Top Indian Films of All Time

A ‘Top/Best Indian Films of all time” list is a very tough order for me due to the sheer quantity of quality titles to choose from. This is because the selection of titles consist of a diverse set of criteria, ranging from multiple languages (such as Bengali, Hindi, Tamil to name a few) to production types (Bollywood, Parallel Cinema) to various regional industries. It is extremely hard to leave out many worthy films from directors I cherish.

Top 20 Indian titles ranked roughly in order of preference:

1. Apur Sansar (The World of Apu, 1959, Satyajit Ray)
2. Uski Roti (Our Daily Bread, 1970, Mani Kaul)
3. Amma Ariyan (Report to Mother, 1986, John Abraham)
4. Pather Panchali (1955, Satyajit Ray)
5. Pyaasa (1957, Guru Dutt)
6. Meghe Dhaka Tara (The Cloud-Capped Star, 1960, Ritwik Ghatak)
7. Sholay (1975, Ramesh Sippy)
8. Ankur (1974, Shyam Benegal)
9. Mahanagar (The Big City, 1963, Satyajit Ray)
10. Om Dar-B-Dar (1988, Kamal Swaroop)
11. Black Friday (2004, Anurag Kashyap)
12. Ek Din Pratidin (And Quiet Rolls the Dawn, 1979, Mrinal Sen)
13. Awaara (The Vagabond, 1951, Raj Kapoor)
14. Titas Ekti Nodir Naam (A River Called Titas, 1973, Ritwik Ghatak)
15. Kaagaz ke Phool (Paper Flowers, 1959, Guru Dutt)
16. Garm Hava (Hot Winds, 1974, M.S. Sathyu)
17. Ek Ghar (Mane, 1991, Girish Kasaravalli)
18. Dharavi (1992, Sudhir Mishra)
19. Mr. and Mrs. Iyer (2002, Aparna Sen)
20. Party (1984, Govind Nihalani)

It wasn't my intention to split the titles across the decades but this is what the top 20 looks as per the decades:

1950s: 5
1960s: 2
1970s: 6
1980s: 3
1990s: 2
2000s: 2

Seeing the most number of titles from the 1970s isn't a surprise as that decade marked the growth of Parallel Cinema in Hindi language films and ushered in many auteurs such as Mani Kaul. In addition, the 1970s marked the fictional film debut of Shyam Benegal.

10 Honourable mentions (in alphabetical order):

Many of these films were comfortably placed in the top 20 but after multiple iterations of making the list, they ended up getting knocked out.

Anand (1971, Hrishikesh Mukherjee)
Aparajito (1956, Satyajit Ray)
Charulata (1964, Satyajit Ray)
Chauthi Koot (The Fourth Direction, 2015, Gurvinder Singh)
Chhoti Se Baat (1976, Basu Chatterjee)
Elippathayam (Rat-Trap, 1982, Adoor Gopalakrishnan)
The Great Indian Kitchen (2021, Jeo Baby)
Maachis (Matchsticks, 1996, Gulzar)
Nayakan (1987, Mani Ratnam)
A Night of Knowing Nothing (2021, Payal Kapadia)

Update to Decades list after top 30:
1950s: 6
1960s: 3
1970s: 8
1980s: 5
1990s: 3
2000s: 2
2010s: 1
2020s: 2

NFDC's Cinemas of India

One of the most significant DVD releases in the last few years has been NFDC’s (National Film Development Corporation of India) issue of three Mani Kaul films under the “Cinemas of India” label. The package includes Kaul’s brilliant debut film Uski Roti (His Bread) along with Duvidha and Nazar. The release was a landmark because until that point Kaul’s films were either unavailable or available only as scratchy prints with poor sound. Mani Kaul is one of the most significant Indian directors yet his name is absent in the Western world. Even worse, most in India have not heard about him or if they know his name, they have not seen his films. Therefore, a brand new release would certainly help raise awareness in India and hopefully around the world. 

It is even more delightful to learn that NFDC didn’t stop with re-issuing Mani Kaul’s films and have continued to release many excellent films from India’s famous “parallel cinema” or arthouse phase from the 1980’s to early 1990’s. The prints are cleaned up with better sound allowing one to enjoy the films in their glory.

Film preservation in India has long been neglected with stories of many 35 mm prints in unhealthy shape. However, this NFDC label is a step in the right direction and some of this work also has led to theatrical release of few older films. A lot of these films can be seen online for a small fee, $1.99 for a single film or $7.99 for a monthly subscription. This “Cinemas of India” will enable cinephiles to discover some excellent Indian films or revisit works they had long seen on uneven VHS prints.

