A list of great Indian directors
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- Writer
- Composer
- Director
Satyajit Ray was born in Calcutta on May 2, 1921. His father, Late Sukumar Ray was an eminent poet and writer in the history of Bengali literature. In 1940, after receiving his degree in science and economics from Calcutta University, he attended Tagore's Viswa-Bharati University. His first movie Pather Panchali (1955) won several International Awards and set Ray as a world-class director. He died on April twenty-third, 1992.- Writer
- Producer
- Director
The man who revolutionized Tamil-language cinema, Mani Ratnam is the biggest director in south India and one of the most respected directors in all of India. Each of his films contain its own unique style, with beautifully photographed songs and unique back-lighting. However, his films contain substance as well as style--Ratnam has dealt with a wide variety of topics, from the classic Indian love story to political thrillers.
He was born in Madras in 1956. Filmmaking was in his blood; he was the son of film producer 'Venus Gopalratnam' and his brother was G. Venkateswaran, a film distributor turned producer. Ironically, however, he studied at Madras University and received a management degree at the Jamnalal Bajaj Institute of Management Studies in Mumbai, and had initially started out as a management consultant. His first film, Pallavi Anu Pallavi (1983), starring Anil Kapoor, didn't make many waves, although it won the State Award from Karnataka that year, but even though he made two films in Tamil and one in Malayalam, nothing worked for him until he broke through with Mouna Ragam (1986). Starring Revathi, the film told the tale of a woman who, although forced into an arranged marriage, chooses to maintain a platonic relationship with her husband. The film was noted for its sophisticated approach and execution of an extremely sensitive topic.
His next film, Nayakan (1987), was also arguably his greatest. A take-off on Francis Ford Coppola' legendary The Godfather (1972), it established Ratnam as the leading director of Tamil-language Cinema and won its leading actor Kamal Haasan the National Award for Best Actor. The film draws on 30 years of Tamil Nadu's celebrity images and directly played to the anti-Hindi feelings of Tamil Nadu when the protagonist, beaten up, tells the Hindi policeman in Bombay, "If I ever hit you, you will die!"
Then came the best of his early work - Agni Natchathiram (1988), Geethanjali (1989), and Anjali (1990). The first was a tale of conflict between two step-brothers. Shot with glossy camera work, the film resembled a cross between an advertisement and a music video, and set a trend for a whole new visual style in Tamil-language Cinema. The next, Geethanjali (1989), shot in Ooty to create a soft and poetic mood, was a touching love story between two terminally ill people with less than six months left. The third, Anjali (1990), about a disabled child brought back to her family with two normal children had been chosen by India to be sent to the Oscars for Best Foreign-language Film, but it did not receive a nomination. The next year saw his first, and only collaboration so far, with the Tamil superstar Rajni Kant in the film Thalapathi (1991). It also starred Mamooty, along side a host of other actor. This star studded film was a gritty tale of an orphan who grows up to become a notorious gang member in Chennai. The story was inspired by the great epic of Mahabharata.
It was Roja (1992) that made Ratnam a household name all over India. A patriotic love story set against the backdrop of Kashmiri terrorism, the film was dubbed in Hindi and became a huge national success. It enforced Ratnam as a director of style and substance, as well as proving a highly auspicious debut for the now-acclaimed music director A.R. Rahman, whom Ratnam had discovered. It helped that India's at-the-time election commissioner T. N. Seshan took the rare step of officially endorsing the film. Thiruda Thiruda (1993), a remake of Butch Cassidy and the Sundance Kid (1969) was a misfire, but Ratnam bounced back with Bombay (1995), a politically charged romance between a Hindu man and a Muslim woman during the 1993 riots in Mumbai. The film underwent some controversy due to its slightly anti-Muslim viewpoint, but it contributed widely to the success of the film.
Continuing his political obsession, Ratnam made Iruvar (1997), based on the MGR-Karunanidhi affair, and Dil Se.. (1998), which starred superstars Manisha Koirala and Shah Rukh Khan. The latter was Ratnam's first Hindi-language film. Based on the northeast Indian problem, it told the story of a radio executive and a revolutionary. It had an excellent cast, beautifully crafted scenes, and most of all one of A.R. Rahman's greatest tunes--but did not go down too well with the audience, who hailed it as a strange and confusing film that headed nowhere. However, today it is held as ahead of its time, being that it was shot pre-9/11, and is now hailed as a contemporary classic.
He returned to familiar ground with Alai Payuthey (2000), which tackled the story of a couple in love that goes through the trials and tribulations of marriage. His subsequent film, Kannathil Muthamittal (2002), which told the tale of an adopted girl meeting her terrorist mother, saw Ratnam back in form as one of the greatest storytellers in Indian Cinema. His next film, Yuva (2004), saw Ratnam return to Hindi-language cinema after six years, but in spite of some fine flourishes, the film largely failed to work. However, don't take him too lightly: he is sure to return with something new next time....- Producer
- Writer
- Actor
Anurag Singh Kashyap (born 10 September 1972) is an Indian film director, producer and screenwriter. Kashyap made his directorial debut with as yet unreleased Paanch, with Kay Kay Menon as the lead. As a filmmaker, he is known for Black Friday (2004), a controversial and award-winning Hindi film about the 1993 Mumbai bombings, followed by No Smoking (2007), Dev D (2009), Gulaal (2009), That Girl in Yellow Boots (2011) and Gangs of Wasseypur (2012). As a screenwriter, he wrote the scripts for the Filmfare Award-winning Satya (1998) and the Academy Award-nominated Canadian film Water (2005). He founded his film production company, Anurag Kashyap Films Pvt. Ltd. in 2009.- Composer
- Writer
- Producer
Vishal Bhardwaj is an Indian film director, writer, composer, singer and producer. He has directed ten feature films, produced five and composed music for more than forty. His directorial work includes Makdee, The Blue Umbrella, Kaminey, 7 Khoon Maaf, Matru Ki Bijli Ka Mandola, Rangoon, Pataakha as well as the internationally acclaimed Shakespeare Trilogy - Maqbool, Omkara and Haider (adapted from Macbeth, Othello and Hamlet, respectively). Prominent films written and produced by him are Ishqiya, Dedh Ishqiya and Talvar (based on the Noida double murder case).
