1950s and 60s - the Golden Age of Hindi Cinema

21. Awaara (Raj Kapoor, 1951): Raj Kapoor is often compared to Chaplin in his most famous movie Awaara. He assumes the persona of a tramp. The premise of the story is whether it is upbringing or birth that determines good character. The handsome petty criminal Raju (Raj Kapoor) does not know that he is the son of a reputed judge. Raju reforms because of love for Rita (Nargis) and is ultimately reunited with his father. The wonderful film is known for the chemistry between Raj Kapoor and Nargis. Awaara's dialogues, photography, songs and extraordinary dream sequence show the unique strength of Indian cinema. Raj Kapoor's cinema spoke the language of love. Its a pan-universal sentiment that led to this blockbuster classic sweeping people off their feet even in Russia and China. Awaara is, indeed, one of the most popular classics in Indian cinematic history.

22. Baiju Bawra (Vijay Bhatt, 1952): One of the greatest musical classics, Baiju Bawra is about the legendary rivalry between Tansen and Baiju during the reign of Emperor Akbar. The musical spectacle goes into the period specified for a series of joyful jugalbandis between the arrogant Tansen (Surendra) and the humble and exceptionally talented Baiju (Bahrat Bhushan). Their ongoing rivalry is fanned and fuelled when Baiju's father is killed in a scuffle with Tansen's guards and eventually, it reaches a crescendo when the two battle it down in the court of Emperor Akbar. The film's highlight is the classical jugalbandi between the two renowned raga maestros Ustad Amir Khan and Pandit D,V. Paluskar. The music by Naushad is regarded as his best ever. Baiju Bawra demonstrated Naushad's grasp of classical music. The film won him the Filmfare (1954) award for Best Music Director. Meena Kumari looked superbly sweet and pretty as Baiju's innocent and lovelorn sweetheart Gauri. This was Meena's first major screen role, played brilliantly. She won Filmfare Best Actress Award. Meena Kumari climbed to dizzling heights of fame after Baiju Bawra.

23. Do Bigha Zamin (Bimal Roy, 1953): Balraj Sahni and Bimal Roy join forces to make this the most moving and memorable film, with the mood, character and feel of the best work of the Italian neo-realist movement. Shambhu Mahato (Balraj Sahni) is a poor farmer who is obliged to go with his young son to Calcutta to make money in order to save his land from a greedy and dishonest landlord. Balraj Sahni's towering performance is the pivot around which the film moves. Brilliantly directed, beautifully photographed, most touchingly acted by the entire cast, the film was the recipient of a Special Mention at Cannes (1954), winner of the Special Progress Award at Karlovy Vary and Best Film and Best Director awards at the very first Filmfare awards.

24. Parineeta (Bimal Roy, 1953): Based on Sarat Chandra's novel, Parineeta is a sweet little love story of two neighbors. Meena Kumari and Ashok Kumar exude that restrained passion seen so often in Bollywood films of yester years. A touch, a chance meeting, a backward glance - and hearts melt. Its the type that starts slow, with a few sparks, and then stoked to create a fire that is difficult to extinguish. It works fabulously for the two. The story is narrated so naturally that it lets the viewers feel as if they are part of the story, may be living across the way watching the two families and events unfold. The film is a gentle look at conventional society, sacrifice and love. Meena Kumari essays one of the best roles of her career in the all-consuming, unswerving devotion to the man who had secretly married her. She won the Filmfare (1955) Best Actress award for the film, while Bimal Roy won the Best Director award for the classic.

25. Boot Polish (Prakash Arora, 1954): This R. K. Films production, directed by Raj Kapoor's assistant, ranks as one of the finest thought provoking dramas asking how we look at ourselves given the limited resources and chices and faced with overwhelming odds. Film's presentation of the humble lifestyle of two children who wish to overcome the obstacles of abject powerty shows the importance of the spirit of endurance and dedication in the face of adversity. The love of the children for each other in the film is very real, and their struggle for survival and social respectability is profoundly touching. The life affirming and rich cinematic experience, Boot Polish, won Special Mention at Cannes Film Festival (1955) and its director nominated for Golden Palm. The film also won Filmfare (1955) awards for Best Film, Best Cinematographer (Tara Dutt) and Best Supporting Actor (David).

