Flawless creations are not everyday phenomena. But in the world of Hindi cinema, they do transpire and become proud memories and cherished legends.
Over the decades, many such films have become nostalgic reminders of formerly experienced brilliance that continues to sparkle. These gems have infallibly delighted the discerning viewer with deft filmmaking that explored the diverse sides of a story, emotion and personality.
If Fifties left an indelible mark with its share of classics like Do Bigha Zameen, Kagaz Ke Phool, Mother India, Shree 420 and Devdas, the multihued era of sixties, too, was nothing short of terrific.
Its irreplaceable charm can be traced through the eclectic oeuvre of Dev Anand’s peak productivity mirrored in films like Kala Bazaar (1960), Hum Dono (1961), Tere Ghar Ke Saamne (1963), Asli Naqli (1962), Teen Devian (1965), Guide (1965) and Jewel Thief (1967).
Its grandeur is fondly remembered in Raj Kapoor’s lavish description of a Europe-themed honeymoon in Sangam (1964), earning him the title of ’showman’.
Its glory is reflected in the magnificent screen power of Dilip Kumar, as Salim or Shyam, and his indestructible hold over the audience.
Where filmmakers like Bimal Roy, Vijay Anand, B R Chopra and Manoj Kumar married art with integrity and melody reigned supreme in the remarkable genius of Naushad, Sachin Dev Burman, Shankar Jaikishan, Ravi and Rahul Dev Burman.
Affectionately referred to as the golden period of cinema, the 60s epitomises inventive imagery, keen artistry and splendid showmanship.
A list of Ten Must-Watch Hindi Films born during this breathtaking decade.
Mughal-E-Azam, 1960
Somewhere in the royal chambers of a grand palace, forbidden love blooms between a smitten Prince and an ethereal court dancer, against the mellifluous alaap of maestro Tansen. It’s a timeless romance, which will test the fates and fortunes of two class-crossed lovers. It will also challenge the promise of an unfailing ruler.
K Asif’s larger-than-life, laborious vision is a golden chapter in the illustrious books of Hindi film history. Its magnificent stage, lavish details, splendor-filled soundtrack, well-nuanced penmanship and soulful performances, especially by the indescribably poignant Madhubala, tell inspiring stories of unsurpassed imagination and everlasting passion.
Ganga Jamuna, 1961
Dramatic confrontations and moral conflicts run wildly through the rustic, need we add, photogenic journey of Ganga Jamuna’s bitter ironies and hostile circumstances.
Director Nitin Bose conveys a mix of palpable intensity and intrinsic chemistry through his charismatic leading players, Dilip Kumar, Nasir Khan and Vyjyanthimala in this Technicolor tale of two warring brothers on the other side of law.
Its massive success, not just in terms of business, but also vivid story-telling, endearing camaraderie, uncompromising technique as well as the concept of ideology at odds, has visibly influenced major motion pictures over the years, rural or contemporary backdrop, notwithstanding.
Sahib Biwi Aur Ghulam, 1962
Can a film have a personality? Abrar Alvi’s masterful Sahib Biwi Aur Ghulam does. Its sublime grace in the face of heartbreak is almost like leafing through pages of melancholic poetry. Hemant Kumar’s mild-mannered compositions like Na jao saiyan and Bhanwra bada naadan have an important part to play.
Interestingly, the story, based on Bimal Mitro’s novel, too reveals itself in a flashback, where through the wistful eyes of Bhootnath (played by Guru Dutt); we are introduced to the complex inhabitants -- debauched landlords and docile bahus -- of a traditional haveli in pre-independence India.
His fascinating relationship with the downcast, desperate yet divinely beautiful chhoti bahu (Meena Kumari) vying for the attentions of an indifferent husband, in vain, alongside a bantering distraction with the impish Jabba (Waheeda Rehman), forms the crux of the plot.
Guru Dutt’s restrained excellence and Waheeda Rehman’s playful nonchalance is understandably overshadowed by Meena Kumari’s overwhelming aura. The Queen of tragedy exudes the pain and humiliation of her character through the tremulous delicacy of her anguished voice, big, glassy eyes and sarcasm-laden smile.
Bandini, 1963
The collective radiance of Bimal Roy’s striking imagery, S D Burman’s expressive score and Nutan’s potent realism continues to shine bright as ever. Symbolic and layered, Bandini strives to reveal the unpredictable facets of human nature, how its blacks and whites makes gray.
Bandini is essentially a powerful love story, sans the rosiness understood to be associated with the genre. Instead, it is about a girl, serving time for a murder she knowingly committed in a moment of insane rage, her redemption and eventual resolve when life asks her to make a choice between the erratic love that tampered her future and the compassionate hand willing to overlook her past, she decides to follow the signs of her heart.
Dosti, 1964
There’s no greater victory than the triumph of spirit. And that’s precisely what comes about after two physically challenged, musically-gifted youngsters are thrown on the streets of Mumbai; they join hands to make a life and living.