He has received 3 international awards: Makdee (2002) received the Best Film award at the Chicago International Children's Film Festival, Omkara (2006) won the Best Artistic Contribution in Cinema award at the Cairo International Film Festival and Haider (2014) won the People's Choice award at the Rome Film Festival. He has also received 7 National Awards: Best Music Direction for Godmother (1999), Best Children's Film for The Blue Umbrella (2005), Special Jury Award for Omkara (2006), Best Music Direction for Ishqiya (2010), Best Dialogues and Best Music Direction for Haider (2014) and Best Screenplay for Talvar (2015).- Director
- Actor
- Writer
Tigmanshu Dhulia was born on 3 July 1967 in Allahabad, Uttar Pradesh, India. He is a director and actor, known for Gangs of Wasseypur (2012), Paan Singh Tomar (2012) and Saheb Biwi Aur Gangster (2011).- Producer
- Writer
- Art Director
An accomplished and award-winning producer-director-writer-actor-singer, Farhan Akhtar is the ultimate Bollywood multi-hyphenate. Born in 1974 to prolific Indian film writer and poet, Javed Akhtar and writer-director, Honey Irani , Farhan was raised in an environment where creativity and originality of thought were encouraged. This has made him a maverick whose films reflect refreshingly new content that easily strikes a chord with filmgoers.
In 1999, Farhan collaborated with Ritesh Sidhwani, a friend who shared his passion for good cinema, to form Excel Entertainment, a production banner that has become synonymous with excellence in film-making.
Debuting at the age of 26, as a writer, director, and producer with Dil Chahta Hai (2001) a coming-of-age film that has gained cult status, Farhan came to be lauded for his honest, path-breaking writing and his ability to extract mature performances from his cast. The film won Farhan his first National Award for 'Best Hindi Feature Film' along with Filmfare awards for 'Best Feature Film - Critics Choice' and 'Best Screenplay'.
Almost two decades later, this film continues to influence a generation of filmmakers.
Seven years after his dream debut as a writer-director, Farhan debuted as an actor-singer in Rock On!! (2008) Yet another runaway success, the film secured him a second National Award for 'Best Hindi Feature Film' and a Filmfare award for 'Best Debut Performance'.
The dream run continued with Zindagi Na Milegi Dobara (2011) which released in 2011 to much popular and critical acclaim, winning him three Filmfare awards for 'Best Film', 'Best Actor in a supporting role' and 'Best Dialogue'.
His next, a biopic on Indian athlete Milkha Singh, popularly known as 'the Flying Sikh', was entitled Bhaag Milkha Bhaag (2013).
He essayed the role with such integrity that it set the standard for other actors considering to play titular protagonists in biopics. Deservingly, Farhan swept all awards that year for 'Best Actor' as did the film for 'Best Film'. It also claimed the National award for 'Best Popular Film providing Wholesome Entertainment.'
His most recent release The Sky Is Pink (2019) premiered at the Toronto International Film Festival and received a 15-minute standing ovation from the audience at the Roy Thomson Hall.
In addition to his contribution to Indian cinema, Farhan has initiated and supported a plethora of social causes. In 2012, he founded MARD (Men against Rape & Discrimination), an initiative that raises awareness about gender-related issues amongst the youth of India. Recognizing his sustained efforts, Farhan was made the first male UNwomen goodwill ambassador (South Asia) in 2014.
Additionally, Farhan feeds his passion for music by writing, composing and performing live with his band FarhanLive.
His English language debut album 'Echoes' released in March 2019 to critical acclaim.
He has 2 daughters and lives in Mumbai, India.- Director
- Writer
- Producer
Ketan Mehta is one of the most internationally acknowledged filmmakers from India. He has a received many National and International awards for his well-known films like 'The Rising - Ballad of Mangal Pandey', 'Mirch Masala', 'Maya Memsaab', 'Sardar', 'Holi' and 'Bhavni Bhavai'. Received Best Film on Human Rights for Bhavni Bhavai, Best Film for Mirch Masala at the Hawaii International Film Festival and the Audience Choice Award at Locarno for the Ballad of Mangal Pandey.
Ketan Mehta, a graduate in Film making from India's premier film institute FTII (Film and Televsion Institute of India) has more than 25 years' experience in the film industry.
His films have been shown at film festivals across the world and he has been a jury member at many international film festivals.
He has served as a consultant on many Government of India bodies including Doordarshan, Directorate of Film Festivals and is currently a Member of the Board of Directors of NFDC (National Film Development Corporation of India). He has been a Content Producer for ISRO and been involved in their satellite project for a number of years.
He is also the President of IIFW - (Independent Indian filmmakers's worldwide) a global association of Independent film makers and the promoter of Maya Entertainment ltd, India's leading Computer Animation and Digital visual effects studio.- Actor
- Director
- Producer
Considered to be a man ahead of his time, Guru Dutt was one of the greatest icons of commercial Indian cinema. Although he made less than ten films, they are believed to be the best to come from Bollywood's Golden Age, known both for their ability to reach out to the common man and for their artistic and lyrical content, and they went on to become trend-setters that have influenced Bollywood ever since. But for all his genius, there was a shroud of tragedy that overshadowed his career and life.
Dutt was born in Mysore on July ninth, 1925, the eldest son of a headmaster and a housewife who was a part-time writer. As a child, he had to deal with a strained relationship between his parents, hostility from his mother's family, and the death of a close relative. He received his early education in Calcutta, and in 1941, he joined the Uday Shankar India Culture Center, where he received basic training in the performing arts under dance maestro Uday Shankar. Afterward, in 1944, he had a short stint as a telephone operator.
Dutt entered the Indian film industry in 1944, working as a choreographer in Prabhat Studios. There, he became friends with Dev Anand (whom he met when they worked on the film Hum Ek Hain (1946)) and Rehman Khan. These early friendships helped ease his way into Bollywood. After Prabhat went under in 1947, Dutt moved to Mumbai, where he worked with the leading directors of the time: Amiya Chakrabarty in Girls' School (1949) and Gyan Mukherjee in Sangram (1946).
