Hindi films increasingly lost their artistic appeal.
#Old hindi movies movie#
Please let me know, if I am missing any good movie in this list.The 25 Finest Hindi Films Of The Decade (the 2010s): Since parallel Hindi cinema succumbed to the influx of money and muscle and deterioration of a director’s creative control in filmmaking during the late 80s and 90s, content, relevance, and realism took a backseat in the biggest film industry of India. I have compiled the list of 100 Best Bollywood Hindi Art Films. However, we can still see the touch of Parallel Cinems in the movies of Mani Ratnam, Nagesh Kukunoor, Anurag Kashyap etc. Underworld financing, political and economic turmoil, television and piracy proved to be fatal threat to parallel cinema, as it declined. The fact that investment returns cannot be guaranteed made art films less popular amongst filmmakers. Actors from commercial cinema such as Rekha and Hema Malini ventured into art cinema.Īlthough nothing much happened during late 80 and 90s for the parallel cinema, Mira Nair’s Salaam Bombay! (1988) gathered a lot of National and International acclaim and is remembered till date as one of the finest Bollywood movies ever made on the daily lives of street-children of Mumbai.īy the early 1990s, the rising costs involved in film production and the commercialization of the films had a negative impact on the art films. Parallel cinema of 70s and 80s gave careers to a whole new breed of young actors, including Shabana Azmi, Smita Patil, Amol Palekar, Om Puri, Naseeruddin Shah, Kulbhushan Kharbanda, Pankaj Kapoor, Deepti Naval, Farooq Shaikh etc. These filmmakers tried to promote realism in their own different styles, though many of them often accepted certain conventions of popular cinema. Benegal’s directorial debut, Ankur (Seeding, 1974) was a major critical success, and was followed by numerous works that created another field in the movement. This was led by such directors as Gulzar, Shyam Benegal, Mani Kaul, Rajinder Singh Bedi and Saeed Akhtar Mirza, and later on Mahesh Bhatt and Govind Nihalani, becoming the main directors of this period’s Indian art cinema. Guru Dutt’s film Pyaasa (1957) featured in Time magazine’s “All-TIME” 100 best movies list.ĭuring the 1970s and the 1980s, parallel cinema entered into Bombay’s Hindi Film industry. Bimal Roy’s Do Bigha Zamin (1953) was both a commercial and critical success.
Chetan Anand’s Neecha Nagar (1946), a social realist film won the Grand Prize at the first Cannes Film Festival. This new style of Cinema got world wide acclaim and fame. These film makers used Cinema to highlight prevalent issues. That is why this period is still considered as the Golden Age of Indian cinema. For the first time, Cinema became the mirror of the contemporary Indian society as movies which were made during this period were largely influenced from Indian Literature and current socio-political situations. Shantaram. Real-life movies by these directors added a new perspective to the Indian movie industry. The Parallel Cinema movement started in the late 1940s to the 1960s, by India’s great filmmakers such as Satyajit Ray, Ritwik Ghatak, Bimal Roy, Mrinal Sen, Khwaja Ahmad Abbas, Chetan Anand, Guru Dutt and V. The culture of Art Films first started in Bengali film industry by critically acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak and others and then gained prominence in the other film industries of India including Hindi Film industry. Art Films are not considered to the part of mainstream cinema due to their serious content, realism and naturalism. Art Films, also known as Parallel Cinema, form an integral part of Bollywood. They are an alternative to the mainstream commercial cinema especially for the people who use their brain while watching movies.
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