As Qayamat Se Qayamat Tak turns 30, we look back at the film’s tentative beginnings and its influential legacy. At a time when action stars and angry young men were a norm, Aamir Khan was a refreshing anomaly.
2000s was a decade that began with Hrithik Roshan’s instant stardom and ended with Aamir Khan’s reinvention into a box-office behemoth. Somewhere in between, a new crop of filmmakers had also emerged – Anurag Kashyap and Vishal Bhardwaj to name a few – infusing new sensibilities and ideas into formulaic Bollywood.
Sridevi’s comic timing was arguably the sharpest among her contemporaries and always gets mentioned in any discussion about the MOM actress. So does her legendary beauty. Though shy in person, she loved to face the camera.
Pran 98th birth anniversary: One of Indian cinema’s greats, Pran may have personified evil on celluloid (such was his reputation that new-borns weren’t named after him) but off screen, many vouch for his self-respecting ways and generosity.
Here’s exploring the Padman star’s consistency and box-office bankability and why, just like Dharmendra in an earlier era, fellow Punjabi Akshay Kumar had to wait for years before, at long last, proving that he matters.
For a man whose childhood was spent listening to radio and whose first major assignment as a filmmaker was to be a “song director” on 1942: A Love Story, it is hardly surprising that music dominates Bhansali’s cinema – and life.
Anurag Kashyap’s latest, Mukkabaaz, is already being hailed as a winner. Perhaps, then, a good time to revisit Kashyap’s cinematic work, which is a fine balance of holding-mirror-to-society realism and Bollywood-style songs.
Great star of the parallel cinema movement, a character actor who did mindless movies, controversy’s child – Om Puri’s life was as colourful as his work. This unlikely hero, as his wife Nandita's biography, called him, took an unlikely exit from the world too.
The 1980s didn’t really suck, as it has been made out to be. There’s no doubt that the decade offered a dizzying array of cinematic delights. Umrao Jaan, Ardh Satya, Khubsoorat, Arth, Jaane Bhi Do Yaaro and Mr India are among the kaleidoscopic treats that the Eighties gave us.
In a not-so-great year, there were nevertheless a host of ground-breaking films (one celebrating toilet humour, the ultimate idealist Newton, and two death-haunted family dramas) that reaffirm your faith in good and entertaining cinema.
In the literary hands of Bimal Roy and Hrishikesh Mukherjee, Dharmendra delivered some of his most outstanding work. But no matter whatever character he was playing, Garam Dharam was always pure entertainment.
Shashi Kapoor was dashing and classy, in an old-world sort of way. Born into the distinguished Kapoor family, he followed a different path than his famous brothers and father. His commitment to theatre equalled that of his father Prithviraj while his passion for meaningful cinema remains unsurpassed in the Kapoor clan.
A decade of huge cultural significance, the Seventies foisted the tag of ‘angry young man’ on Amitabh Bachchan, Rishi Kapoor shot to overnight fame with RK rom-com Bobby and not to mention, Sholay – a curry Western that embodied everything that Bollywood stands for.
Touted for her liberated and forward characters – she was a badass, mind you – Zeenat Aman was among the few actresses of the 1970-80s alongside Parveen Babi and Tina Munim who helped usher in a new kind of urbane heroine.
For much of his life, Amjad Khan was branded as Gabbar Singh from Sholay – that ultimate personification of cinematic evil. But he was also a sadistic smuggler, a friend’s friend, a gum-chewing cop and a poetic Nawab. His colourfully kitschy characters made Hindi cinema of 1970s and 80s both memorable and enjoyable.
Apart from timeless classics like Mughal-E-Azam, Bandini and Guide, the 1960s was also the era of Junglee, An Evening in Paris and Teesri Manzil. Buoyant in tone and light-hearted in mood, 1960s was made even more fun by the arrival of a livewire star called Shammi Kapoor.