He got his big break when Dev Anand invited him to direct a film in his newly formed company Navketan Films. Dutt made his directorial debut with Gamble (1951), which starred Dev Anand. The film was an urban crime thriller that paid homage to classic film noir. However, it also carried its own elements that ensured it was not a remake of a Hollywood film: notably, songs were used to further the story's narrative, and close-up shots were used frequently. The film was a success and became a trend-setter for future crime films. On the personal front, Dutt met his wife, playback singer Geeta Dutt (née Roy), during the song-recording sessions of Gamble (1951), and they married May twenty-sixth, 1953.
Dutt's next releases were Jaal (1952) and Baaz (1953). Dutt made his acting debut in the latter film, which he also directed. But while they were average successes, he finally tasted success with Aar-Paar (1954), another crime thriller, but with a far more polished story and look. Then came Mr. & Mrs. '55 (1955), a frothy romantic comedy focusing on women's' rights; and C.I.D. (1956), yet another crime thriller in which Waheeda Rehman made her debut.
His next films, Thirst (1957) and Paper Flowers (1959), are regarded as his best work. Thirst (1957) was his masterpiece, about a poet trying to achieve success in a hypocritical, uncaring world. It was a box-office hit and is ranked as his greatest film ever. In contrast, Paper Flowers (1959) was a miserable flop at the box office: the semi-autobiographical story of a tragic love affair set against the backdrop of the film industry was deemed too morbid for the audience to swallow and went right over audience's heads. Although in later years the film received critical acclaim for its cinematography and has gained a cult following, Dutt, who had put his soul into the film, was devastated over its failure and never directed another film.
Although he had sworn off directing, Dutt continued to produce and act in films, notably the period dramas Chaudhvin Ka Chand (1960) and Sahib Bibi Aur Ghulam (1962). The latter film, interestingly, is controversial because it is debated whether Dutt had ghost-directed the film. Dutt's personal life had become complicated: he had gotten romantically involved with his protégé Waheeda Rehman and his wife Geeta Dutt had separated from him as a result. Rehman too had distanced herself from him. Also, Dutt, an ambitious person, felt he had achieved too much too soon professionally - there was nothing better to be achieved, and this caused a vacuum in his life. Unable to cope with all the trauma and emptiness, he took to heavy drinking.
On October tenth, 1964, Dutt was found dead in his bed. The cause of death was deemed a combination of alcohol and sleeping pills, although a debate still lingers over whether his death was by accident or a successful suicide attempt. Geeta Dutt suffered a nervous break-down as a result of his death and also took to alcohol, eventually drinking herself to death, dying in 1972 as a result of cirrhosis of the liver.
His death was an irreplaceable loss to Indian cinema. And it was a tragic twist of fate that his films, most of which were discounted in his life-time, would be regarded as cult classics after his death. Guru Dutt would always be known, even if posthumously, as the Guru of Bollywood's Golden Age and one of the world's most important international auteurs.- Director
- Producer
- Writer
Ram Gopal Varma was born in Hyderabad, the capital city of the Indian state of Andhra Pradesh. He initially was a video store owner before eventually becoming one of India's leading film directors. A film buff during his youth, Varma would watch both American and Indian cinema regularly. As a young man, he attended Siddhartha Engineering College in Vijayawada. Varma started his career in telugu cinema (the Hyderabad film industry), where he made a huge mark with his debut film Shiva, a violent and stylized actioner set in a college backdrop. At the age of 28, with little film training, Varma was able to convince Nagarjuna, a young Telugu star, to act in his debut picture. Nagarjuna was drawn by the narration of the script and intelligence displayed by the young Varma. Shiva was a landmark hit for the industry and was remade by Varma in the hindi language a year later.
His next was the exciting adventure film, Kshana Kshanam, starring Venkatesh and Sridevi. Varma followed this up with such films as - Raatri, a homage to 'The Exorcist' starring Revati and Om Puri (which Varma would remake over a decade later in Hindi as Bhoot) and Antham, a stylized crime drama, with Nagarjuna and Urmila Matondkar (which Varma would also rework later as Satya) - but was not able to attain the commercial success of his first feature. His next release Gaayam, with Jagapathi Babu and Urmila Matondkar, was a violent crime drama set in Hyderabad. The screenplay was co-written by tamil film director Mani Ratnam, and the script based on 'The Godfather'. It became a success for Varma. He then decided to start his own production banner, Varma Corporation Limited, and produced successful telugu films such as Money (remade later as Love Ke Liye Kuchh Bhi Karega), Money Money (its sequel), Gulabi and Anaganaga Oka Roju.
His first huge success in hindi cinema (the Mumbai film industry) was the commercial blockbuster Rangeela, a stylish romantic drama with Aamir Khan and Urmila Matondkar. A.R. Rahman, a tamil music composer, was introduced to hindi audiences by Varma with this film and won the award for best film music.
Varma followed up with the ground breaking gangster saga Satya, a violent crime epic set in the Mumbai underworld. The film was gritty and realistic, reinventing the crime genre in Indian cinema. Varma had done extensive research for the film, and reworked certain elements of his earlier film Antham. Satya was widely considered Varma's first true masterwork. Made on a shoestring budget and with new faces, the film won awards for actor Manoj Bajpai and music composer Vishal Bharadwaj. Satya became a turning point in Varma's career, winning best picture of the year, and Varma would be forever associated with Mumbai noirs.
Varma then, with fellow director Shekhar Kapur, created a joint film production company in 1998 called India Talkies. The first venture of the production house was the ambitious terrorist drama 'Dil Se', with Shahrukh Khan and Manisha Koirala. The film was a box office dud, and India Talkies would be short lived. Varma would return to focusing on his own production house Varma Corp.
