Hindi movies in India are celebrating hundred years of film making. In this centenary year it is worth recalling the contributions of the directors the real creators of the films. It is rightly said that films are a directors medium. It is direction which elevates a movie or drowns it. Many directors have made a name for themselves by directing path breaking movies which are remembered by audiences long after their releases. Many directors have specialized in family dramas, some in social causes, some in pure entertainment and so on.

There are hundreds of directors who have made thousands of Hindi movies in the last hundred years. I have chosen my ten top favourites, which can differ with reader's individual choices. This is an attempt to recall their immense contributions and pay humble tributes to them.

The ten directors are as follows in no particular order of preferences:

1. Sohrab Modi:

Dadasaheb Phalke Award winner Sohrab Modi was famous for producing, directing and acting in historical movies beginning in the pre-independence era. He was loved for the manner in which he delivered his dialouges while playing the roles of Kings and common persons.

He was born on November 2, 1897 in a Parsi family in Mumbai. His full name was Sohrab Merwanji Modi. After finishing his schooling at the age of sixteen he joined his elder brother Keki Modi in the latter's exhibition business in Gwalior. At the age of 26 he set up his theatrical company and made a mark as a powerful Shakespearean stage actor. He performed all over the country and became well known. It was the era of silent movies. However when sound films came in 1831 the appeal of theater started declining. 

Modi formed a film company and made two of his stage plays into movies namely Khoon Ka Khoon and Saed-e-Hawas both based on Shakespeare's plays Hamlet and King John resp. Both movies flopped. He then set up Minerva Movietone in 1936. In 1938 it produced Meetha Zaher  and Talaq dealing with the issues of alcoholism and women's right for divorce. Both did well at the box office.

Then came the historical movies which catapulted Modi to high pinnacle of fame especially his powerful oratory in dialouge delivery. The triology of spectacular historical movies most of which were shot on actual locales consisted of Pukar (1939), Sikander (1941) and Prithvi Vallabh (1943). Pukar was a Mughal period film based on Jehangir's court and his dispensation of justice. Sikander is seen as his greatest film. In it he acted the role of Porus and Alexander's role was played by Prithiviraj Kapoor. The movie was made on a lavish scale and its poduction values were comparable with the best of Hollywood movies at that time. The dramatic dialogue deliveries by Modi and Kapoor were to mesmerise the audiences and created a patriotic atmosphere in the then British India. The then government did not allow its screening near military cantonments. The trhird movie Prithvi Vallabh was to tell the story of a mighty queen played by Durga Khote versus Vallabh played by Modi whom she wants condemned but instead falls in love.

Some of the  other movies produced by him were Jailor (1938 and remade in 1958), Bharosa (1940), Sheesh Mahal (1950), Nausherwan-e-Adil       (1957), Jhansi Ki Rani (1953), Mirza Ghalib (1954), Kundan (1955) and  Yahudi (1958).

He was awarded the Dada Saheb Phalke Award in 1980.              

His movies consisted of magnificient sets, strong historical or other characters, a social theme or an current issue with powrrful dialogues delivered in a very effective style. Some of his dialouges have become legendary like the one " Kya Tumhare Liye Hi Chamkte Hai Yeh Chand Sitare, Kya Tumhare Liye hi Hai Mojoon Main Ravani, Tumhara Khoon khoon aur Hamara Khoon Pani', spoken with Parsi accent

Modi was a product of the strong Parsi Theater movement and had the stage style of acting in his film roles. In the times he lived and worked it was a powerful style . He had his share of die hard followers

He passed away in Mumbai at the age of 86 in January, 1986.

2. V. Shantaram;

Shantaram Rajaram Vankudre popularly known as V Shantaram was another great writer, actor, director and producer of the pre and post 1947 era. He was born on November 18, 1901 in Kolhapur in a Marathi family.

He started his journey into films from Kolhapur itself where he worked in a film company doing odd jobs. He made his acting debut in the silent era by acting in the film Surekha Haran in 1921. He went on to act, direct and produce nearly  55 films in a career which lasted more than six decades. He used films as a means of social change and most of his films would have stories revolving around social issues or exposing the injustices prevalent in society.

He directed his first movie Netaji Pulkar in 1927 and formed The  Prabhat  Film Company in 1929 along with many partners. In 1942 he founded his own Rajkamal Kala Mandir in Mumbai which was at one time one of the most sophisticated studios in the country.

He had the distinction of directing the first ever Marathi film Ayodyecha Raja in 1932.

Shantaram was also called a visionary director who had a mastery over the art of film making. He also had a good sense of music and songs of some of his movies are evergreen. His film Amar Bhoopali won the Grand Prize at the Cannes Film Festival in 1951. Some of his note worthy films are  Teen Bhatti Char Rsata (1953), Jhanak Jhanak Payal Baaje (1955), Toofan Aur Diya (1956), Do Aankhen Aur Barah Hath(1957), Navrang (1959), Stri (1961), Sehra (1963), Geet Gaya Pathroon Ne (1964), Boond Jo Ban Gayi Moti (1967), Jal Bin Machli Nritya Bin Bijlee (1971), and Pinjra (1973) among others.

