Javed’s script became what would become cinema history.Dakoit vs Village Epic Shorey (1975) – Kurosawa’s seven samuraiAnthony Quinn – Stirrer san sebastian gun There were countless borrowings, all boiled down to a fiery red curry.sippy gave us Shakti (1982), Sagar (1985) and Bunyard (1986-87), but the coal was only able to burn successfully once.
Hrishikesh Mukherjee (1922-2006)
A protégé of Bimal Roy and already a versatile assistant director, cameraman and editor, he was exceptional on the set of a small, human, middle-of-the-road charming film among the best of Bollywood. I had secured a spot. The colors span so many microtones. Anari (1959), to Anuradha (1960), Anupama (1966), Satyakam (1969), Gudi, Anand (both 1971), Abiman (1973), they were all nuanced, often close to literary portraiture, and had a constant circle of storytelling. I am chupke chupke (1975) and Gol Maar (1979).
Manmohan Desai (1937-1994)
The Miracle Man once prophesied, “Critics can laugh at me, but one day they will call me the Steven Spielberg of India.” Well, the swastika was prone to exaggeration, but it could make you believe the unbelievable. Would you believe now that he started the inning with a full blown black and white outing? Charia (1960), Dostoevsky’s white knightsThe masala boxes he packs are always known for their ultimate seasoning.? Amal Akbar Anthony (1977).
–I am a former editor. film fairfilm critic, filmmaker, writer
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