Iconic Bollywood movies of all time
The world of film has the ability to change, impact and leave a permanent check on our mind.
The world of film has the ability to change, impact and leave a permanent check on our mind. When we say a film ‘characterized’ an age, we are not considering the works of art, but rather films that addressed us. The characters, melodies, scenes characterized our way of life. Something about them resounded with every one of us, and these movies certainly remain our most loved ones.
Mughal e Azam
A standout amongst the most costly movies of Hindi film, Mughal-e-Azam is considered as one of the milestone films ever of Indian cinema. Directed by K Asif, the film featuring Dilip Kumar, Prithviraj Kapoor and perfect Madhubala in the lead roles depicted an unceasing affection for Mughal ruler Salim and courtesan Anarkali. A true masterpiece, featuring some of the greatest actors ever to grace the Indian screen. Prithviraj Kapoor, who played the legendary role of King Akbar, deified the character on celluloid. A ballot led in 2013 by British Asian weekly newspaper evaluated it as the best Bollywood film of all time.
Some of the known dialogues of the movie that are still remembered today
Mohabbat joh darti ho woh mohabbat nahin ayyashi hai, gunaah hai.
Salim tujhe marne nahi dega aur hum Anarkali tujhe jeene nahi denge.
Sholay
This is a standout amongst the best motion pictures of Indian cinema. Composed by the pair Salim– Javed, Sholay was created by G.P. Sippy and directed by Ramesh Sippy, the Sholay casted Dharmendra, Amitabh Bachchan, Sanjeev Kumar, Hema Malini, Jaya Bhaduri and Amjad Khan in the lead roles. Sholay broke every box-office record and still is crisp and engaging. The effect of the film was such that each and every character and every dialogue is recalled till date. Though individuals adored the evergreen pair of Jai and Veeru, they even cherished legendary villain Gabbar Singh played by debutante Amjad Khan.
Here are some of the most iconic dialogues that make Sholay the iconic film that it is:
Basanti in kutto ke samne mat nachna
Arrey oh Sambha … kitna inaam rakhe hai sarkar ham par?
Golmaal
Some of the many lighthearted entertainers that director Hrishikesh Mukherjee gave us turned into the classic comedy ‘Golmaal.’ With its characters lying through their teeth, a comedy of confusion and a euphoric end ended up being the most loved parody film for the people.
Featuring Utpal Dutt, Amol Palekar, Dina Pathak, Deven Varma, and Bindiya Goswami, ‘Golmaal’ made for a grasping screenplay as well boasted of some tremendous performances. It’s far a classical comedy, not loud at any point, the humor subtle and wise.
Be it Amol Palekar or Utpal Dutt, both struck a splendid compatibility, bringing composed yet convincing pictures out of their characters. Dutt played a business, caught with traditional and robust pre-conceived thoughts of a successful man or woman. Palekar was the reviving difference to the senior actor. Both won the Filmfare Award for their film; Palekar for best actor and Dutt for the comic role.
Jiski mooch saaf hoti hain, uska mann saaf nahi hota
Log apne pairon pe kuladi marte honge, maine toh kuladi pe hi pair mar diya
Hum Aapke Hai Koun
Family films celebrating Indian culture were a prominent theme throughout the nineties. Wedding, as a theme, too had been explored in Hindi films but not as inherently as propelling a narrative or at a scale Sooraj Barjatya explored it, in this one.
Directed by Sooraj R. Barjatya, and starring a hit pair of the 90s — Salman Khan and Madhuri Dixit — ‘Hum Aapke Hai Koun,’ became a benchmark for family dramas to come. This film started the trend of non-violent and NRI-based, feel-good films. The film managed to create box-office history without having boasted of any villains as a part of their star cast.
With its exceptional soundtracks, ‘Didi tera devar’ was such a big hit with the masses, that legendary singer, Lata Mangeshkar received the Filmfare Special Award for this song.
Jab hum aapse kuch poochna chahe toh aap humein rokti hai, aur jab chup ho jaye toh tokti hai.
Aaj pehli baar koi ladki hamari car ke front seat pe behti hai.
Dilwale Dulhania Le Jayenge
Aditya Chopra’s “Dilwale Dulhania Le Jayenge” is one of the record-breaking Bollywood romantic comedy. It gave another superstar to the Indian film by the name of Shah Rukh Khan. The film once again brought back the time of romantic tales and acquainted Indian audience with the beautiful magnificence of Europe and desi land. Subsequent to smashing numerous records in the cinema world, the film turned into the longest running film in Indian cinemas after Sholay.
Dilwale Dulhaniya Le Jayenge isn’t about Shahrukh or Kajol. It’s about Raj and Simran. Raj and Simran’s is the romantic tale of an age. It’s a perfect work of art, a brainchild of Aditya Chopra who painted an intense romance among Raj and Simran, on the excellent canvas of nature.
Bade bade deshon mein aaisi choti choti baatein hoti rehti hai
Ja Simran, ja jeele apni zindagi!
