Hrishikesh Mukherjee - The Director's Limelight Series

Hrishikesh Mukherjee was a cinematic craftsman known for pioneering a middle-path between the melodrama and extravagance of mainstream cinema, on the one hand, and, on the other, the shrieking realism of art cinema. He was the most successful practitioner of the product of this variously called middle cinema or parallel cinema in the Bollywood. 

His string of hits with Rajesh Khanna, Dharmendra and Amitabh Bachchan made him one of the golden directors. In his active years he made numerous films. Some of his most notable films include: Anuradha (1960), Asli-Naqli (1962), Anand (1971), Chemmeen, Anupama (1966), Aashirwad (1968), Satyakam (1969), Guddi (1971), Bawarchi (1972), "Namak Haraam" (1973), Mili (1975), Chupke Chupke (1975), Khubsoorat (1980) and Bemisal (1982). He was the first to introduce Dharmendra in comedy roles, through Chupke Chupke, and gave Amitabh Bachchan his big break with Anand in 1970, along with Rajesh Khanna, he also introduced Jaya Bhaduri to Hindi cinema in his film Guddi.



He was one of the few people who have won Filmfare in 4 individual categories (editing, screenplay, story, direction). His last directorial tribute to indian cinema was Jhooth Bole Kauwa Kaate (1998). He died on 27 August 2006. He also remained the chairman of the Central Board of Film Certification (CBFC) and of the National Film Development Corporation (NFDC),. The Government of India honoured him with theDada Saheb Phalke Award in 1999 and the Padma Vibhushan in 2001. He received the NTR National Award in 2001.

Salute for his contribution to Indian Cinema.

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Bollywood & its influences on the Indian society

100 years of Bollywood 

        "Bollywood had reflected the true mood of Indian society for last 100 years"

There have been several school of thoughts on cinema till date. While to some critics it happens to be the greatest medium of entertainment, others do opine that it is a medium that disseminates moving pictures. It would have been better if all had ended here. There is another aspect of cinema – it is a medium that does reflect the true mood of the society and also the changing reality. In accordance with several pundits, the Bollywood assimilate the last definition and in the best manner. Do you agree with the same assertion? Without a doubt Bollywood has played a major role hitherto and through decades it has also been the most appreciated medium of entertainment. 

Now the question remains whether it has been the medium of entertainment only or of something else. Surely you’re interested to know the definition of this word – else. If truth be told, Bollywood has changed through times and has always tried to cope with the changing reality. If we take the mainstream cinema or simply Bollywood into consideration, it will be found that lots of changes have occurred. Gone are the days of 50s  when a good number of classics like Madhumati, Sujata, Do Aankhen Bara Haath and lots of others did dominate.

It was followed by the swinging 60s and radical 70s that were found to exert considerable impacts on the Indian society. Popular perception did change and the unrestrained Indian youth started to find its own replica in the celluloid through the angry heroes. The subsequent decades did not bring any change even if violence and vulgarity became a part and parcel of the Indian cinema and the same is in full vigor at the moment. Perhaps the Indian cinema has been gratifying the changing reality! 

Even if the regional cinema industry has struck back exceptionally well, they have remained out of the main scenario. And who doesn’t know that exceptions are always exceptions. What can be deduced here then? The influence has never been unidirectional – Indian society and cinema have been influencing each other altogether. 

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