Roping in nearly every popular star for wacky supernatural themes like shape-shifting snakes ( Naagin), monster-faced curses ( Jaani Dushman) and costume-y royal adventures ( Raaj Tilak), the audacious themes and fun shenanigans of Rajkumar Kohli entertainers do not get enough credit.īefore he got hooked to the war genre in the big scale action of Border, LoC Kargil and Paltan, J P Dutta was known for his sumptuous Rajasthan-based stories of rivalry and rebellion in Ghulami, Batwara, Yateem and Kshatriya. His other biggies - Shaan and Saagar - may not share Sholay's extraordinary success but Sippy's slick production standards stay put.
More than four decades later, the magnificent canvas of Sippy's Sholay, its stars, sets, scale remains unprecedented. Introducing the desi audience to F1 car racing in Apradh, busting a brand new Mercedes for a scene in Qurbani, shooting extensively in Afghanistan for Dharmatma, Feroz Khan's super swanky film-maker made style his signature and extravagance his appeal. Manoj Kumar's passion for patriotism on a jumbo scale earned him the title of Mr Bharat, one that originated with Upkar, strengthened in Purab Aur Paschim and Roti Kapda Aur Makaan and, finally, hit its peak in the ambitious, adventurous blockbuster success of Kranti. High on flamboyant masala, unflinching melodrama, heady glamour and chartbusting music, Shakti Samanta's brand of ritzy entertainment translated in money-spinners like Kashmir Ki Kali, An Evening in Paris, Kati Patang, Aradhana, Amar Prem and The Great Gambler.Ī master of gorgeously dressed entertainment, the lavishly choreographed song and dance routine of his formulaic romances - Teesri Manzil, Pyar Ka Mausam, Caravan, Yaadon Ki Baarat, Hum Kisise Kum Nahin, regularly raised a toast to his love for razzle-dazzle like few can.ĭaydreaming in Switzerland, romantic strolls in Holland's tulip gardens, reciting poetry in Kashmir's fresh snowfall, weekend getaways in Germany, going through life's biggest heartbreaks and challenges inside luxurious mansions of India or abroad, Yash Chopra's incredible aesthetic aspired us to dream big and dream rich in films like Kabhie Kabhie, Silsila, Chandni and so many more.Īnhonee ko honee karde honee ko anhonee is a one of a kind madness in Manmohan Desai's methods.įrom roping nearly all of Bollywood for one song to making sense of the absolute absurd, the Naseeb director's gallery-playing opulence made him the ticket-paying public's ultimate showman. In collaboration with Navketan ( Taxi Driver, Kala Bazaar, Guide, Prem Pujari, Jewel Thief) or otherwise, siblings Dev Anand's eye for talent ( Hare Rama Hare Krishna), Chetan Anand's sprawling ambition ( Haqeeqat) and Vijay Anand's wizardry in nuances ( Johny Mera Naam) made history on celluloid. You see its expression in the manner he picturised his songs or portrayed his leading lady.
The style and poetic spectacle of Kamal Amrohi's cinema is arduous to create, impossible to ignore and worthy of study, whether it's a classic like Mahal and Pakeezah or an expensive misfire like Razia Sultan.Ī showman for the ages, Raj Kapoor's big-budget musicals like Sangam, Bobby, Mera Naam Joker, Satyam Shivam Sundaram and Prem Rog packed in lush images of art, affluence and perfection. Quite something given none of his other works reached such heights.Īan, Amar, Andaz and, above all, Mother India, Mehboob Khan's ability to take social themes and render them cinematically imposing gave their emotions a groundbreaking edge. Though its 16-year-long making was nothing short of a production nightmare, his perseverance set the benchmark for opulence. There will never be another Mughal-E-Azam, simply because there cannot be another K Asif.
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