Dil Chahta Hai
Around the flip of the decade got here alongside a film that challenged the standard tropes of storytelling in Bollywood. The romantic comedy, directed by the newcomer Farhan Akhtar, was an invigorating, reasonable interpretation of kinship and love. Dil Chahta Hai is a film about the three wonderful characters, their character relationships and the effect that those connections have on the three of them.
Featuring Aamir Khan, Saif Ali Khan and Akshaye Khanna, ‘Dil Chahta Hai’ has come to procure a clique status throughout the years.
Pyar sooch samajh kar nahin kiya jaata … bas ho jaata hai
Aaj Pooja, kal koi dooja
Gangs Of Wassepur
Rights from its long opening succession where a gang tenaciously showers bullets and bombs at the haveli of their adversary group, with barbaric expectations to end everybody from the lady, children to elderly, Anurag Kashyup sets up the tone, temperament, and texture of his gritty gang-war drama. Gangs of Wasseypur, as far as its screenplay, there is certifiably not a solitary scene in the film that may give you a been there observed that feeling. Its avant-grade, odd and intriguing account makes it a totally riveting experience.
The written work by Syed Zeishan Quadri, Akhilesh Jaiswal, Sachin Ladia and Anurag Kashyap is broad, detailed, expressive and imaginative. It explores numerous aspects of Sardar Khan making his character and the story multidimensional. With its excellent cast, Nawazuddin Siddiqui, Manoj Bajpai, Huma Qureshi and so forth, this motion picture dealt with its sprawling storylines deftly and keeps up a lively place all through its daunting length.
Beta, tumse na ho paayega.
Yeh Wasseypur hai. Yahan kabootar bhi ek pankh se udta hai, aur doosre se apna ijjat bachata hai.
Queen
A bittersweet Bollywood satire of self-revelation, Vikas Bahl’s Queen is actually a hit, a low-budget production that beat the Indian Box Office graphs in its initial two weeks of release. The relatively slight and sweet film recounts the narrative of Queen, a gullible youthful lady from Delhi who is devasted when her fiance calls things off, however, chooses to take her European honeymoon trip all alone. The character appears to have struck a nerve in India, and it might as of now have made a breakout film star of 27-year-old Kangana Ranaut who has been winning awards and rave reviews in supporting roles for nearly a decade.
Queen became a winner in each manner. Women-centric films in Bollywood have generally explored bold, extreme and message-ridden subject matters.
In any case, there was a carefree performer that created an impression as well as did it with an unpretentious panache. It endeavored to break the conventional mind of how ladies are seen in our general public and did it with aplomb.
Mera sense of humour bohot achcha hai. Aapko dheere dheere pata chal jayega!
Main India se hoon, Rajouri. Rajouri suna hai? Apne honeymoon pe akele aayi hoon!
Lipstick Under My Burkha
The stirring Indian film “Lipstick Under My Burkha,” co-composed and directed by Alankrita Shrivastava, goes up against the severe conventions around gender and sexuality in the country with full openness and diversion.
Leela (Aahana Kumra), Usha (Ratna Pathak Shah), Shirin (Konkona Sen Sharma) and Rehana (Plabita Borthakur) are altogether different ladies, loosely associated with one another in the city of Bhopal. Each of them seeks to get away from the abusive male-centric society that characterizes their lives and longs for a more present day and self-ruling way of life.
Lipstick Under My Burkha was at first banned in India for its legitimate portrayal of feminine sexual fable. It’s through dream, imaginative self-articulation and vocation desire that these ladies characterize their identity as people, outside of strict gendered standards. That freedom will dependably be the greatest risk to man-centric society.
Pehle naam batao apna bauji
Rosie ki khuwaishein bhe rose ki tarah khil rahi thi.
Manto
Nawazuddin Siddiqui’s Manto narrates the story of Urdu author Saadat Hasan Manto, an acclaimed author who has a lot of controversies than appreciation associated to his name. The film is directed by famed actor and film producer Nandita Das.
Manto’s may be a compelling story, however, the medium account that Das has crafted of a number of crucial years of the writer’s life is discreet. She is power-assisted by the 3 principal actors – Nawazuddin Siddiqui, Rasika Dugal, and Tahir Raj Bhasin – to modulate the drama.
Movies like Manto are a gem which should be esteemed for quite a long time to come. Nandita Das, who dons the role of a director, investigated every possibility to make this flick an essential look for its watchers. Performances by the leads to the supporting actors have been worth a watch (or many). With appearances by Javed Akhtar, Gurdas Mann and numerous others, one takes away an upbeat yet overwhelming inclination home post watching this one-of-its-kind film.
Sawaal ye hai ki….jo cheez jaisi hai….vaise hi pesh ku na kiya jaaye…Main toh bas apni kahaniyon ko aaine samjhta hu…jismein Samaj apne aap ko dekh sake
Agar mere afsaano bardast nahi kar sakte…Iska matlab ye hai ki…Zamaana hi nakabile bardast hai
