We’ve put up a list that will guide you through some of the best Bollywood movies, whether you’re new to Indian film or are just trying to catch up. The genre, which is a combination of “Hollywood” and “Bombay,” refers primarily to the Hindi-language portion of India’s enormous film industry, which is based in Mumbai (formerly Bombay).
This list blends timeless favourites with more recent picks, featuring prominent actors like Priyanka Chopra and Aishwarya Rai Bachchan as well as starring men like the renowned “Khans of Bollywood,” who are hugely popular and bring large crowds.
The Bollywood industry has created some of the most expensive and beautiful movies ever made, from the masala genre’s vibrant, breathtaking musicals to the parallel cinema’s hyper-realistic works (and everything in between).
You’re guaranteed to find everything you’re looking for and more in these Bollywood movies, whether you’re seeking for action, drama, romance, or comedy.
Here is the list of best Bollywood movies of all time-
1. Hum Aapke Hain Koun…!
After a sharp decline in attendance in the 1980s due to video piracy and disgust with the crass action films of that era, this 1990s hit played a key role in bringing people back to Bollywood in India and internationally. You may expect 14 songs, two marriages, and a cremation.
Nothing more actually occurs, but its unabashed rich depiction of each celebration of a beautiful north Indian family, particularly their elaborate colourful Hindu wedding rites, drew people to the movies repeatedly. The movie that first brought modern Bollywood to the attention of the world is known as “HAHK.”
The most renowned and successful director in Bollywood, Yash Chopra, creates a ground-breaking epic musical romance. Will the emotional, physical, and cultural barriers that separate Indian Hindu Veer (Khan) and Pakistani Muslim Zaara (Zinta) from one another be able to stand in the way of their love?
In addition to delivering progressive political and social messages about Indo-Pak unity, women’s rights, ineffective justice, and hope for the future, Chopra uses his signature “chiffon sari in the Swiss Alps” approach. The songs by Lata Mangeshkar and the late Madan Mohan are flawlessly poetic. The end result is a joyful, vibrant, and soulful treasure.
With “Kahaani,” directed by Sujoy Ghosh and written by Suresh Nair, Ritesh Shah, Advaita Kala, and Nikhil Vyas, a thriller that is simple, quick-moving, and intelligent, comes very close to being ideal. After the movie came out, Vidya Balan’s reputation as one of the few female actors who could deliver hits simply on the strength of her reputation continued to grow.
She portrays Vidya, a woman who travels to Kolkata in quest of her kidnapped husband. “Kahaani” is very entertaining thanks to excellent supporting performances from Siddiqui and Chatterjee as well as a surprising ending.
While earlier Indian films praised this kind of behaviour, Thappad flips previous stereotypes about domestic violence on its heads. Based in a wealthy, educated environment, Vikram (Pavail Gulati) and Amrita (Taapsee Pannu) were the picture of marital bliss until he slapped her in front of his coworkers at a house party. Her entire existence is shaken by this, and she decides to move home with her parents while also filing for divorce.
Her mother and the patriarchal society advise her to brush it off as an isolated incident, but she is aware that she cannot coexist with a guy who is capable of such behaviour.
Sanjay Leela Bhansali’s lavish adaptation of Sarat Chandra’s straightforward novel signalled a turn away from emotional depth for the director, whose subsequent works include “Guzaarish” and “Saawariya.” In “Devdas,” his manner was at its most audacious and natural. Devdas (Khan), one of the major characters, and Paro (Rai), another, grow apart due to socioeconomic inequalities and challenging parents.
Devdas, who is consumed with resentment, engages on a drinking binge and ultimately finds Chandramukhi, a dancer, in his arms (Dixit). Devdas is crushed when Chandramukhi falls in love with him, and his only thoughts are of Paro, booze, and death.
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