10 Criminally under-rated bollywood movies
Bollywood has always been perceived as a song & dance industry filled with over the top melodrama and music that is currently being used against ISIS. I may prefer a Chris Nolan flick over Nadiadwala brothers, but there have been many gems out of bollywood which truly stand out for the art of storytelling. A lot of them are getting mainstream attention too thanks to changing sensibilities and multiplex audiences (we still have a long way to go though). My love for storytelling through cinema is undying and I’m writing this post about 10+ movies from my lifetime which I feel are horribly under-rated and deserve to be seen by every cinephile.
Dor (2006, Nagesh Kukunoor): One of the best movies about friendship and one of the very few focusing on the female bond. The story also touches upon the treatment of women across different demographics. The power of the movie lies in simplicity of it’s narration and brilliant performances from Ayesha Takia & Gul Panag. Nagesh Kukunoor, a pioneer of the ‘indie’ cinema (Hyderabad Blues, 1998; Rockford, 1999) is India’s most under-rated director and this is probably his best work. He may be most well known for Iqbal, but check out his other works like 3 Deewarien(2003) & Lakshmi (2014).
Kareeb (1998; Vidhu Vinod Chopra): The most honest & realistic love story in bollywood (if there was ever one). Even Vidhu Vinod Chopra mentioned that the movie was too close to reality to be successful. Sure it had plenty of songs and drama, but it had an amazing screenplay to back it up with. The location and cinematography play as much of a lead role as the two lead actors. Along with Parinda, this is without a doubt, VVC’s best work.
Dasvidaniyan (2008; Shashant Singh): The most poignant movie of the lot, this is a story of a man who loves to make lists and chronicles his journey to complete his last to-do list. Bittersweet, poignant and unexpectedly funny, this movie will leave you with all kinds of tears. Vinay Pathak delivers one of his best performance (there are so many — Bheja Fry, Khosla ka Ghosla and many more).
Matrubhoomi (2003; Manish Jha): The closest to a dystopian world Indian cinema has seen. This world has been created as a result of female infanticide and is not an easy watch. One of the most disturbing movies in Indian history, this should be a mandatory watch not just for film/art students, but for everyone. Manish Jha pulls no punches depicting the horrors of patriarchy and female infanticide. The opening scene is enough to give you goosebumps.
Socha Na Tha (2005; Imtiaz Ali): Imitiaz Ali’s debut is a little known romantic comedy of confusion and errors. This sweet little gem has a genuine warmth and indie feel to it (though it could have done without some songs). Abhay Deol and Ayesha Takia were completely believable as two confused young adults in love. The most feel good movie of the lot, this is the perfect movie to watch on a cosy rainy afternoon.
Khakee/Lajja (2004/2001; RajKumar Santoshi): Lajja is the feminist movie released before time. Through multiple stories ranging across different psychographics and continents, it tells the story of fearless women who rise above the society induced patriarchy in search for equality. The movie has been criticised a bit (and rightfully so) for being too melodramatic and the climax may not be very justified, but it is still very under-rated if you compare Santoshi’s other works. Khakee on the other hand is probably my favourite thriller/action movie since 2000’s. With brilliant plot twists and commendable performances (even Tushar Kapoor stole the show in the last scene, believe that! ), this movie does not get enough credit at a time when we are bludgeon with over the top action flicks.
Hasee To Phasee (2014; Vinil Matthew): One of the only two commercially ‘hit’ movies in the list, Hasee to Phasee has no business being in this list given the pedigree it has. Produced by KJo and Anurag Kashyap, this movie has peppy songs and a hit soundtrack, established mainstream actors and a big banner to back it up. The beauty here lies in storytelling and a very honest screenplay. Parneeti Chopra gives her best performance till date and Sid Malhotra, well was decent at least. I love the fact that the movie never lost it’s sense of humour even in the most dramatic scenes (similar to Kapoor & Sons released this year). The climax is extremely well done and includes one of my favourite scenes in recent bollywood (Siddharth Malhotra running away from the wedding and the bride’s father not giving a fuck, since he’ll come back to the same house to marry the other daughter). A shining example of how to make good ‘commercial’ cinema without sacrificing storytelling.
Yahaan (2005; Shoojit Sarkar): Kashmir is a very sensitive topic for indian filmmakers and audiences alike. Yahaan weaves an intimate love story across this backdrop without taking a particular side (Army or Kashmir). The performances and music are top notch. Minnisha Lamba’s brother arguing with the Indian Army over the why the army continues to remain in the valley is one of the most honest and powerful dialogue on the topic. Shoojit Sarkar actually shot the movie on real locations, at times without permit as tourist/film-making was not allowed in certain areas. The cinematography adds another layer to the narration.
Parzania (2005; Rahul Dholakia): Inspired by the true story of a 10 year old Parsi boy who disappeared in one of the infamous Gujrat riots of 2002, this is a moving tale of his family who just want their kid back. Riveting and gut-wrenching, this movie was not even released in Gujrat for the longest time (we are sensitive to truth that ways) but ended up winning the National Award for best actress (Sarika) and best director. The climax scene where Sarika narrates her trauma to the human rights panel will make you weep like a child. Another must see!
Raanjhana (2013; Anand L Rai): The highest grossing movie in the list is not necessarily underrated, but I believe it is under-appreciated for what it truly is (fucked up love story against the backdrop of Varanasi) and is more appreciated for the razor sharp dialogues (which are really amazing but are not the soul of the movie). Along with Masaan, Raanjhana comes closest to depicting life in the eternal city. This is not because of the colloquial comic lines, but because of the little details put together to form a big picture. The scene where Dhanush repents his actions at the Ghats and a stranger tells him about Sadhus and redemption, the UPSC reference, how Lord Shiva is referenced as ‘Mahadev’ in the final scene, and many more such scenes make sure that the city plays a character in the movie (like Boston in Gone Baby Gone or New York in Gangs of New York). Even when the story moves to Delhi for a short while, the references are again bang-on like the JNU campus scene when Dhanush gets caught stealing. Add to it stand-out performances from the entire cast and A.R. Rahman’s music make this a must view for any cinephile.
Honourable Mentions: Waiting (2016), Masaan (2015), Ugly (2015), Swades (2011), The Blue Umbrella (2005), Gulal (2009), Kabhi Ha Kabhi Na (1993), No Smoking (2007), Split Wide Open (1999).