His 1946 film Dr Kotnis ki Amar Kahani was to become very famous as it told the real story of Dr Kotnis's service to humanity in China. He played the role of Dr Kotnis. His Do Aankhen Barah Hath  was a story on open jail system for reforming hardened criminals and was very well received all over the world and brought him lot of fame and laurels both for his acting and direction. it also had the iconic song "Aey malik Ter Bandhey Hum--". It went on to win many Awards in India and foreign Film festivals.

He introduced his daughter Rajshree and Jeetendra in Geet Gayta Patharoon Ne in 1964. He had the distinction of marrying three times to Vimla and two actresses Jayshree and Sandhya.

He passed away in October 1990 leaving behind a very rich body of socially relevant films

3. Mehboob Khan

A young boy runs away from his home in Billimoria, Gujarat and starts doing odd jobs in Mumbai film studios. He rises to being an assistant in the silent era and graduates to an extra thereafter. But after the coming of sound in 1931, he directs his first movie Judgement of Allah. In 1945 he sets up his own Mehboob Productions.

He started churning hit romantic and swashbuckling films like Andaz (1949), Aan (1951), Amar (1954), and the social Mother India (1957). It was the last movie that was to catapult him to global fame and bring him immense laurels and national and international recognition and awards. The movie was a remake of his earlier directed Aurat  (1940). Mother India is now considered to be the number one classic Hindi movie ever produced. The story of a rural widow who has to fight all odds to bring up her two children and ward off the advances of a lecherous moneylender while in poverty, choses honour and sides the truth even while she has to kill her son for upholding the cause of justice. The super effective acting by the leading lady Nargis was the high point of the movie. Another high point was the melodious music by Naushad especially the holi song "Holi Aayi re--- " sung by Shamshad Begum. It was also on the sets of Mother India that Sunil Dutt fell in love with Nargis and later married her.

Mehboob Khan played an important role in the acting careers of many actors of his time like Dilip Kumar, Raj Kapoor, Sunil Dutt, Rajendra Kumar, Raaj Kumar, Nargis, Nimmi and Nadira. His last directed movie was Son of India in 1962.

Born in 1907 he passed away on May 28, 1964 in Mumbai at the age of 57. For some one who ran away from home as a child his filmy career was indeed magnificent and he will always be remembered for many excellent films and especially Mother India, which moves audiences today also love to watch..

 4. Bimal Roy

Bimal Roy or Bimalda was born near Dacca now in Bangladesh. He migrated to Calcutta at a very young age. After starting his filmy career as a camera assistant he got a chance to direct his first movie Udayer Pathyr in Bengali in 1943. However in 1950 he had to leave Calcutta for Bombay as the film activity in the former was going down. These dislocations were perhaps instrumental in his making Do Bhiga Zameen (1953), the graphic tale of a small rural farmer who is uprooted from his land by a city based industrialist who wants to set up an industry on his and others land. The hapless farmer knows no other trade and is forced to earn his living by driving a cycle rickshaw in Calcutta. The travails he has to go through are portrayed on the screen with great pathos by Balraj Sahni under the able direction of Bimalda. The  neo classic movie went on to become his signature and earned him  laurel and fame throughout the cinema world besides fetching prestigious Awards.

The Bengali director turned to Bengali literature many times to make fils based on women characters like Parineeta (1953), Sujatha (1959), Parakh (1960) and Bandhini (1963). These films are acclaimed for their superb direction in effectively telling their stories. He made Devdas with Dilip Kumar and Vyjantimala in the lead roles in 1955. He had earlier in 1944 assisted P C Baruah in making his version of Devdas (1935) starring K L Saigal. Both the versions were well received.

However it was  his Madhumati (1958) which brought him commercial success. The movie was based on the theme of reincarnation and had very melodious music which is heard with relish today also. He also produced Kabuliwala(1961) with Balraj sahni in the lead. It was a touching story of a Pathan living far away from his native kabul and pining for his homeland. The Manna Dey sung 'Aey Mere Pyare Watan---" is a song which brings nostalgic feelings in the listener.

He won 11 Filmfare Awards, three of them in a row. Madhumati won a record nine Filmfare Awards and it was after 37 years another picture matched it. 

Bimal Roy's movies had excellent music either by Salil Chaudhry or S D Burman. The songs composed by them are evergreen and will be listened with pleasure for ever.

Bimal Roy passed away in 1965 aged 55 but left behind a very decent body of work which was to inspire other film makers who followed him.

5. Guru Dutt

At the age of 39 Guru Dutt committed suicide. An extraordinarily sensitive person he perhaps became a victim of his obsession with the complex, of his feelings being injured and being misunderstood. Many of his movies showed the hero a misfit in the society and suffering from neglect and isolation. He was not always like that. His earlier movies as an actor or director were fast paced, full of energy and were indeed lighthearted with good music and melodious songs.

Vasanth Kumar Shivshankar Padukone popularly known as Guru Dutt was born in Bangalore in 1925. He spent his childhood in Calcutta and became fond of Bengali literature and culture. He adopted the name Guru Dutt under Bengali influence. He had a tough childhood in which he faced financial difficulties and also the fact that relations between his parents were not good. He also faced lot of hostility from his maternal uncle and saw a small brother die. All this was to affect him  and his later films. From childhood itself acting interested him. After schooling he joined the famous troupe of Uday Shankar and learned dance, drama and music from him.