The hard hitting masterpiece 'Shool' followed shortly after, written and produced by Varma. The film depicted the life of an honest police officer in the violent and harsh rural setting of Bihar. The film was a commercial and critical success with both Manoj Bajpai and Sayaji Shinde winning awards for their performances. Varma lightened things up next with the romantic drama 'Mast'. The film was inspired by Varma's own college days, and featured Aftab Shivdasani in an award-winning turn as a film crazy college student.
Varma decided afterwards to only direct films in the Mumbai film industry. He believed there was more talent in Mumbai than in southern film cities like Chennai and Hyderabad. Varma had always admired directors such as Shyam Benegal, Govind Nihlani, and Gulzar. He considers Kalyug, Ardh Satya, and Mere Apne among his favorite Indian films of all time. At a time when popular Indian Cinema featured either over the top action films or glamorous love stories, Varma's films were more rooted and realistic. Varma is known to frequently cut out song and dance sequences in his films, which are usually commonplace in Bollywood. His films almost always deal with the contemporary and urban, usually set in the city of Mumbai. He often uses Indian stage actors in his films rather than established bollywood stars. Mainly known for creating the 'Mumbai noir', Varma brought psychological depth and cinematic virtuosity to genre films.
More recently, Varma returned with the organized crime masterpiece 'Company'. The film was again set in the Mumbai underworld, and was based on real life Underworld don Dawood Ibrahim and his criminal outfit D-Company. The film featured award-winning performances by Ajay Devgan, Vivek Oberoi and Manisha Koirala. The film also won awards for best editing by Chandan Arora and best story by Jaideep Sahni. The film was lauded by critics and audiences alike.
His latest release Naach, which Varma called his best film yet, was a largely self reflective piece, about the relationship between an idealistic choreographer and an ambitious actor. The film had a weak commercial run but was liked by critics. In a recent interview with the Indian Express newspaper, the filmmaker criticized Indian audiences saying "I gave Ayn Rand to a Municipal School."
He spends most of his time these days producing small budget films for his successful production house Varma Corp. Though not always credited, he is involved in all aspects of his productions, often believed to 'ghost direct' many of the films. He produces films at a fast speed that is unfamiliar to the Indian Film Industry. He has had many recent successes including - 'Ab Tak Chhappan', based on the experiences of famed Mumbai police Daya Naik, 'D', a prequel to his earlier hit Company based on the early years of Dawood Ibrahim during his days under Pathan underworld boss Karim Lala, 'Ek Hasina Thi', a female revenge thriller, and finally 'Road'. He has also produced lighter films such as 'Love Ke Liye Kuchh Bhi Karega' and 'Main Madhuri Dixit Banna Chahti Hoon'.- Cinematographer
- Director
- Writer
Govind Nihalani was born on 19 August 1940 in Karachi, Sindh, British India. He is a cinematographer and director, known for Droh Kaal (1994), Aakrosh (1980) and Dev (2004).- Writer
- Producer
- Actor
Ram Lakhan (1989), Khalnayak (1993), Hero (1983), Karz (1980), these are some grand films made by a grandiose director. Since 1976, Subhash has been directing films. But recently where has the fanfare and the fire has gone from Mukta arts main director? Subhash started in 1976 with the film Kalicharan (1976), a film he made without any previous directorial experience. The film was rejected seven times before it came to NN Sippy who gave Ghai his shot. He followed this two years later with Vishwanath (1978) but struck big time with his third film, and first under his Mukta Arts banner, Karz (1980). With hit pairing of Rishi Kapoor and Tina Minium, Karz brought together Subhash & Laxmikant-Pyarelal. He then hit the audience with Hero (1983), starring an actor he would repeat many time in his future films, Jackie Shroff. This was his first film as the main protagonist. It also established Meenakshi as a top heroine. In the first two weeks, the film was declared a dud. However, from its third week onwards it went on to run at cinemas for many golden jubilees.
Again musically, Ghai had the genius stroke of having Pakistan's top singer Reshma sing Lambi Judaai with just 11 instruments. He hit next with _Meri Jung (1982)_ with Anil Kapoor and then he gave the term Multi Starrer blockbuster its true home. Karma was released in 1986 with huge fanfare. The pre-production hype matched its pre-release hype with the rivalry of Dillip Kumar and Naseeruddin Shah. It was a superhit. Again new faces were brought in. Anupam Kher made his appearance as Dr. Dang. Ghai received a national award for making an anti-terrorism film. In his next film, one of Bollywood's legends was born, Madhuri Dixit in Ram Lakhan (1989). Another superhit for a barely textbook script. Like his track record, Saudagar (1991), his next release united two icons together. Dilip Kumar and Raj Kumar. Again Ghai launched another star, Manisha Koirala. Another film another superhit. His next film was one of the most talked about films of its time and could match any film today for column space. Sanjay as the bad guy and Jackie as the good guy. Madhuri caught in between the two. _Khalnayak (1993)_ was notorious for many things. At the same time, Sanjay wound up in jail on terrorist charges. Before jail, Sanjay and Madhuri were said to be having a relationship, but when Sanjay ended up in Jail Madhuri dropped him like hot cakes and denied all knowledge of being anything more than a co-star. The main song "Choli ke peechay" was at the top of every chart and just as controversial. This was the showman's greatest moment. From here it could only go down.
Though Trimurti wasn't directed by Subhash, it came from the same production house. The film was put on hold for ages. It was meant to be a triumphant moment for Ghai. The showman and the star, Shah Rukh Khan united. For all the time he had been in Bollywood he had never made a film with Amitabh and this was his time to show the world what he could do with the star of the moment. But the project was laid back for months as Subash waited for Sanjay Dutt to be released from prison. Eventually, Dutt had a face to face meeting with Ghai and told him straight. Replace me. Anil Kapoor was drafted in. But even with Jackie Shroff, Shah Rukh Khan and Anil Kapoor the weak script was destined to fail. Its failure hit Ghai hard and Mukul Anand even harder. The later never got the chance to direct another film. His venture after Trimurti was Dus. He died towards the end of shooting. The film never saw release. With the knives that were stuck in Ghai, he came back with another Shah Rukh film this time directed by himself. Pardes (1997) was launched with Ghai declaring that from now on his films would be aimed at NRIs. From that moment on Ghai lost his biggest supporter, the press. An average hit compared to the Ghai catalog. By now he'd even changed his musical directors to Nadeem-Sharavan. Music is where the hits and flops were made. Ghai knowing this asked AR Rehman to write the music for his next film. He struck gold again. The star of the show was Aishwarya. It made phenomenal amounts of cash - not bad for a film where nothing interesting happens until the interval where one A. Kapoor makes an appearance. Ghai was back. He knew who'd been the people who'd stuck the knives in his back and isolated them, the press.