My first foray has led to me to revisit some precious works and finally view films I had only heard about, such as Kamal Swaroop’s cult classic Om Dar-Ba-Dar. Here are the first few films I have seen under this label and I plan to view many more over upcoming months:

Om Dar-Ba-Dar (1988, Kamal Swaroop)

Dharavi (1992, Sudhir Mishra)

Party (1984, Govind Nihalani)

Ek Ghar (One House, 1991, Girish Kasaravalli)

Aranyak (1994, A.K Bir)

Godam (Warehouse, 1983, Dilip Chitre)

Om Dar-Ba-Dar

The film gives the illusion of a linear story yet manages to incorporate dreams and stream of consciousness seamlessly within its structure. The end result is a dizzying film that is ahead of its time and still does not have an equivalent in Indian cinema. Kamal Swaroop made this film in 1988 and the rest of Indian cinema has still not come to terms with it. Although, one can see others paying tribute in their own way. Anurag Kashyap managed to use a song from Om Dar-Ba-Dar as a reference for the “Emotional Atyachar” song in Dev D. It is not surprising to know that this film has a cult status in India and I had only heard about this film for years. Now, I am glad to have finally seen it. Although, I immediately revisited it after finishing the film to absorb as much as possible. Another revisit will happen in the upcoming months.

Meanwhile, JAFB has an incredible review worth reading.

Dharavi

Sudhir Mishra is one of the most underrated Indian directors out there and his name is hardly known outside of India, despite making three of the best Indian films in the last two decades. Dharavi, Is Raat Ki Subah Nahin (This Night has no Morning) and Hazaaron Khwaishein Aisi (A Thousand Wishes Like This) are essential films which incorporate social and political commentary on state of things. Is Raat Ki Subah Nahin unfolds over the course of a single night after a young man is chased by a bunch of gangsters. The film is shot in a verite style with little of the melodrama that plagues most Bollywood films. It is gripping and features honestly crafted characters with memorable dialogues. One such dialogue exchange happens after the gangsters find themselves in a middle class household. The gangsters hold power in the form of guns but one of the gangster remarks to another that despite their power, they will never attain the respect that middle class residents have. A simple dialogue but one that underlines the social economic hierarchy that most gangsters find themselves in. Such hierarchy and honesty about gangster life was further explored by Ram Gopal Varma in Satya (1998) and subsequently became a key feature in Bollywood gangster films from 1998 onwards. But Sudhir Mishra had beaten Ram Gopal Varma to the punch yet no one mentions Mishra’s name when talking about contemporary Bollywood gangster films.

Similarly, Dharavi is the only movie about slums worth talking about. It is a masterpiece that shows hardships faced by slum residents and also their dreams for a better life. In his brilliant book, Arrival City, Doug Saunders looked at the dynamic nature of slums and described that the word ‘arrival city’ better served to describe these spots. The book showed how these locations were not static but places where people arrived to get a foothold in a vast city before leaping for a better future. In that regard, Dharavi embodies the characteristics that Saunders talks about in his book. In the film, Rajkaran (Om Puri, brilliant as always) drives a taxi while living in a Dharavi shack but dreams of owing his own business and moving to a concrete house. Staying in Dharavi is only a temporary state for him as he is constantly working hard to save money. He eventually gets to start his business but through a series of events, he loses it all and is forced to start over again. As the film shows, such setbacks are not new for him yet he is constantly hopeful for the future. His fantasies about Madhuri Dixit and alcohol give him sustenance to endure the bitter pill of reality. Rajkaran may be stuck in a perpetual state of transition in an arrival city but his dreams, fueled by his taxi trips around the city, help provide him a virtual home across Bombay.

Party

I used to believe I had seen all of Govind Nihalani’s essential films but somehow his 1984 film Party fell through the cracks. I had not previously heard or read about this film which is why this NFDC release is critical. Party is a masterpiece which is as relevant today as when it was released three decades ago. The film’s title has a double meaning, with the title referring to the party where majority of the film takes place and also to the political camps that the guests in the party find themselves in. The guests in the party feature writers, poets, actors, journalists, artists, activists and wealthy urban class. As a result, there are many fiery dialogues and the film is not shy to dive into political banter related to the different ideologies that various guests hold. Most guests are urban residents and have no idea about the political struggle going on in the rural areas. In a way, this film can also be seen as the precursor to the Naxalite struggle that Nihalani elaborated in his incredible 1998 film, Hazaar Chaurasi Ki Maa (Mother of 1084). This is one of those rare Indian films where the dialogues are not wasted but instead lead to many thought provoking ideas.

Ek Ghar (A House)

I remember seeing this film when I was younger but the beautiful irony and Kafkaesque nature of the plot went over my head. A young couple (Naseeruddin Shah, Deepti Naval, both excellent) move to the city and finally find the house of their dreams. But shortly afterwards, they find their lives disturbed by various noises, such as that of the creaking bed, and then by mysterious men who move across in an abandoned warehouse across the street. The husband wants the men to stop their noisy construction work and his attempts lead him down Kafkaesque territory of Indian bureaucracy. When all fails, the husband turns inwards and questions what he really wants. It turns out that he desires both a quiet village life and the comforts of a big city. These two things are a contradiction which explains why the husband finds himself in a state of anxiety and unhappiness despite being in a comfortable state compared to those around him. Once again, a film that is relevant to modern Indian life.

The Art of the Informer

informer

1. a person who informs against another, esp. for money or other reward.
2. a person who informs or communicates information or news; informant.

spy

1. a person employed by a government to obtain secret information or intelligence about another, usually hostile, country, esp. with reference to military or naval affairs.
2. a person who keeps close and secret watch on the actions and words of another or others.
3. a person who seeks to obtain confidential information about the activities, plans, methods, etc., of an organization or person, esp. one who is employed for this purpose by a competitor: an industrial spy.