He began his journey in the film world as an employee under a three year contract with the Prabhat Film company, Pune from 194 to 1947. It was there he met Dev Anand and character actor Rehman and they became lifelong friends. In 1944 he acted in a small role in the film Chand. When Dev Anand formed his Navketan Films he offered Dutt the job of directing his first movie Baazi starring Anand and Waheeda Rehman. The movie became a huge hit. It was during the manking of the movie that he met Geeta Dutt and after a three year courtship they got married.

Jaal and Baaz follwed the success of Baazi but did not perform well at the box office. However the 1854 Aar Paar was a super hit and so where the films that followed namely  Mr & Mrs 55, C.I.D and Sailab. However the real Guru Dutt that we all ow emerged in 1957 with his movie Pyasa starring himself and Waheeda Rehman. The story of  a struggling poet who gets recognition only after his false death, catapulted him as a sensitive director who was ahead of his times. The next movie Kagaz Ke Phool (1959) made with heavy investment told the story of an ageing and fading director and an upcoming young actress. It bombed at the box office. His next two films Sahib Bibi Aur Ghulam and Cahudvin Ka Chand were not directed by him but produced and he played the lead roles. Both were well received and were commercial hits. He received the Filmfare Best Director Award for his role in Sahi Bibi Aur Ghulam.

While he was succeeding in making melancholy and depressing films his own personal life was in turmoil. His married life was in shambles and he separated from Geeta Dutt. He was a heavy smoker, heavy drinker and had sleeping problems. It is alleged that he also had a one sided crush on aleading lady of his times. All this was to take a heavy toll of his health and life. He had to take sleeping pills to fall asleep. One such evening he took a heavy dose of drink and sleeping pills, not to wake up next morning. Accident or suicide will never be known.

His body of work was relatively small but its quality was very high. His Kagaz Ke Phool and Pyaasa have almost become cult movies. His movies when re-released go houseful even in Germany, France and Japan. His movies were also supported by very fine performances by Rehman and Johnny Walker the comedian and music.

He left this world on 10 October, 1964 at the age of 39. Many years later his friend and star Dev Anand is supposed to have  said "He was a young man who should not have made depressing movies."

6. Raj Kapoor :

At the age of 24 in 1948, Raj Kapoor established the R K Films and became the youngest director in his debut venture Aag starring besides himself Nargis, Kaminini Kaushal and Premnath. The future showman went on to make many more movies under the famous banner, almost all of them went on to become blockbusters and are remembered to this day especially for their super music.

Born in Peshawar, Pakistan,  in 1924 his father was the great stage and film actor Prithviraj Kapoor. Raj acted in small roles in many films before getting a break in Neel Kamal opposite Madhubala in 1947. However it was Andaz made by Mehboob Khan and starring Raj, Dilip and Nargis which brought  him recognition and success as an actor in 1949.

He went on to make blockbuster movies like Barsaat (1949), Awaara (1951), Shree 420 (1955), Chori Chori (1956), Jagte Raho (1956)  and Jis Desh Main Ganga Behti Hai (1960). These had thematic stories many of which were written by the leftist ideologist K A Abbas. Hia Awaara became hugely popular not only in India but in the whole communist world especially Russia and China. Its song 'Aawaara hoon---" is hugely popular in these countries today also. Jagte Raho was the one night story of a village simpleton who wants a glass of water in a modern city. Shree 420 was the story of how the poor are swindled by builders and Jis desh Main Ganga Behti Hai told the story of bringing the Chambal Dakus into the mainstream.

Music was a very strong point in his films. Shankar-Jaikishen have given immmortal music in most of his films and the songs are going to be popular always. Mukesh wa his voice and has sung almost all his sfilm songs. Shailendra was his favourite lyracist and has penned many immortal songs. He reportedly had a crush on Nargis and she starred with him in all his early movies.

Later on he went on to produce and direct the super blockbuster Sangam in 1964 his first movie in colour with himself, Rajinder Kumar and Vyjantimala in the lead roles. The movie went on to become a cult movie and celebrated 75 week runs in many cities.

However it was Mera Naam Joker (1970) that was to give him a taste of box office failure and put him into financial pressure. Made over a period of six years it starred circus artistes from Russia and launched his son Rishi Kapoor who played Raj's childhood role. It was an autobiographical movie and many say was his attempt at taking a farewell from movies. But it flopped at the box office. However today it is considered a classic.

He bounced back with producing and directing Bobby (1973) in which he launched his son Rishi in the lead role opposite 16 year old Dimple Kapadia. The film was a smash hit and went to break many records. He went on to produce women oriented films like Satyam Shivam Sundaram (1978), Prem Rog (1982) and Ram Teri Ganga Maili ( 1985) all of which met success at the box office.

He had also launched his elder son Randhir Kapoor in Kal Aaj Aur kal in 1971 along with his to be wife Babita. He also acted in movies made by other directors and some of them were notable like Anari (1959), Chalia (1960) and Teesri Kasam (1966).