26. Mirza Ghalib (Sohrab Modi, 1954): The film based on the life of the great Indian poet who lived during the reign of Bahadur Shah Zafar, the last of the Mughal Emperors, won the President's Gold Medal for Best Feature Film of 1954. The film portrays once wealthy poet's trials and tribulations, his triamphs and ultimate descent to poverty, and then to prison; and his tragic ill-fated love with a beautiful courtesan, Chaudvin. The film beautifully captures the mood of the period, its hedonistic pursuits and the fading magnificence of the court of the last Mughal, where poets like Zauq, Momin, Tishna, Shafta and Ghalib assembled to recite their verse. Mirza Ghalib also saw Suraiya's finest dramatic performance as she made alive and vivid the role of Chaudvin. The film also highlights some of her finest singing.

27. Jagriti (Satyen Bose, 1954): One of the finest Hindi movies, Jagriti inspires people of all ages, though the film is produced with essentially children in mind. The film highlights the basic cultural ethos of India, in which the young pay respect to their teachers and elders. It teaches children to be brave in the face of hardship and brings out the rejuvinating effect of music, to motivate children towards patriotism and nobility. Jagrity works on a simple humane level and is at once simplistic, sensitive, thought provoking, humorous and engrossing. A good film doesn't need stars; if the content of the film is rich it overrides everything. Nothing proved this better than Jagriti, a small film with no stars, but such was the impact of this little gem that not only did it take the box-office by storm but also went on to win the Filmfare (1956) Award for Best Film and Best Supporting Actor (Abhi Bhattacharya).

28. Devdas (Bimal Roy, 1955): This best-known version of Saratchandra's Devdas is memorable for indelible performances by Dilip Kumar in the title role, Vijayantimala as Chandramukhi, Suchitra Sen as Paro and Motilal as Chunilal. Roy's version of the story seems subtle and naturalistic with affinities to the emerging Bengali art cinema of Satyajit Roy. The actors are restrained and convincing and often placed in realistic locations. Roy makes careful, meaningful use of his restlessly moving camera throughout the film. When the boy Devdas calls Paro from her room by tossing stones at her window, the graceful shot travels with her from an upper floor to the gate below where she meets Devdas. Years later, when Devdas has returned from Calcutta, the shot reciprocates itself exactly without much fuss, so that the film itself suggests a basic, enduring relationship despite the passing of years. This Bimal Roy classic was awarded Filmfare (1957) awards for Best Actor (Dilip Kumar), Best Supporting Actor (Motilal) and Best Supporting Actress (Vijayantimala).

29. Jhanak Jhanak Payal Baje (V. Shantaram, 1955): Song and dance extravaganza, JJPB is one of India's premier classics. Despite being a dance musical with two non-stars, the film was a landmark hit. There couldn't have been a more befitting testimony of Shantaram's foresight nor a better reward for his spirit of adventure. There was a standing ovation for Shantaram in every show when the screening ended. The film earned him President's Gold Medal for Best Film, besides Filmfare awards (1957) for Best Film, Best Director, Best Art Director (Kanu Desai) and Best Sound Recordist (A. K. Parmar). Sandhya never bettered her performance in JJPB. The role of a keen learner and a dedicated disciple fitted her like a glove. Gopi Kishan holds you spellbound as a chareographer and dancer. In the climax, Gopi Kishan visibly revels in the Shiva's famous 'tandav' dance with the magnatism of the blend of energy, undiluted anger and immance grace that draws in not just the dance-literate but every genre of viewers.

30. Jagte Raho (Amit Moitra, Sombhu Mitra, 1956): A chillingly honest and stark Raj Kapoor film, Jagte Raho despairingly addressed the issue of social apathy. Set over a single night's events, the film is a brilliant comic yet critical survey of Calcutta's middle class life. It looks at the city as a nightmare. The movie narrates the naked truth of life's challenges in the city, especially for the unsophisticated, naive, innocent souls who land up to make it big there. Every second of your life is a struggle even if it is for a drop of drinking water. A great story and script and the deep message it sent to the society. The film sees one of Raj Kapoor's most remembered performances, as perhaps the best of his Chaplin inspired roles. However, the scene stealer has to be Motilal playing the role of a drunkard with relish. The other highlight of the film is undoubtedly Salil Chowdhary's musical score. Jagte Raho is one of those rare films which have stood the test of time and is, in fact, more relevant in today's times. The film won Karlovy Vary International Festival (1957) Crystal Globe award for its director, Shamhu Mitra.