He had the last laugh. Or did he. Forward to 2001 and Ghai was planning to make history. Hrithik and Kareena together for the first time. _Yaadein (2001)_. From its announcement the press were out to hound Ghai. And it showed. The film was written off from day one. Criticised from anything and everything. The coke ads, the numerous other in film adverts, too fluffy. Jackie Shroff was the only saving grace to come out of this film. Subhash has isolated the one thing that gave his film the hype and now he's feeling very left out from the Indian press who have warmed up to other directors. Ghai had a rule of releasing a film every two years yet two years after Yaadein he has not announced a single directorial venture, just two producer ventures, Ek aur ek gyarah and Joggers Park. His ego and his own ability to create hype for his films could be to blame. He raises the expectations of his own films to such a level that the audience is expecting much. And if it fails to deliver even slightly, the audience and the press will hype up the failures even more so. What the future holds for Ghai is unknown and only he can answer. Though don't expect The Showman to let any other director take his title anytime soon!- Producer
- Director
- Additional Crew
Labeled the eternal romantic and with one of the best musical senses in the business, Yash Chopra is arguably India's most successful director of romantic films. Although he made action-oriented films like the ever-popular Deewaar (1975), it is in tackling love and its various aspects that he has been at his best. One of the few remaining commercial Indian directors who started their careers in the 1950s, he has successfully moved with the times from the socially significant Dhool Ka Phool (1959) to the young and cool Dil To Pagal Hai (1997).
Yash Chopra was born in Lahore in 1932, to an accountant in the PWD division of the British Punjab administration, the youngest of eight children. He began as an assistant director to I.S. Johar before working with his elder brother, the legendary B.R. Chopra; while another brother, Dharam Chopra, worked as his cameraman. He was given his first directorial opportunity with Dhool Ka Phool (1959), a melodrama about illegitimacy; it became a hit and even now remains popular today. Encouraged by this success, the Chopra brothers made a few more movies together, the most notable being Waqt (1965), India's first multi-starrer; and Ittefaq (1969), a thriller. On the personal front, Chopra married Pamela Chopra (née Singh) in 1970, and they had two children, Aditya Chopra and Uday Chopra, both working in the film industry today.
In 1973, the Chopra brothers separated, with Yash Chopra founded his studio, Yash Raj Films, and launched it with Daag: A Poem of Love (1973), a successful melodrama about a polygamous man. He then entered one of his best phases with two Amitabh Bachchan classics: Deewaar (1975) and Kabhi Kabhie (1976). These movies set the standard for the 1970s and 1980s, establishing Bachchan as the greatest and most beloved Indian film star of all time. His respective roles--a bitter criminal and a sensitive, brooding poet--are considered to be his greatest performances, although complete opposites of each other.
In the 1980s, Chopra went through a rough time. Two of his melodramas, Silsila (1981) and Faasle (1985); and two action-oriented films, Mashaal (1984) and Vijay (1988), flopped at the box office, although the latter became a critically acclaimed classic years later. However, he made a comeback with his musical love triangle Chandni (1989). The film was a huge success, with great performances by established heroine Sridevi and action hero Vinod Khanna. Then came what critics and Chopra himself considered his best film, Lamhe (1991), a beautiful film about cross-generational love. It couldn't survive the box office, however, due to its incestuous nature.
Parampara (1993), done for an outside producer, was a misfire, but then came the box-office hit and trend setter Darr (1993). Starring the then-débutant Shah Rukh Khan, it showed a sympathetic look at obsessive love and an emotion often overlooked in love--fear--and its success catapulted Khan to super-stardom. In 1995, Chopra turned to production and Aditya Chopra made his directorial debut with Dilwale Dulhania Le Jayenge (1995), which had the longest-running initial release in cinema history. He directed one more film, Dil To Pagal Hai (1997), a love story set against the theater, which became a huge success and a cult hit, before he retired from directing. However, in 2004, he made a grand comeback with Veer-Zaara (2004), a touching cross-border love story, which he said would be his last directorial effort.
The ages of the director and playback singer Lata Mangeshkar, his muse, proved you need to be young, as well as crazy, at heart, to be a true romantic....- Director
- Writer
- Producer
Basu Chatterjee was born on 10 January 1930 in Ajmer, British India. He was a director and writer, known for Sara Akash (1969), Rajnigandha (1974) and Swami (1977). He died on 4 June 2020 in Mumbai, Maharashtra, India.- Director
- Writer
- Music Department
Priyadarshan is an Indian film director and screenwriter. He has worked in the Hindi and Malayalam film industry for almost 40 years and has directed over 90 films.
He completed his early education at Government Model School in Thiruvananthapuram. He later pursued his bachelor's degree from Mahatma Gandhi College and Master of Arts in Philosophy from University College Thiruvananthapuram. Priyadarshan was a voracious reader, which sparked his interest in writing and led him to write short plays and skits for All India Radio in college.
He began his career in the Malayalam Film Industry in the early 1980s. He started his career as a director with Poochakkoru Mookkuthi (1984) in 1984. The film did surprisingly well and ran for almost 100 days in theatres across Kerala. He continued this slapstick comedy style and later made Oodarathuammava Aalariyam (1984) and Onnanam Kunnil Oradi Kunnil (1985).
Later that year, he demonstrated versatility by directing the crime drama Parayanumvayya Parayathirikkanumvayya (1985). In the same year, Priyadarshan made his first film with Mohanlal titled Punnaram Cholli Cholli (1985).