In his earlier films he had modeled himself as a tramp on Charlie Chaplin and it was this image which made him very famous worldwide. He made films on a lavish scale with great visuals. His movies had evergreen music and songs. Many of his movies had patriotic themes which the audiences loved. One of Indian movies all time hit song ' Mera Joota Hai Japani ---- Phir Bhi Dil Hai Hindustani' summed up the life of an average Indian very aptly.

He received 2 national Awards and ( Filmfare Awards. He was conferred with Padma Bhushan and Dadasaheb Phalke Award by Government of India. He laso received international Awards for Boot Polish,Jagte Raho and Awaara.

He was a real showman also famous for his celebration of Holi festival in his R K Film studios. His two brothers Shammi kapoor and Shashi Kapoor also went on to make a name for themselves as superb actors.

He passed away in 1988 at the age of 63 suffering from asthama attacks  leaving behind a great body of fantastic movies and music for ages to come.

7. Hrishikesh Mukherjee :

Hrishikesh Mukherjee also known as Hrishida was the pioneer of a school of cinema which offered  a welcome change to the audiences who were subjected to art cinema on one side and extravagant cinema on the other side. The rising middle class and the changing social milieu needed a different cinema for ots  entertainment. This was were Hrishida stepped in at a very opportune time.

He directed 42 films and gave simple entertainment to the film goers. Simple day to day stories played on the screen by real life actors gave his movies an authenticity which audiences loved to watch.

Born in 1922 in Kolkatta he was a science graduate who taught science and mathematics for a living. He entered films as a cameraman and soon became a film  editor, in the late nineteen forties. He got an opportunity to assist Bimal Roy as a film editor and assistant director from 1951 onwards. He directed his first independent movie Musafir in 1957. However he established his reputationas a director with Anari in 1959 with it winning five Filmfare Awards but missing on Best director which went to his mentor Bimal Roy.

He went on to make very popular films like Anand (1971), Satyakam (1969), Mili (1975),Guddi (1971), Cheemeen (1966), Anupama (1966), Asli Naqli (1962), Anuradha (1960), Bhawarchi (1972), Namak Haram (1973), Sanjh Aur Savera (1964), Gaban (1966), Abhiman (1973),  Chupke Chupke (1975), Khubsurat (1980) and  Ashirwad (1966). These are all movies which are popular today also and some of them are sown on TV channels repeatedly. He introduced Jaya Bahaduri in Guddi and Amitabh Bachchan got his big break in Anand. His Gol Maal in 1979 is a trend setter with follow up movies being made today also like Gol Maal 2 and so on.

His films were realistic and light comedies. They told simple day to day stories which the country's urbane, educated middle class related to. He worked with non glamourous  actors like Amol Palekar and still tasted success at the box office. He worked with all the top stars of the Hindi film industry post 1947.

He was awarded the Dada Phalke Award in 1999 and Padma Vibhushan in 2001. He also acted as the Chairman of the Censor Board.

He passed away on 27 August 2006 due to renal failure leaving behind a collection of socially relevant but simple comedy films which are watched with great interest today also.

8. Ramesh Sippy:

Ramesh Sippy made the iconic Sholay but in reality it was the other way around. This wonder film got his name etched in the hall of Fame in Hindi movies because of the extraordinary success it went on to garner in all departments of film making especially its dialouges which are famous today also. 'Kitne admi the--', 'Kalia tera kya hoga---', " Bhag Basanti Bha--', 'itna sannata kyon hai bhai--', ' basanti tumhara naam kya hai' and so on.

Sholay was released in 1975 and went on to become a legendary movie highly acclaimed by critics. Is story line and powerful dialouges made it a must see movie. Its dialouges caught the fancy of the nation and are spoken today also with great fondness and vigour. Some of its characters like Gabbar Singh, Sambha, Kalia, Rahim Chacha, Mausi have become legendary. The trio of Sanjiv Kumar, Amitabh Bhachchan and Dharmendra along with beautiful Hema Malini and the comediennes Asrani and Jagdeep gave superb performances. Its music also became a hit. Salim & Javed wrote the story and dialouges. Ramesh Sippy rightly deserves all the fame and success he got for directing such iconic movie.

However the other films of Sippy excepting Shakti, Seeta Aur Geeta  and to some extent Sagar did not succeed at the box office. However he very successfully directed the highly acclaimed and popular serial Bhuniyad for Doordarshan in 1987.

Born in 1947 he now produces films and his son Rohit Sippy is also a  film director. The legendary status of Sholay has granted him everlasting fame.

9 Manmohan Desai

Manmohan Desai made films purely for entertainment and most of the times his stories were based on impossible plots like a patient receiving simultaneous blood transfusion from multiple donors, a medical impossibility. High on symbolism, full of rhetoric and large star casts his movies would set the box office on fire. 

Born in 1937 in a family which was into films- his father was a film producer and owner of Paramount Studios later on known as Filmalaya. His elder brother was also into production and gave young Manmohan  a break in 1960,  by allowing him to direct the hit movie Chalia starring Raj Kapoor, Nutan and Pran. He also directed Bluff Master (1963), Dharam Veer (1977) and Desh Premee (1982) for his elder brother Subash Desai. 

His films were family centered with lots of action, full of song and drama and impossible situations. The masses loved his films and most of them were blockbusters. Amitabh Bhachchan was in many of his 1970/80 films and these had a big role in establishing him as an star in Hindi movies. His type of films gave rise to the term masala films.