31. Do Aankhen Barah Haath (V. Shantaram, 1957): One of the finest movies ever made, DABH won President's Gold Medal (1957), Silver Berlin Bear at the Berlin International Film Festival (1958) and Samuel Godwyn Award at the Golden Globes, USA (1959). The plot is about an idealist police officer who tries to rehabilitate six criminals and succeeds. The 'two eyes' belong to the officer, the 'twelve hands' are those of the six incarcerated murderers. The officer is of the opinion that there's no such thing as a truly bad man, and to prove his point he transports the six killers to a farm, where he puts them to useful work. Amazingly, the jailor's theory is valid one. The prisoners do indeed transform into worthwhile members of society. V. Shantaram was a genius and this movie is his masterpiece. It is an important film which endorses prison reforms and propounds the philosophy that even the most hardened, seemingly soul-dead criminals can be brought in contact with his higher self. The film makes you want to believe in the innate decency of all human beings. Despite being a message film, it remains cinematically alive throughout and played to excellent response at the box-office.

32. Mother India (Mehboob Khan, 1957): A gem in the Golden Age of Indian cinema, this remake of Mehboob Khan's earlier classic Aurat (1940) was the first Indian film to be nominated for an Oscar for Best Foreign Film in 1958, which it missed by a single vote. The film also has the distinction of winning five Filmfare awards in 1958 - Best Film, Best Director, Best Actress (Nargis), Best Cinematographer (Faredoon A. Irani) and Best Sound Recordist (R. Kaushik). Mother India is an epic tale of a mother's struggle against adversity and unscruplous moneylender to retain her farm and feed her children. Radha, played by screen queen Nargis, is a strong, passionate mother, tilling the soil with the plough on her back when there are no oxen, raising her children alone and exploited by the local moneylender. Her son conceives a fanatical hatred for this man; his obsession, coupled with Radha's need to live within the boundaries of the law and common decency, ends in classic tragedy. As the film's publicity said, "The grain of rice on your table does not tell the grim tale of the toil that grew it", the film portrays with astounding sucess a powerful view of rural life in a small India village, with raw emotions and cinematic fineness.

33. Pyaasa (Guru Dutt, 1957): A masterpiece, Pyaasa quenches the thirst that one has when there is a desire to view great cinema. This classic film with its haunting atmosphere has the effect of changing one's perceptions of Indian cinema forever. Vijay (Guru Dutt), an unemployed poet, discovers that the love of his life, Meena (Mala Sinha), has married a rich publisher (Rehman). The poet has little to live for besides his only friends, a messeur (Johny Walker) and a prostitute (Waheeda Rehman), who save him in more than one way. Aside from the enthralling screenplay and first rate performances, Pyaasa has also become famous for its extraordinary music by S. D. Burman. Sahir Ludhianvi's trnquil wisdom in the lyrics, beautifully rendered by Mohammad Rafi, adds a haunting dimension to the film. It is in Pyaasa, indeed, where we see Guru Dutt transcend way above the ordinary and succeed in totality.

34. Sujata (Bimal Roy, 1959): Looking at the plight of untouchability, Sujata remains one of the most humanistic films made on the subject. It is a sensitively directed film with the romantic scenes between Adhir (Sunil Dutt) and Sujata (Nutan) almost lyrical. The story is told in a series of deft, restrained episodes, never ever lapsing into self pity that could have easily marred the film. Sujata sees yet another stunning performance from Nutan in the central role. She enacts the role of the untouchable girl with extraordinary grace and is able to convey her hurt, her trauma with just a glance or a jesture. The film is shot handsomely with rich lyrical quality and evocative framing that brings out the human emotions of the story. And helping to lift the film several notches is its evergreen musical score by S. D. Burman. All in all, Sujata endures as one of Bimal Roy's masterpieces and one of Nutan's best ever performances. The film was nominated for Golden Palm at the Cannes Film Festival (1960) and won Filmfare awards (1960) for Best Film, Best Diractor, Best Actress (Nutan) and Best Story Writer (Subodh Ghosh).

35. Kagaz Ke Phool (Abrar Alvi, 1959): Guru Dutt's semi-autobiographical film, Kagaz Ke Phool is a cult classic through which he almost rehearsed his own death. Intensely personal film, though it was extremely well made, it was not well received by the Indian audiences who prefer happy endings. This film was made ahead of its time. But in today's time, the audiences have definitely realized and recognized its piercing brilliance beyond the pall of gloom. The film looks at the morbid movie industry and the people within it who are like 'flowers of paper'- beautiful to behold but artificial nevertheless and without fragrance. Guru Dutt as the genius filmmaker and Waheeda Rehman as his protegee act beautifully. This melancholic masterpiece is India's first cinemascopic film that boasts of breathtaking cinematography and memorable scenes of wrenching melodrama. The film won President's Silver Medal.