1988 was a landmark year in Priyadarshan's career. He directed Vellanakalude Naadu (1988) with Mohanlal in the lead role. It was a political satire crime film that revolved around the prevalent corruption in the country. The film was the biggest hit of that year and successfully ran for 200 days in theatres.
Later that year, he directed and released Chithram (1988), his career's biggest hit. The film completed 366 days in the theatres and broke all the records of his previous collections.
Later, these records were broken by his other film, Kilukkam (1991), released in 1991. Kilukkam starred Mohanlal, Revathi, and Jagathy Sreekumar in lead roles. Priyadarshan's next three releases - Abhimanyu (1991), Advaitham (1991), and Thenmavin Kombath (1994) were also commercially successful and ran for 100 days in the theatres.
Priyadarshan actively worked in the Malayalam film industry for almost two decades (the 1980s and 1990s). After this, he took a short break from Malayalam cinema. He then started focusing on Hindi cinema. He worked as a director and screenwriter in Hindi cinema for nearly a decade.
Priyadarshan debuted in Hindi cinema with Muskurahat (1992), a remake of his film Kilukkam. While the movie didn't perform well at the box office, he made a comeback with the action-crime film Gardish (1993), starring Jackie Shroff. The film was a massive hit, earning two Filmfare Awards for Best Action and Best Art Direction.
In 2000, Priyadarshan directed the comedy movie Hera Pheri (2000) starring Akshay Kumar, Suniel Shetty, and Paresh Rawal. The movie is an Indian cult classic and is considered one of the best comedy films in the history of Hindi cinema. Priyadarshan's career in Bollywood took off after Hera Pheri (2000), and he went on to direct comedy blockbusters such as Hungama (2003), Garam Masala (2005), and Phir Hera Pheri (2006).
In 2021, he directed the period drama Marakkar: Lion of the Arabian Sea (2021), set in the 16th century. The film, starring Mohanlal, earned Priyadarshan the National Film Award for Best Feature Film.
Priyadarshan has been awarded several state and national awards for his work in Hindi and Malayalam cinema. He won the Filmfare Award for Best Film (Critics) for Virasat (1997) in 1997 and the Filmfare Award for Best Director in 2009 for his movie Kanchivaram (2008). In addition to his cinema accolades, the then President of India also awarded Priyadarshan a Padma Shri in 2012 for his contribution to Indian cinema.- Director
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By no means is he any glamorous director, yet Hrishikesh Mukherjee is one of the most popular and beloved filmmakers in Indian cinema. His magic lay not in the glamor or largeness so often associated with cinema, but in its simplicity and warmth.
He began his career in Bombay, 1951, as an editor and assistant director to Bimal Roy, another great director himself. His first directorial venture, Musafir (1957), centering on an old house where three unrelated stories dealing with birth, marriage and death occur in a series, was a disaster. But director Raj Kapoor was impressed and strongly recommended Hrishida as director for Anari (1959). Starring Kapoor himself and Nutan, the film was a critical and commercial success.
His next film, Anuradha (1960), about an idealistic doctor who neglects his wife to focus on his work, got him the President's Medal Award. But from then on throughout the 1960s decade, none of Hrishida films were particularly distinguishable, barring Asli-Naqli (1962), a Muslim melodrama; Anupama (1966), which was based on a true incident; Aashirwad (1968), a family drama; and Satyakam (1969), about an idealist seeing his dreams crumble after Indian independence.
Then Hrishida made what is considered his masterpiece - Anand (1971). This classic film gave a complex but compassionate look at the balance between hope, fear, life and death and saw Rajesh Khanna's greatest performance as a terminally ill man who wishes to live life to the full before he dies. It was an auspicious beginning to the 1970s, for that time proved to be an exceptionally good time for Hrishida as he gave the public excellent films like Guddi (1971), a semi-satiric look at the film industry and generally considered as Jaya Bhaduri's debut film; Abhimaan (1973), the Bachchans' greatest ever performance together; and Chupke Chupke (1975), a comedy about a newlywed professor's joke on his pompous brother-in-law. These films gave an extremely skilled and detailed look at the middle-class mentality.
Few people understood human nature as well as Hrishida - in all his films he examined their aspects, particularly their failings and foibles and the outworn values people always seem to hold on to. However in the 1980s, the advent of the superstar Amitabh Bachchan and of larger-than-life films saw Hrishida's brand of filmmaking die out. Recently he attempted a comeback with _Jhooth Bole Kauwa Kaate (1999)_, but sadly it was a futile effort as the film was a commercial and critical failure. However, the magic of his films still lingers after three decades, and he will be best remembered for his film Anand (1971), which told that people who die but remain in heart and mind do not die, but become immortal. No one justifies this truth more than Hrishida.- Producer
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Sanjay Leela Bhansali is among the most celebrated Film Makers of the Bollywood. Having worked with the biggest stars of Indian Film Industry, Bhansali is the most sought-for director of the Bollywood. He started his career as an assistant director to Vidhu Vinod Chopra. If one has to name his 'niche' genre, it would definitely be Mega-Musicals. From Devdas to Bajirao Mastani, Hum Dil De Chuke Sanam to Saawariya, love of cinema and music, proclaims through every movie he writes or direct.
His 1999 Romantic-Drama, Hum Dil De Chuke Sanam, starring heartthrob duo Salman-Aishwarya became one of the most critically cherished movies of the Genre. Amitabh Bachan, starrer Black was equally appreciated by the critics. But he made his presence felt with 2002 adaptation of the Hindi literary masterpiece, Devdas, for a silver-screen experience. He received a nomination for Best Foreign Film at BAFTA for the movie.
Devdas has become a name synonymous with a passionate, intense love that does not find consummation. This similar theme has been repeated numerous time in the literary work. And one of them is Romeo & Juliet. He translated this classic tale into Indian Folk Idiom.- Director
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Bimal Roy (July 12, 1909 - January 8, 1966) was an Indian film director. He is particularly noted for his realistic and socialistic films such as Do Bigha Zamin (1953), Bandini (1963), Biraj Bahu (1954), Madhumati (1958) which he employed to portray realism. He won a number of awards throughout his career, including eleven Filmfare Awards, two National Film Awards, and the International Prize of the Cannes Film Festival. Madhumati won 9 Filmfare Awards in 1958, a record held for 37 years.- Producer
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Rakeysh Omprakash Mehra is a director, writer and producer who established Rakeysh Omprakash Mehra Pictures (Romp) in India. Romp has cultivated in them an attitude to pioneer the way for the new wave and new age cinema from India, by identifying talent (writers & directors) from India and telling Indian stories to the world.