Informers and Spies are old as human civilization. For whenever a great power (be it a nation or an empire) existed, there were people who utilized informers or spies to find ways to bring down that power. While the terms spy and informer are used interchangeably quite often, there is a subtle difference between a spy and an informer. A spy might employ multiple informers at any given time but an informer is always alone on the lowest rung of the intelligence ladder. One can call an informer the tiny particle that quietly resides in the nucleus of an organization, quietly observing the dance of the electrons and those other highly charged particles. An informer gathers whatever valuable piece of information they can and then has to find a way to relay that information to others on the outside. Now this is not to say that a spy cannot become an informer. From time to time, a spy would have to go undercover on their own and embed themselves within an organization and act as an informer. In fact, some spies might even have graduated from the level of an informer. Another difference between the two would be related to the transmission of information. The informer provides concrete information, something that they have heard or seen. Whereas, spies also engage in the game of misinformation whereby they circulate some lies from time to time to either cause a reaction or to even fish out the truth. The spread of misinformation also has the danger of a "blowback" when the misinformation results in reactions that have dangerous consequences. For example, Steve Coll's book Ghost Wars hints at how misinformation might have contributed to some of the mess that resulted in the Russian occupation of Afghanistan, a mess that is still to be sorted out.

Through the years, films have been packed with plenty of worthy examples of informers. Titles such as Govind Nihalani's Drohkaal, Mike Newell's Donnie Brasco, Wai-keung Lau & Alan Mak's Infernal Affairs remade by Martin Scorsese as The Departed come to mind. In Drohkaal and Donnie Brasco, police get an informer to break through a terrorist cell and a mafia gang respectively as those are the common settings found in most informer films. But the genius of Infernal affairs was that it simultaneously showed informers existing both in the police world and the mafia gang, thus resulting in a brilliant calculated game of chess. In a way, Infernal Affairs took the complicated world of international espionage and adapted it to the street level of informers.

As different as all these above films were, they all had one thing in common -- the informer was a tough man able to withstand the rigors of living with the enemy. On the other hand, Mani Shankar has done something very unique with Mukhbiir in that his informer character is a 19 year old lad. The young age of the informer gives the film a very different complexion and gives flexibility to his character in three areas:

Innocence: Since the informer (Kailash played by Sammir Dattani) is quite young, one can believe the look of innocence on his face. In fact, it is this innocence that allows the informer to warm up to a gang leader in Hyderabad and to win the leader's sister's lustful affection. At times Kailash appears to be a little child at heart and his playful nature allows him to befriend a young boy thus easing the path to a critical victory in the end -- the young boy is in charge of a fax machine in a nearby store and Kailash comes up with a very believable agreement with the boy to fax key secrets to the police.

Lack of history: The fact that Kailash is an orphan plays a key role in him looking up to his police officer boss (Rathod played by Om Puri) as a father figure. This relationship establishes a feeling of warmth and mutual trust and is crucial to the story's development. Although, at times one gets a sense that Rathod is using Kailash for his own needs but Rathod's wife, who treats Kailash like a son, ensures that Rathod promises to lookout for the boy. Also, since Kailash has no real history of any relationships, he can easily move from one city to another.

Lack of Self: This is the most important aspect of Kailash's young age. The fact that he has not seen enough of life or truly discovered his identity ensures that he can easily live in any environment. At the film's start, we find Kailash living in North East India and he eventually moves to Hyderabad before being positioned to the underworld circle in Mumbai. Kailash is able to easily slip into another's identity and is quite comfortable no matter where he has to stay. In the film's third assignment in Mumbai, Kailash has to covert to Islam. Quite remarkably, he is able to convert without any difficulty and gives himself fully over to his new religion. This is proved useful in a key scene where he is drugged unknowingly and put through a lie detector test. Any other person might have blurted the truth out but since Kailash believes completely in his new identity, he passes the test with flying colours.

Overall, Mukhbiir is a real surprize discovery. In fact, just like the character of Kailash, the film appears to have slipped under the radar. Mani Shankar has shown some promise in his earlier films, especially in 16 December, but this time he gets it completely right by properly giving the time to develop his character and even the situations that Kailash lands himself in. There are plenty of relevant details shown on how information can be transmitted or the degree to which Kailash has to risk his life. A perfect example of the level of detail shown in the film occurs at the film's start where Kailash drops a sketch of a terrorist from the travelling bus. Rathod picks up the sketch, takes a picture of it using his cell phone and emails the picture to the police headquarters where they are able to run a match against their database to confirm the identity of the terrorist. The entire sequence takes less than a few minutes and considering that every minute counts for Kailash's safety, it is interesting to see the chain of command that allows such decisions to be made.

As good as the film is, it is not without flaws, especially considering the events that lead to the film's resolution. But this is a minor complain given the strength of everything else on display. And in one aspect, this film is a close kin of Govind Nihalani's Drohkaal given how the informer is left to fend for himself when others around him are killed.

Rating: 9/10