36. Parakh (Bimal Roy, 1960): Like any Hindi movie, this one too has a hero and heroin and a love story, but that is where the similarities end and the movie stops becoming stereotypical. It has lot more to offer - a beautiful love story wherein love, humor, drama and mystry are amazingly interwined. The characters have depth and the complexities of human behavior are explored in a truly entertaining manner. Parakh sees Bimal Roy venture into satire territory wherein he once again establishes what a fine and sensitive filmmaker he was. The film finds him truly enjoying himself as he blows the lid off so called respectable people and shows to what level people can stoop to for money. The film is based on story by Salil Chowdhury with dialogues by Shailendra. Motilal comes up with yet another impeccable and thoroughly natural performance winning the Filmfare Best Supporting Actor award for the role. The film also won Filmfare (1961) awards for Best Director (Bimal Roy) and Best Sound Recordist (George D'Cruz).

37. Kanoon (B. R. Chopra, 1960): One of the strongest things about Hindi films is that they are all musicals. Thrillers, comedies, even Hindi horror films have elaborate song-and-dance pieces. But a few determined directors have attempted to make commercial films without the usual song and dance formula. And while not all have succeeded, at least one remains a landmark. B. R. Chopra made a film that broke the mould. How did he manage to hold the audience interest for nearly three hours without songs, comic relief and without even the benefit of a strong love story track? The answer is, concentrating on the three vital ingredients of any great movie - script, script and script. The success of Kanoon rests largely on the shoulders of two men: Chopra himself and his script writer Akhtar-Ul-Imam. It would take two titans like them to make such a great songless film today, and even then it would be a great challenge. That makes the film's achievement even more impressive. Kanoon bagged the Filmfare awards (1962) for Best Director and Best Supporting Actor (Nana Palsikar).
8. Mughl-E-Azam (K. Asif, 1960): Set in the 16th century AD, the movie brings to life the tale of the doomed love affair between thr Mughal Prince Saleem and the beautiful, ill-fated court dancer, Anarkali. Mughal-E-Azam is a tribute to the imagination, hard work and lavishness of its maker for its grandeur, its beauty and the performances of the artistes. The breathtaking battle scenes, the splendor of the Mughal court, some of the most seductive song and dance ensembles ever filmed, the confrontation scenes between Akbar and Salim - the best of Mughal-E-Azam has never been surpassed and it is the finest testament to K. Asif's cinematic testament. A work of art is the only phrase to describe this historical whose grand palaces and fountains give it the feel of an epic. The heart- wrenching core of romance has the tenderness of a feather touch. The show belongs to Madhubala. Always beautiful, she has never looked this luminous. The film won Filmfare awards (1961) for Best Director, Best Dialogues and Best Cinematography.

39. Bandini (Bimal Roy, 1963): An apex of creativity, Bandini showcases the story of a girl Kalyani (Nutan) bound by love, through all its destructive and redemptive expressions. Set at a time when women had no choices, Kalyani had the courage to not only make choices in her life but to define her own freedom. Nutan displays an extraordinary ability to illuminate Kalyani's inner conflict. If one person is the life and soul of Bandini, it is Nutan. one just has to see the entire gamut of emotions fleeting across her face in the film's key sequence as she murders her lover's wife. It is her best performance ever, and certainly one of the greatest by any actress in Indian cinema. While the events in the story are highly melodramatic, Bimada takes great care to handle them with sensitivity, simplicity and subtlety. He beautifully uses imagery and sound to convey the various moods of the female prisoner, Kalyani. The music by S. D. Burman represents some of the finest work he has done in his entire career. The film won six Filmfare awards (1964): Best Film, Best Director, Best Actress (Nutan), Best Cinematographer (D. Bilimoria) and Best Story (Jarasandha).

40. Haqeeqat (Chetan Anand, 1964): India's first and the finest war film to date, Haqeeqat became a yardstick for subsequent Hindi films based on war. The film is a heroic portrayal of India's 1962 war with China over the disputed Ladakh border. Haqeeqat is the only film that depicts this war in all its reality. The director has brilliantly woven drama and history together on his cinematic canvas. The movie not only involves a sense of pride but also brings a tear to the dry eye as one goes through the termoils of soldiers as they fight with abandon to save their motherland. Kaifi Azmi pens some of his best lyrics for this movie. Madan Mohan is in his elements as he composes some of the gems of his legendary repertoir. The film is also boosted by an extremely well written screenplay that engrosses the viewer. Films like Haqeeqat are made but once in a life time.