Rakeysh has written, produced and directed the film Rang de Basanti (Color of Sacrifice) (2006), with an ensemble of Indian and International cast. Rang De Basanti won 4 National Awards (President's Medals), was India's official entry to the Oscars 2006- 2007 It was also nominated by British Academy of Film and Television Arts (BAFTA) in the Best Foreign language film category 06-07.
Rakeysh went onto make Delhi -6 (2009) which is set against the backdrop of the caste and religious divide of the Indian social fabric. Delhi -6 has achieved tremendous critical acclaim and was an official selection at the prestigious Venice Film Festival . It won two National Awards (President Of India Medals). The Variety has termed it as un-bollywood , and "a step forward from Rang De Basanti , ushering an era of new age Indian cinema."
In 2011, Rakeysh's documentary film Bollywood: The Greatest Love Story (which was co-directed by Jeffery Zimbalist) was an official selection at the Cannes 2011 to celebrate 100 years of Indian Cinema. It is a docu feature, an avantgarde take on how Indian cinema has reflected the changing socio-political landscape since India got independence from the British Raj.
His film Bhaag Milkha Bhaag (2013) was set in the backdrop of when India gained freedom from the British in 1947, and the bloody ethnic violence that led to the massacre of thousands and the displacement of millions. This story is about the triumph of the undying human spirit, based on the life of the greatest Indian Olympian Milkha Singh , also known as "The flying Sikh". The film made a clean sweep at all the popular film awards in India, including two National Film Awards (President of India Medals).
Mirzya - (2016) which is a contemporary take on the legend of Mirza-Sahiban, a tragic love story told as a musical spectacle premiered at the London Film Festival. It was showcased at Chicago Film Festival , Busan Film Festival etc.
He has recently finished his latest project named 'Mere Pyaarey Prime Minister' which is under post production and due to release Summer of 2018. It is the story of an 8 year old boy's desire to build a toilet for his mother.
Rakeysh is also producing the under production film 'Fanney Khan', starring Anil Kapoor, Aishwarya Rai Bachchan and Rajkumar Rao. It is also expected to release by Summer of 2018.- Actor
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Raj Kapoor was the son of well-known Indian actor Prithviraj Kapoor, who acted both in film and on stage. After apprenticing in the Bollywood production studios of the 1940's, at 24 years of age Raj Kapoor produced, directed and acted in Aag (1948), with his new company, RK Films. His next production, Barsaat (1949), was a smash hit. In 1951, he also produced, directed and starred in Awaara (1951), which was another megahit, and costarred Nargis, who had appeared in Aag and Barsaat. Awaara also gained popular acclaim in Russia, where the movie and songs were dubbed into Russian. The theme song, Awaara Hoon, was popular in the East for many years. Kapoor has been dubbed "a great showman," and a filmmaker in the purest Romantic tradition, as he strove to entertain as well as address social themes close to his heart. Awaara dealt with the question of what forms an individual's moral grounding, ("nurture or nature") while incorporating comedy and stirring love scenes; in Shree 420 (1955) he addressed issues of poverty, unemployment and national pride in the new Indian state at the same time maintaining the audience's interest in the romantic plot. While never revolutionary in tone, many of his films explore the ability of the individual to overcome economic and environmental injustice while maintaining his/her innocence and integrity. He is quoted as believing that the individual's struggles ultimately lead to the desire for love, to care and be cared for. This is consistent with his admiration of Charles Chaplin, and Kapoor's own "tramp" (Awaara, Shree 420, Mera Naam Joker (1970) is modeled somewhat on his mentor, though with a definite individual flair.
His films demonstrate an understanding of music and direction that continue to influence Bollywood filmmaking today. Also a musician, his understanding of the musical feel of his movies gives them a storytelling fluidity equal to that of the best American movie musicals. He surrounded himself with the foremost talents in filmmaking, acting, writing (Kwaja Ahmad Abbas'), music composition (Jaikishan Dayabhai Panchal, 'Shankarsinh Raguwanshi'), and playback singers, including Mukesh, 'Mohamed Rafi', and Lata Mangeshkar. Kapoor continued to make films of varying critical and popular success up until his death in 1988, and apparently considered Mera Naam Joker his personal favorite. He is still a well-known name not only in India, but in the Middle East, SE Asia, and Eastern Europe. His descendants have attempted to continue the RK Films banner.- Director
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- Actor
Mehboob Khan was born on 9 September 1907 in Bilimora, Baroda, Bombay Presidency, British India. He was a director and producer, known for Mother India (1957), Son of India (1962) and The Savage Princess (1952). He was married to Sardar Akhtar. He died on 28 May 1964 in Bombay, Maharashtra, India.- Writer
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- Music Department
Kamal Amrohi was born on 17 January 1918 in Amroha, United Provinces of Agra and Oudh, British India. He was a writer and director, known for Pakeezah (1972), Mahal (1949) and Daaera (1953). He was married to Meena Kumari. He died on 11 February 1993 in Bombay, Maharashtra, India.- Director
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Shyam Benegal was born on 14 December 1934 in Tirumalagiri, Hyderabad State, British India. He is a director and producer, known for Ankur: The Seedling (1974), Bhumika (1977) and Trikal (Past, Present, Future) (1985). He is married to Nira Benegal.- Music Department
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- Director
Gulzar is a writer, a lyricist, a director and, at heart, a poet. His films, sensitive, lyrical, and yet successful, were a welcome relief from the violent films that filled the 1970s and 1980s.
