Movies that broke the mould

Aradhika Sharma

If you are fastidious about the films that you want to watch, it is likely that you will read the review of a movie written by a critic that you trust. The reason that you trust the critic is because you are convinced that their views are unbiased and you are likely to get a fairly dispassionate view of the film being critiqued. Shubhra Gupta, film reviewer with a national daily, is one such reviewer. Gupta has been critiquing films for more than 20 years, and when you re-read the reviews of the films she has selected for this book, you realise just how much she was tuned into the impact that the film would have.

As is evident by the title, in this book Gupta lists 50 films that changed Bollywood — not just the best films, but those that had the greatest impact in changing the industry. These are trendsetting movies that reflected or brought about a sociological change, started a new movement or introduced an actor or director who would cast a long shadow. The films ‘may not have all been blockbusters but they were all significant in the way they impacted the shape and direction of Bollywood after 1995.’

In the last couple of decades (she pegs Dilwale Dulhania Le Jayenge as the film that kick-started the change) the socio-cultural-political and financial outlook of the country changed dramatically. Technology, knowledge, liberalisation, the opening of the markets and the social media has also infused a new energy, fresh ideas and a spirit of the renaissance in the country, and, of course, films must reflect that energy. From heavy-duty, long films full of song and dance, sticking to old themes like rape and revenge, family dramas, lost-and-found stories and the dacoit backdrops, which ran for months, Hindi films transitioned to a multiplicity of themes and screens that changed the scenario every Friday. The audiences wanted newness and the filmmakers are giving it to them with sharper narratives and slicker direction.

Gupta accepts that the most challenging aspect of the book was to keep the number of films at 50. She chooses films that were game changers in one way or another and comes up with films like DDLJ, Rangeela, Satya, Bandit Queen, Dev D, Queen, Kuch Kuch Hota Hai, Kaho Naa.. Pyaar Hai, Golmaal: Fun Unlimited and Bajrangi Bhaijaan. The change encompassed not just the themes and styles of the movies but also filmmaking, performances, production, distribution and exhibition, with huge corporate houses coming in, many of them owned by the stars (Red Chillies Entertainment, Aamir Khan Productions, Bhansali Productions, Dharma Productions, Yash Raj Films, etc.). Overseas markets opening out and banks getting into the business as well as films getting crowd funded (Aankhon Dekhi), a lot changed gradually.

Themes dealing with alternate sexuality (My brother Nikhil), people with special needs (Black), with recent cataclysmic events (Black Friday), a harsh coming-of-age film (Udaan) and even an effective sports film (Chak de India) came up, making film viewing exciting, while creating an audience for original voices.

Every chapter contains two parts: The original review followed by the analysis of why Gupta thinks it is worthy enough to be included in her list. There’s a nice touch in the form of one memorable dialogue from the film under discussion

‘ Tu jaanta nahi hai apun kaun….yeh area mein apun world famous hai’ (Rangeela)

‘Palat!’ (DDLJ)

‘Mumbai ka king kaun? Bhiku Mhatre!’ (Satya)

‘Hum tum mein sirf ek hi problem hai…ki tumhare bina hum adhoore hain’ (Hum Tum)

‘Hum Bajrangbali ke bhakt hai…mar jayenge lekin jhooth nahi bolenge’ (Bajrangi Bhaijan)

Gupta’s love for films is palpable in the book. She urges you to participate in the love. And we do!