41. Guide (Vijay Anand, 1965): Based on R. K. Narayan's novel, Guide is a celluloid poem which gently leads us through the story of a passionate soul, Raju Guide (Dev Anand). With his fair share of venalities, ambitions, insecurities and jealousies, Raju travels towards his eventual redemption. Dev Anand in what is probably his most famous role is neer less than convincing as the guide with all-too human feelings, but also blessed with a higher self. Even if film historians and movie buffs discuss Dev Anand a couple of decades from now, the name Guide will crop up almost instantly as a reference point for his six decades (and still counting) career. This bitter sweet fable that combines eternal love, sacrifice, opportunism, social meladies and spiritualism together is both uniquely singular and immensely satisfying at the same time. A high point of the movie is its soul-stirring music. Guide is one film that showcases the perfect example of integration of songs in the narrative. Guide swept all the main awards at the Filmfare Awards Night (1967): Best Film (Dev Anand), Best Director (Vijay Anand), Best Actor (Dev Anand), Best Actress (Waheeda Rehman), Best Story (R. K. Narayan) and Best Cinematography (Fali Mistry).

42. Teesri Kasam (Basu Bhattacharya, 1966): It is one of Indian cinema's tragic ironies that a sensitive and poetic films like Teesri Kasam sank without a trace, indirectly leading to its producer-lyricist Shalendra's death due to stress of financial problems caused by the film's failure. The greater irony is that today the film is recognized as one of the all-time great films of Indian cinema. It is considered by critics as Basu Bhattacharya's best film. He had worked under Bimal Roy earlier and it shows in the film. The rythm of the film is lyrical and ever so gentle. Rarely has rural ethos been captured so beautifully on the India screen. The film, refraining from conventional drama, flows like the song of Mahua in the film (Dunia Bananewale) - beautiful. eternal and moving. The blossoming of the bond between Hiraman (Raj Kapoor) and Hirabai (Waheeda Rehman) is warm, wistful and charming and is very delicately handled. Worlds apart, she a jaded nautanki dancer and he the simple cart driver, the duo come together, discover each other and then part ways again. Their relationship is like sheer poetry on celluloid.The film won President's award for Best Film and nomination for Grand Prix at the Moscow Film Festival (1967).

43. Upkar (Manoj Kumar, 1967): Upkar is the movie about a model Indian farmer and soldier. When the issue of Indo-Pak war was hot and the slogan 'Jai Jawan Jai Kisan' was making waves throughout the country, Manoj Kumar captured the idea and produced the unforgettable film Upkar. Bharat is a poor farmer who works hard in the farm and supports his widowed mother and step brother, Puran. Circumstances create conflict between the two brothers and force Bharat to leave his farms and go to war. The war brings a touching change in the entire family, bringing them closer to each other. Bharat becomes a symbol of every model Indian farmer and soldier by living up to the slogan of 'Jai Jawan Jai Kisan'. With this movie, in a way, Manoj Kumar institunalized himself as the ideal romantic-patriotic hero throughout sixties and seventies. Upkar won Filmfare (1968) Awards for Best Film, Best Director, Best Supporting Actor (Pran) and Best Lyricist (Gulshan Bawra).

44. Aashirwad (Hrishikesh Mukherjee, 1968): Hrishikesh Mukherjee must be commended for daring to make Aashirwad revolving around Ashok Kumar when the actor was 55 years old and had long been doing character roles. Ashok Kumar made the most of the opportunity, winning both the National and Filmfare (1970) awards for Best Actor. He plays Shivnath, the zamindar who has major differences with his materialistic wife Leela (Veena). Their fragile marital bond is stopped from unravelling only bty their love for their daughter Nina. Hrishikesh Mukherjee shows a marked telent for establishing lasting relationships in brief screen time. This is evident in the easy comaraderie between Ashok Kumar and Harindernath Chattopadhyaya, the inexplicable bonding between Ashok Kumar and Sanjeev Kumar, and love that is constant despite the irreconciliable differences between the ill-matched couple Ashok Kumar and Veena. Mukherjee makes his points without underlining them. The director's faith in budding lyricist and dialogue writer Gulzar's ability to imbibe Ashok Kumar's character with much-needed sensibilities pays off. Its a treat to watch him recite Gulzar's poems with unequalled emotions.