Must Watch Underrated Bollywood Movies

BY JEENAT GROVER

The Hindi film industry- Bollywood, is one of the world’s biggest centers. In most of the countries outside India, the definition of ‘Bollywood,’ ‘Indianity’ and ‘Globalization’ is not equated with Hindi-based Mumbai films, but also with regional cinema of the country, particularly the south, in which the total output of films will surpass that of the rest of India.

There are storylines in and between the sequences of dance and music that reveal India’s beliefs and aspirations. These are not a true representation but a society’s fantasies. Even though the values of the Indian society have changed, but in Bollywood films, the importance of the family and the community is still retained in almost every movie, including the grand celebrations, music and dance. Family and friends join together on the beats of the Bollywood music on weddings and festivals like Diwali and Holi.

In the newly-founded environment of democracy and new order of knowledge, Hindi films were marked as a representation of the society we lived in and ferociously personal expressions of people making the inaccessible movie brand. It is difficult to say if it was a case that a group of unorthodox film makers eventually found the pulse of the audience, pushing their sophisticated encyclopedic taste upon the audiences or just that the cinematic goers had smart knowledge. Trust has been restored in strong cinema. When the borders of art and commercial operation collapsed like Berlin Wall, intriguing tales emerged from the ruins and breached all laws and norms. In the Hindi film industry, the glitzy, escape illusion had long been hotbed with clichés, hackneyed pictures and whistle-worthy moments. But at the turn of the century, cinema started to expand slowly, the only purpose of which was not to make money.

The 2000 may have been slow, but it has proven to be an important period in the end that helped us to admire and think of hundreds of influential films- a legacy that still exists today. The unprecedented growth of talents like Irrfan Khan, Nawazuddin Siddiqui, Rajkummar Rao, Manoj Bajpayee, Anurag Kashyap, Vishal Bahardwaj, Radhika Apte, Ayushmann Khurrana, Sriram Raghavan, Alia Bhatt, to name a few, are the most remarkable features in the 21st century Hindi cinema.

However, in spite of the active dialogue, some films still don’t have a moment in the sun either because of the lack of buzz around them or for the simple reason that they are plunged into the abyss of our memories with the continuous proliferation of new films and series. This collection aims to present these lost gems in the hope that they are eventually correct.

Here is a list of the 10 films you want for quality cinema to satisfy:

1. MASAAN (2015)

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In the town of Varanasi, Masaan follows two different story arches which converge. One follow Devi’s (Richa Chadha) path, who has to deal with her boyfriend’s loss and to overcome the grief of his death. The second is followed by Deepak (Vicky Kaushal), who burns the burial pyres in the Varanasi ghats. The film has been highly regarded by critics and has won many awards in the Cannes Film Festival.

2. UGLY (2013)

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Ugly is an Anurag Kashyap-directed neo-noir psychological thriller. The film tells a horrific tale of greed, ignorance and structural brutality that starts when an ambitious actor’s 10 year old daughter disappears. Perhaps a grizzly, morbid story about a string of events that are unleashed after an old girl is abducted, is one of Anurag Kashyap’s most undervalued works. These are the ugly reveals and the questionable characters makes ‘Ugly’ a grave analysis of mankind’s inherent complexity. With its hollow disposition, Ugly reveals his protagonists’ deep-seated corruption as covetousness, egotism and duplicity that takes the center stage. The main characters, the violence on the face, or the filthy lanes of Mumbai in which the film is set are not fun. There is no salvation at all in Ugly, but the darkness makes Ugly so striking.

3.SHAHID (2013)

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Shahid is a life-oriented documentary film by Shahid Azmi, an advocate for human rights. The film mainly focuses on the two main cases of the lawyer: the bombing of Mumbai in 2006 and the Mumbai attacks in 2008. At the ceremony for the 61st National Film Award, this film won the National Film Prize for Best Actor (Rajkummar Rao) and Best Director (Hansal Mehta).