Born Sampooran Singh Kalra in Deena, in the Jhelum District in what is now Pakistan, he came to Delhi after the partition during independence as a poet. He joined Bimal Roy Productions in 1961 and got his first break as a lyricist writing for Bimal Roy's Bandini (1963). The success of this film made him Bimalda's full-time assistant and got him writing for films by acclaimed directors like Hrishikesh Mukherjee and Asit Kumar Sen. Some of the films he has written include Anand (1971), Guddi (1971), Bawarchi (1972), and Namak Haraam (1973) for Mukherjee; and Do Dooni Char (1968), Khamoshi (1969), and Safar (1970) for Sen.
Gulzar made his directorial debut with Mere Apne (1971). Based on Tapan Sinha's "Apanjan," the film looks at an old woman (played by Meena Kumari) caught between two street gangs of unemployed and frustrated youths. He then went on to make Parichay (1972) (loosely based on The Sound of Music (1965)) and Koshish (1972), which gave a superb look at the trials of a deaf and dumb couple (played by Jaya Bachchan and Sanjeev Kumar). From this film came a mutually beneficial partnership with Kumar, which resulted in fine films like The Season (1975), Angoor (1982)Namkeen (1982), and the classic film Aandhi (1975), which had been banned for a while. However, Gulzar didn't always depend on Sanjeev Kumar: the stars of the time, such as Jeetendra, Vinod Khanna, and Hema Malini, worked with him in unglamorous roles and gave some of their best and introspective performances in films like Achanak (1973), Khushboo (1975), and Kinara (1977).
Musically, Gulzar was unbeatable. Being a lyricist and collaborating with film composers, he always had a high quality of music in his films, especially with Rahul Dev Burman. And while Burman became a pop icon with his tunes from Procession of Memories (1973) and Hum Kisise Kum Naheen (1977), he also gave Gulzar classic pieces with which to work in Khushboo (1975) and Permission (1987).
Sadly, the 1980s and 1990s saw a decline in Gulzar the director, and although films such as Lekin... (1990) and Maachis (1996) had their moments, his last film to date, Hu Tu Tu (1999), was a misfire. However, he tried his hand at television with the much acclaimed television film Mirza Ghalib (1988). Made about the poet's life and starring Naseeruddin Shah in the title role, the serial was a landmark in Indian Television. Gulzar has also directed documentaries on Amjad Khan and Pandit Bhimsen Joshi as well as "Shaira," a film based on Meena Kumari. He has also turned his creativity into other channels--he has written screenplays for films like Masoom (1983) and Rudaali (1993), and has written the lyrics for films like Dil Se.. (1998) and Saathiya (2002).- Director
- Producer
- Writer
Asif was born Asif Karim in Etawah, Uttar Pradesh to Parents Dr. Fazal Karim and Bibi Ghulam Fatima. He was the youngest of his siblings with Sikander Begum, wife of versatile Actor/Director/Producer Nazir Ahmed Khan being the Eldest and Masood Karim, the first Muslim President of Sindh Club second in line. Asif Karim went to Bombay to his brother-in-law Nazir Ahmed Khan and later took the name K. Asif. He became a Successful director due to his perfectionism in weaving his imagination into an art form and gave birth to Mughal-e-Azam, a legendary film in the Sub-Continental Cinema which needs no introduction. He passed away at very early age- Producer
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One of India's most respected film personalities, Baldev Raj Chopra (better known as B.R. Chopra) has been an architect of what is now known as the golden era of the Bollywood industry. Having converted offbeat stories into immortal classics like Waqt (1965) and Naya Daur (1957), he commands high regard in the world film fraternity.
B.R. Chopra was born in Lahore, 1914, to an accountant in the PWD administration of the British Punjab administration. After graduating, he did his M.A. degree in English Literature from Lahore University. . Having a deep-rooted fascination for films, he switched over from a higher education to film journalism, surprising his family. He began his celluloid career writing and editing film reviews for the Cine Herald journal.
When the partition of India occurred in 1947, B.R. became a victim of communal riots. His house having been burnt down, he migrated to Bombay to live up to his dreams. In 1949, he produced his first film Karwat (1949). Unfortunately, it turned out to be a flop. In 1951, he tried again as the producer and director of the film Afsana (1951) and hit gold. His movie, a tale of mistaken identity with Ashok Kumar in a double role, was a runaway hit and went on to celebrate its silver jubilee.
Encouraged by this success, B.R. formed his production company, B.R. Films, in 1955, and started off on a roll with the release of Ek-Hi-Rasta (1956), a drama about widow remarriage. He churned out a string of successful films, the most notable being Naya Daur (1957), Sadhna (1958), Kanoon (1960), Gumrah (1963) and Hamraaz (1967). He also gave his younger brother, Yash Chopra, his first directorial opportunity with the box-office hit Dhool Ka Phool (1959) and in the subsequent years Yash made four more films for B.R., including Waqt (1965) and Ittefaq (1969).
B.R. has always endeavored to make socially relevant films, which at the same time try to cater to popular sentiment. For instance, Naya Daur (1957) told the story of a traditional rural community threatened with modernism and mechanism; B.R. perceives mechanism as evil and has the protagonist, a horse carriage rider, defeat an automobile in a race! B.R. has also made films that were regarded as ahead of their time - Kanoon (1960) was a courtroom drama without any songs at all (music being essential of all Hindi films, this was a novel technique); _Gumrah (1963)_qv told the tale of a woman resuming her affair after marriage; and Ittefaq (1969) showed the heroine as a murderess of her own husband!
B.R. continued to make films into the 1970s and 1980s, and met success with Insaf Ka Tarazu (1980), focusing on the issue of rape, and Nikaah (1982), a Muslim love triangle. His son Ravi did try to keep the banner going but none of the films did well except for Aaj Ki Awaz (1984), another courtroom tale, and the family epic Baghban (2003). However, B.R. Films turned to television in 1985 and made several successful television programs, the most successful of the being the serial Mahabharat (1988), based on the Hindu epic. Perhaps the most popular serial in the history of Indian cinema, it entered the Guinness Book of World Records by registering 96% world viewer ship. In 1999, B.R. was awarded the Dadasaheb Phalke Award for his contribution to Indian Cinema.
It was another triumph for the movie mogul...