A happy go lucky person in real life he made films which were secular in nature and appealed to Hindus, Muslims, Christians etc ensuring huge audiences. Some of the other blockbusters directed by him are Sucha Jutha (1970), Rampur Ka Laxman (1972), Roti (1974), Amar Akbar Anthony (1977), Naseeb (1981), Coolie (1983) and Mard (1985). Amitabh Bhachchan acted in nine of his films. The last movie he directed was Toofan in 1989.

He was also known as the "lost and found" man because most of his movies were based on this theme. However towards the late 1980's audiences were tired of this repeated theme and some of his later movies dod not do good at the box office. Music was a strong point in his movies.

In March 1994 he had a fall from the balcony of his apartment and he breathed his last. His created a separate genre of movies which became  very popular and his these are a delight to watch today also.

10. Yash Raj Chopra:

Yash Chopra was the King of romance in Hindi films. He produced and directed many romantic films on a lavish scale which created an aura of love in the minds of the audience.

He was the younger brother of B R Chopra himself a director of repute. He began his career as an assistant to his elder brother, who gave himhis first directorial assignment in 1959, in form of the hit movie Dhool ka Phool starring Mala Sinha and Rajendra Kumar. The second movie he directed again for his brother was Dharamputra (1961) based on the theme of partition. However it was the third movie he directed for his slder brother Waqt which established his reputation. Waqt went on to became a mega hit and was perhaps the first multi cast Hindi film and won him his first Fimlfare Award for direction.

After directing two more movies Aadmi Aur Insan and Ittefaq for his elder brother he broke away to form his own Yash Raj Films in 1971. Its first movie Daag (1973) starring Rajesh Khanna was a commercial success. The banner gave the cult movie Deewar in 1975 starring Amitabh Bachchan and Yash Chopra won his second Filmfare Award for Best Direction. Kabhie Kabhie (1976), Trishul (1978), Silsila (1981) were romantic films which the audiences loved to watch and hum their songs. The noted lyricist Javed Akhtar launched his career from Silsila.

After a series of setbacks he bounced back with another romantic cult movie Chandini starring Sridevi in 1989. Its titillating music and extensive outdoor scenic shots of Switzerland made the film a huge commercial success and heralded the return of romance in Hindi movies. In 1991 he made Lamhe which also wen on to become a cult classic movie starring Sridevi and Anil Kapoor it was cited by Yash as his personal favourite movie he made.

In 1993 he started his association with Shah Rukh Khan in Darr which went on to become a super hit. It was followed by the super duper evergreen romantic Dil To Pagal Hai in 1997 starring Shah Rukh, Madhuri Dixit and Karishma Kapoor. It became a global hit and did roaring business everywhere. It has also become a cult film. After a break he returned in 2004 with Veer Zara, a cross border romantic story, featuring Shah Rukh, Preity Zinta and Rani Mukerji. It was also a smashing hit. His last directed movie was Jab Tak Hai Jaan in 2012 starring Shah Rukh and Katrina . It was during the remaining shooting of a song in Switzerland that he passed away due to an attack of dengue in Oct. 2012 at the age of eighty.

Yash Chopra was a producer, script writer and director. He set up the most powerful Yash Raj Films which has become an international venture now. In fact he was an institution in himself. He elevated romance to new heights through his films. He shot his movies mostly in Switzerland especially the song sequences and in the process Indian tourists started flocking there. Its government always recognised Yash's role in promoting their country. 

He and his films won a total of 12 Filmfare Awards besides six National Awards. He was awarded the prestigious Dadasaheb Phalke Award in 2001. He received many national and international awards in his long more than five decades career in films. His two sons Aditya and Uday Chopra are also into films.

The king of romance has let behind a body of work many of which have attained a cult status. 

The recent box office success of the biopic Bhag Milkha Bhag, once again goes on to reinforce the growing phenomenon, that Hindi movies have started moving away from the time worn out romantic plots. The audiences are supporting non romantic movies like Lagan, 3 Idiots, Uran, Special 26,  and even a movie like Fukrey. The last movie would perhaps have not found an audience, say, a decade back. 

The increasing maturing of film goers has meant that a movie like Ranjhana, though a romantic movie does not get branded as one, but is being watched also for the culture of Varanasi. Yeh Jawani Hai Deewani is also not seen in the back ground of romance but the dilemma today's youngsters face. Similarly a movie like Jolly LLB with hardly any romance but highlighting a cause also hits the bull's eye at the box office.

This is a good sign for Indian cinema. As it moves into its second century it is opportune time to start making meaningful movies which will appeal to the brain also rather than only the heart. It is also a healthy sign that stories are able to find directors and the producers are coming forward to finance these movies where the story is the star rather than the actors. It is the risk taking abilities that lead to improvement in product development. With increasing financiers, ready to support non romantic traditional movies, audiences can look forward to better cinema in the near to distant future.

The importance to story rather than a few stars will also help increase the international audience of Hindi movies beyond only the NRI's. This will result in more earnings and recognition. It will also mean the branding of directors and production houses. It will put a big responsibility on them to deliver consistently good movies to attract the audiences. One of the main reasons for Hollywood movies capturing global markets, including a growing market in India, is the fact that a good percent of their moves have a very varying but powerful story plots which command the attention and interest  of movie goers. On the contrary, Indian movies till recently were dishing out the same standard fare in movie after movie, of hero woos heroine and then enters the villain who is thrashed by the hero and hero gets heroine for ever. Locations would change but story line would be the same. A goot many were  massive tear jerkers.