In complete contrast to the tickling humour of his previous Chalti Ka Naam Gaadi, director Satyen Bose’s ode to friendship tugs at the heart strings with its down-to-earth charm and memorable tunes like Chahoonga mein tujhe, Raahi manwa and Mera to job hi kadam.
As characteristic to most Rajshri Productions, this too, is a neat and clean drama with all its values and traditions in place. Without any big star to boast of, Dosti rested solely on the believable performances of two unfamiliar actors -- Sushil and Sudhir Kumar and still went on to become a huge hit.
Waqt and Guide, 1965
1965 rode high on the strength of two drastically different but nevertheless landmark films.
Adapted from R K Narayan’s novel, Vijay Anand’s Guide is effectively philosophical, demonstrating the power of man-made myths which can compel a weak man to turn into a willful mahatma. Long before that happens; Guide looks into the vicious cycle of human deceit and drawbacks leading to estranged relationships.
Skillfully written characters articulated through persuasive dialogues and hard-hitting performances by Waheeda Rehman and Dev Anand with S D Burman’s glorious accompaniments like Aaj phir jeene ki, Piya toh se, Din dhal jaaye, Tere mere sapne and Gaate rahe mera dil confirm Guide to be a milestone at numerous levels.
And there’s Yash Chopra’s first-of-its-kind multistarrer. Incredibly stylish in structure and production values, Waqt with its glamorous cocktail parties, lost and found theme and edge-of-the-seat car races, was truly before its time.
Not to forget Ravi’s enticing ditties, Sadhana’s trendsetting fashions and Raaj Kumar’s quotable quips, this one continues to be a fond reminder of Chopra’s vintage-day showmanship.
Teesri Manzil, 1966
Mush. Melody. Murder. This one juggles it all. And how! Filmmaker Vijay Anand cracks the formula for entertainment and intrigue in his delectably marvelous, Teesri Manzil.
Anand’s technical wizardry comes in handy as he fills the mysterious frames of this whodunit with palpable tension and building anticipation.
In between, he tactfully introduces rich dollops of extravagantly choreographed Helen numbers along with thoroughly engaging love bytes between the ebullient Shammi Kapoor and plucky Asha Parekh.
Bundled all around the excitement is Rahul Dev Burman’s irresistibly foot-tapping soundtrack comprising of chartbusters like O haseena zulfonwali, Aaja aaja and O mere sona.
Ram Aur Shyam, 1967
Everyone knows how Hema Malini’s Seeta separated from Geeta, Sridevi met her stammering twin in Chaalbaaz and Anil Kapoor double rolled Kishen Kanhaiya into one.
But the most famous twin act remains to be Dilip Kumar’s fabulous turn in the guaranteed-to-entertain Ram Aur Shyam.
In this remake of the Telugu superhit, Ramadu Bheemudu, the superstar, well in his 40s, plays the gullible, submissive Ram as well as cocky, fearless Shyam with effortless zing and dazzle.
Whether it’s facing the notorious Pran’s iconic whip or giving the latter a thrashing dose of his own medicine, the actor took a welcome break from heavy-duty dramas, to have the audience firmly rooting for his nutty dual avatar. And having pretty women like Waheeda Rehman and Mumtaz, by his side, didn’t hurt one bit.
Padosan, 1968
Before director Jyoti Swaroop graduated to direct run-of-the-mill fare like Amitabh Bachchan-starrer Parwana or the long-forgotten Chorni, he made history with his awe-inspiring potpourri of side-splitting hysterics, namely Padosan.
Full marks to its ensemble cast of Kishore Kumar, Mehmood, Sunil Dutt and Saira Bano to keep the laughs coming with their endless buffoonery and infectious spontaneity in this scrumptious rom-com about two comical suitors, a hot girl-next-door and a pan-spewing melody Guru.
Lending a generous helping hand is R D Burman’s terrific ’n’ tickling soundtrack featuring fantastic treats like Ek chatur naar, Mere bhole balam and Mere saamnewali khidki, contributes to the humour, as much as the well-timed antics of its actors on screen.
While comedy has always been Kishoreda and Mehmood’s forte, Dutt successfully went against type in his adorable portrayal of the naļ¶„, lip-syncing Bhola.
Satyakam, 1969
At some point in Bruce Almighty, Morgan Freeman tells Jim Carrey, ’You want to see a miracle? Be the miracle.’
Dharmendra’s unwaveringly honest Satyapriya in Hrishikesh Mukherjee’s Satyakam lives, and ultimately dies; in trying to be the change he wants to see.
Unlike its character’s beliefs, Satykam isn’t merely about idealism. It chronicles the challenges and obstacles faced by an individual who adheres to a scrupulous school of thought.
Ultimately, even his close ones, though affected by the repercussions of his actions, cannot draw the courage to tarnish his beliefs.
The marriage of Mukherjee’s truth-versus-practicality theory and Dharmendra’s inspiring conviction (as well as career-best performance) makes for compulsive viewing.