4.SHANGAI (2012)

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Shanghai is perhaps one of the finest studies of why ‘art cannot exist in vacuum,’ a bold, guttural, political thriller by Dibakar Banerjee. The story revolves around BHARAT-Nagar, a responsive government, and the people’s collective consciousness of a nation which is exploited, molded, and redeveloped to fit the discourse of the people. This is a biteful satire that has a mirror for society and is free from a shred of propaganda or over drama. Although some might argue that Shanghai is a slow burn, but this is an essential film, which takes you out of your comfort and questions about yourself.

5.SONCHIRIYA (2019)

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Sonchiriya, the tale of Abhishek Chaubey about a rag tag team of baaghis from the Chambal Valley is full of gloom, desperation and a sense of anticipation. The events in Sonchiriya takes place during the emergency, shortly after the head of the baaghi group is hunted by the police. Such Baaghis are not big stallions, but they live meagre. They are not powerful dacoits, but men with a conscience who are in search of redemption. The outliers are not presented as a sign of ego. The movie is not much glorified besides the pregnant past, literature, dialogues and the top performances.

6.THE LUNCHBOX (2013)

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Lonely souls meet over Indian tiffin tins. The Lunchbox is a masterful showcase of the abilities of Irrfan Khan to represent the internal lives of a day-to-day officer who has forgotten the essence of hope, love and life itself. One of the goodness of The Lunchbox, is that Irrfan Khan and Nawazuddin Siddiqui unlikely to be paired, but if you see the movie it may be impossible to guess the symbolic passage of the torch. It is a film about the romantic, fanfare-free ordinariness, the tedium of life and its yearning.

7.UDAAN (2010)

Fiery debut by Vikramaditya Motwane’s Udaan (2010) is one of the few films which address the physical and mental difficulties of a teenager in his homeland and the world. Motwane doesn’t sell any gloves for children and doesn’t pull any punches. Udaan offers us a spunky character that’s often challenging, free from sentence. Unless a mother for flashback lullabies or a shoulder for immediate relief (the uncle is affectionate, but not effective), Udaan’s character grows organically rather than through a series of convenient coincidences.

8.DETECTIVE BYOMKESH BAKSHY ! (2015)

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Detective ByomkeshBakshy is India’s probably most sleuth-looking cinematic movie till date. Based on the vintage stories of SaradinoBandhopadhya, set in 1942, Calcutta. Ajit Banerjee (Anand) asks clever Byomkesh (Sushant) to help his dad Bhuvanbabu, who is mysteriously missing for months. ByomkeshBakshy is an iconic Bengali character who has been revived with great vivacity by Late. Sushant Singh Rajput. The feel is impressive – Calcutta’s noir film unfolds with jostling shadows and splendid squalor, filigree trams around downtown, dressing balls, dentist’s halls where brutal slashes are committed.

9.TUMBBAD (2018)

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‘Tumbbad’ is an amalgamation of fantasy, horror and mythology. He relates the story between 1918 and 1947, sometimes connecting it with times of transition. We see the Rao family world, where the patriarch lives at the villa, but his family, like outcasts, lives in shambles. Whether the patriarch’s wife is his master or the slave is never clear. It’s never clear. Tumbaad boasts a beautiful film and a multitude of colors graced on a vast canvas. Whether it’s the village’s constantly rainy terrain or the ever changing countryside on the verge of Independence.

10.A WEDNESDAY (2008)

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The thriller ‘A Wednesday,’ is set in the hectic Mumbai metropolitan city. The film is based on some events from 2 p.m. And 6 p.m. On Wednesday, in particular. The story is a game between an anonymous phone caller and the police. A Wednesday is an insightful anti-terrorist diatribe that is refreshingly packed like an ethnic thriller, which recalls Diehard series. The climax is an utter knock off with Naseer’s award-winning address, a flag bearer in the world of all those unknown and common citizens battling against this scourge of modernity.