Like the pre-1992 scenario in India, when if you did not like the Ambassador car you could go for the Fiat car or vice versa. The customer had no choice. The same was true for Hindi movies also. They were all the same. See one and you had seen them all. There was simply no variety in the movie plots. The captive audience had no choice but to see old wine in new bottle again and again. However with the coming of TV serials the movies started getting competition. The technical parameters of the Hindi movies are very high now and comparable to best movies in the world. However there is still not that improvement in the story department as would make Hindi movies compete in the global markets in a big way and create a niche audience for itself.

However since last decade we are now seeing increasingly the making of Hindi movies which are giving something different to the audience. When I went to see Bhag Milkha Bhag I was pleasantly surprised, to see in the house full hall, a good number of elderly couples rubbing shoulder with today's youngsters. That is the true draw of a movie. It can motivate all age persons to go out and patronise the movie. Movies like  Aamir  and A Wednesday or Black Ffriday are worth seeing for their gripping storiess and screenplay. The recent success of the two part movie Gangs of Wesseypur, although full of swear words also gave a good alternative for the movie goers to watch.  

Movies now no longer need a star to make them commercially viable. What they need is a good story and equally good direction. The audience will support them as happened in case of Paan Singh Tomar. Word of mouth publicity is the most reliable form of publicity. Another example of a goood story making a movie successful with no known actors was the recent film. It is time the Salman's and Shah Rukh's gave way to a good story and real actors.

Time Hindi movies should deliver world class movies to its loyal audiences who for a century now have been waiting for it. 

As a young child I grew in a family where watching films was not considered proper. It required lot of cajoling and patience to be permitted to see an odd movie perhaps a couple of times a year. The picture stayed in one's mind till it was wiped out by another movie. It did not take long for me to learn the trick of saving up from the meager pocket money I got, enough to be able to buy a third class ticket in the movie theaters. 

Along with other similar friends, we would go to see a movie. After standing in a line for an eternity when our number came to buy the third class ticket we would e filled with joy at having made it. The struggle of having to hold one's position in the ever shifting line full of toughies and odd looking characters taught me to face many odds in later life. 

It was almost always that I would land up buying a ticket which would entitle me to sit in the front row perhaps 8 to 10 feet away from the screen. At first, I found it odd but soon began to like being seated in the first row preferably in one of the the center seats. The reason was that at this seating position one becomes part of the movie rather than part of the audience. It is simply a thrilling experience. Imagine when the villain is bashing the hero you also duck and when the hero is giving it back you also join in. Same with the heroines but in a different sense. The feeling at the end of the movie is one of Paisa vasool.

I saw the movie  Gone With The Wind   from a center seat in the first row in a theater in Delhi. I had purchased the ticket in black. As soon as I was seated the movie started. The scene was a wide bridge is being crossed in a car. Believe me I felt I was myself crossing the bridge in an American city in a wide bodied car. It has always remained with me as one of my sweet memories of my college days. I would try to see as many movies as possible from the front row or rows. Another movie I saw from the front row center seat was the Hindi movie Prince and the opening shot shows the royal flag coming down and the Indian flag go up. At such near distance it was as if I was hoisting the flag. Memories.

There was an English movie of Marilyn Monroe whose name I forget which I was enjoying from the second or third row center row seat and just as the hero was warming up the scene with her, the lights went out. So involved were the "third class' front row persons that no sooner had the power failed, many of them got up and started damaging the bare wooden seats breaking their arm rests and so on. I was very surprised but realized their frustration at the timing of the power failure.

In many movies I have seen the 'third class' audience liberally throw coins on the screen when popular song came on the screen. The sound of falling coins added a peculiar charm to the wonderful song on the screen. Hooting and whistling was quite common. It was the solid involvement of this audience with the characters on the screen that was a joy to watch. Many a times the person next to me would fold his legs on the chair and sit in an excited position as soon as the hero started bashing the villain and verbally encourage the hero to give it to the bad man.

Soon I graduated and got a job in a big city and after a few months got married. Seeing a movie with the 'third class' public was now out of question.  It had to be now watched from the balcony. Every one there would watch without any feeling and gesticulation. No hooting and whistling. However I would hear sounds from near the screen and feel happy. The multiplexes have now totally killed the joy of watching the movies the old noisy and involved way. I often get the feeling that people do not go to see a movie in such theaters, they go to eat pop corns in buckets.

However some time back when the magnum opus Mughl-e- Azam was re-released in colour, I went to see it  alone on the last day last show. My joy knew no bounds when at the ticket window I was informed that only one ticket was available. You guessed it right, it was the center seat of the front row in a prestigious multiplex. I grabbed it and enjoyed the movie in colour  and remembered the good old days.

Recently I went to see the movie Bhag Milkha Bhag at the same theater and at the ticket window I was informed that only three tickets are available in the front row. I took a chance with my better half but she turned down the proposal. I booked a seat in the last but one row of the next show. How could I tell her that athletics are better watched from the front rows.

I am told in single screen theaters there is still the old style thrill alive of watching the movie from the front couple of rows. Must go and see a movie in such theater one of these days. When you come out of a single screen theater you really get a feeling that you have watched a movie but there is generally no such feeling when you come out of a multiplex. At least this is true with persons like me who have watched more movies in single screen theaters.

Ah, did I tell you that I watched Aamir Khan movie,  Lagan, from the third row of a single screen theater. I immensely enjoyed it as I too had become part of the movie's rural audience watching the Indians defeat the English! The joy of watching a movie from the front row cannot be explained, it has to be felt.

SRK – Shah Rukh Khan is the ‘Badshah’ of Bollywood who has dominated the industry for the past two decades or so. Now he is 45+ and has worked with almost all Divas of Bollywood in the past 20 years – From his first heroine Divya Bharathi to the latest one – Deepika Padhukone. Yet, a few successful heroines of Bollywood has been paired only once with SRK. You will be interested to know who they are. I have added a few less significant heroines too, in the list. The list clearly indicates that Shah Rukh Khan shares excellent screen chemistry with a few more heroines, if we keep Kajol, Rani Mukherjee and Juhi Chawla as exceptions.

Tabu: Tabu has won National awards twice and one among the most talented heroines of Bollywood from 1994. Yet, this successful actress has worked only once with Shah Rukh, that also for a cameo appearance. It happened in 2002, with Maniratnam’s movie – Saathiya. Till the release of the movie, guest appearance of SRK and Tabu were kept secret, and they played a significant role in the success of the movie too. They reprised the roles of Aravind Swamy and Khushboo, as husband and wife in year 2000 hit Alay Payuthey. 

Karishma Kapoor: It’s often commented in a teasing way, in many TV shows that Karishma Kapoor bought a  new show case to place the awards that she accumulated through Dil to pagal hai in 1997. When almost all leading ladies of B’town, including Juhi Chawla rejected the supporting role to Madhuri Dixit, Karishma accepted that role with full heart and this movie proved to be the best work done by her till now. Surprisingly, similar to the success of Raja Hindustani with the other Khan of Bollywood, Karishma Kapoor never worked with king Khan again!

Urmila Matondkar: This Rangeela heroine is most known for her glamourous looks and dancing skills. She was one among the most wanted faces during middle 90’s. Though Shah Rukh Khan worked for numerous movies till middle 90’s, he has worked with this lady only once in his life time for a ghost story named ‘Chamatkar’ released in the year 1992.

Sushmita Sen: When Farah Khan decided to do a movie and was working on the script, she had already planned in her mind that leading actress role will surely go to Sushmita Sen. Whole script of Mein hoon na was written keeping that fact in mind. In this blockbuster hit of SRK, Sushmita Sen and Khan were paired for the first time and last time together.

Mahima Chaudury: Pardes happened long back in 1997. It was released in the golden jubilee year of Indian Independence. It was the biggest break of Mahima Chaudury to Bollywood and same magic was never repeated in Bollywood with any other hero. Success of debut movie of Mahima Chaudary still stands alone in the list.

Twinkle Khanna: Badshah was only a moderate hit at box office. Yet this movie helped Shah Rukh Khan to earn the title, ‘Badshah of Bollywood’. Though this comic movie received mixed reviews from the critics, the movie released in the year 1999 was a semi hit at box office.
Gayathri Joshi: Swadesh was the next venture of Ashuthosh Gowarikar, after Oscar nominated movie ‘Lagaan’. Swadesh, released in the year 2004 was a critically well acclaimed movie though it was a box office failure. Soon after the release of the movie, the debutant heroine disappeared from the screen singing the song ‘Saawariya Saawariya’ in Alka Yagnik’s voice.

Isha Koppikar: Everyone including me was quite surprised seeing the climax of Don (2006), where SRK reprised the role of Amitabh Bachchan he did about three decades ago. Priyanka Chopra was paired for the first time opposite Shah Rukh Khan in this movie and whole throughout the movie Shah Rukh Khan romanced Priyanka Chopra. It was known in the climax scene only that Don was interested in Isha and not Priyanka.

Lara Dutta: Now also I am not sure if Isha Koppikar was replaced by Lara Dutta is the sequel of Farhan Aktar’s Don. Both actresses shared same mannerisms in both these movies. Similar to its prequel it’s clearly shown that Lara Dutta is the heroine of SRK, though she shared only a few screen shots with King Khan.  

Suchitra Krishnamurthy: Kabhi haa kabhi naa of comic director Kundan Shah released in the year 1993 is still regarded as a classic comedy. It was a successful movie in the year that presented Shah Rukh Khan with a Filmfare for the best actor (Critics). Though SRK was the leading hero of the movie, Deepak Tijori wins Suchitra’s heart in the climax.

Priya Gill: The movie Josh was in news since Aiswarya Rai and Shah Rukh Khan were casted as siblings. It was their first movie together. So, the lucky coupon of Shah Rukh Khan’s love interest was won by Priya Gill. Priya Gill is not a well known name in Bollywood, with a few exceptions like Sirf Tum and her debut movie, Tere mere sapne. Yet, she would have surely enjoyed SRK’s screen presence along with her in the movie. For the first time, Shah Rukh Khan sang a song for his heroine in his movie ‘Apun bola tu mere laila’.

Pooja Bhatt: In the list of flops, let me add the movie Chaahat released in the year 1996. Nothing is memorable in the movie except a few songs, specially the title track. It’s the only movie where Shah Rukh Khan and Pooja Bhatt shared the same screen space.

Shilpa Shetty: Baazigar was the debut movie of Shipa Shetty. It was the first big hit of Shah Rukh Khan as a solo hero too. 20 years have passed since the movie was released. Yet, still now, no one has forgotten the way by which Raj kills his love interest - Seema Chopra.

Navneet Nishan: Perhaps most of the readers may not know about Shah Rukh Khan – Raveena Tandon movie ‘Yeh Lamhe Judaai Ke’. Yes such a movie shot in the year 1992 was released after a Jupiter year in 2004. Most recently I had a horrible experience too, seeing this uncompleted movie released without head or tail. Navneet Nishan is a popular serial actress of present times. Many of you people may not know that Navneet played the second heroine/vamp’s role in this movie and most surprising fact is that, she appears in more shots than Raveena Tandon. Also, SRK and Navneet shared more screen shots in the movie than SRK-Raveena pair. Surprisingly SRK and Raveena have acted together only in one song picturisation and the final shot before she got killed by a trucker! 

Nagma: King Uncle is one among the first releases of Shah Rukh Khan. He played the younger brother’s role. Jackie Shroff and Anu Agarwal were the leading actors of the movie and SRK and Nagma played supporting roles. This movie was released before Baazigar in the year 1993.

Sri Devi: This beauty queen has been paired opposite SRK in 1996 flop movie, Army. Though SRK did a cameo in this movie and it’s a movie about romance and revenge, this movie is mostly remembered as the single movie in which both these great actors of silver screen shared screen space together.

Anjali Jathaar: Multi-star cast Trimurthy released in the year 1996 was one among the biggest flops of Subhash Ghai. Anjali Jathaar was casted opposite Shah Rukh Khan in this movie and her role too was less significant.    

Katrina Kaif: Their sizzling chemistry was more noticed than the movie and its script. The movie was the latest release of SRK – Jab tak hai jaan, the first time for which SRK kissed his lady onscreen. It’s not sure if this super success movie will remain always as the single movie of Katrina and Shah Rukh together. Let us wait for them till they come back with a new story.

Hockey Team of Chak de India: 16 girls under one captain – Kabir Khan who played for India in World Hockey Championship. Perhaps it’s the only movie of Shah Rukh Khan as a hero, where he was not casted opposite any Bollywood heroine. Yet, it’s sure, all the ladies of the movie worked with SRK for the first and last time in the super hit movie – Chak de India, released in the year 2007. 

Jab tak hai jaan, Baazigar, Saathiya, Kabhi haa kabhi naa, Pardes, Chak de India!, Dil to pagal hai or Mein hoon na - these movies were huge hits at box office. This success cements the fact that audience always love to watch fresh pairing of SRK with other heroines of Bollywood. Before I leave a special mention of 1992 movie – The idiot, which won Critics awards for best movie in the year 1993. This movie was one among the first releases of SRK. Though the movie was meant for Doordarshan, this movie was released seeing the popularity of Shah Rukh Khan with the release of Deewana. As I too have never seen this movie, I have no idea of who SRK’s co-star was – either Nastassya Mukhopadhyaya or Amba Mehta. But one thing is quite sure these two ladies have never acted with Shah Rukh Khan again. 

Before I conclude, let me add the list of a few heroines who have been paired with SRK twice – Kareena Kapoor in Ashoka and Ra.One, Sonali Bendre in Duplicate and English babu desi mein, Deepika Padukone in Om Shanti Om and Chennai Express (yet to release), Anushka Sharma in Rab ne bana de Jodi and Jab tak hai jaan, Deepa Sahi in controversial movie Maya Memsaab and Oh darling! Yeh hai India, Manisha Koirala in Guddu and Dil se, Priyanka Chopra in Don and its sequel, Raveena Tandon in Zamana Deewana and Yeh lamhe hai judai ke, Aiswarya Rai in Mohabbatein and Dev Das and Divya Bharathi in Deewana and Dil Aashna hai. Let me add one more thing. Among the leading actresses he has never worked with Vidya Balan (except a song sequence in Heyy Baby), Bipasha Basu, Bhumika Chawla, Asin, Parinithi Chopra and Ameesha Patel. Perhaps Shah Rukh Khan is that single name who has romanced with almost heroines of Bollywood in the past two decades or so and audiences have always enjoyed those scenes and love songs. There is something in his eyes that captures millions of hearts over years. No doubt, among romantic heroes Shah Rukh Khan’s position is always number 1 in Hindi cinema. A year back, just before the release of Don 2, I have seen him so close in Don’s make up in an inaugural function and my opinion is that he looks more handsome and dashing live than on silver screen. In true sense, he is the romantic king of Bollywood, perhaps after one and only evergreen hero of Bollywood – Mr. Dev Anand.
Note: I have prepared this article based on my observations. If I have quoted some name wrong or missed any actress’ name, do comment please.

Image source: Wikipedia