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Thread: India's Biggest Iconic Directors

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    Default India's Biggest Iconic Directors



    Romance, action or thriller - whatever the genre - we list out the most prolific directors of Indian cinema

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    That 70s Show

    Yash Chopra

    Its surprising that in the age of Twitterati and fashion blogs, the e-generation considers the Punjabi-at-heart and old-world wonder Yash Chopra as the master of the trade. Hes the reason why a million Indian couples dream about honeymooning in Switzerland. He sold the ultimate Swiss dream to Indian cinema buffs. Yashji was a Kashmir aficionado but thanks to political circumstances, our own heaven on earth became inaccessible. So the enterprising showman chose the next best thing on the globe. And the big immigration of Indian filmmakers to the Alps began. Why is this piece of film lore important? Because it applauds the vision and enterprise of one of our favourite filmmakers. Chart-topping music, coupled with haute couture adds an enviable commercial value to his cinema. Whether its chiffon sarees from Silsila or designer dresses from Chandni, he knows the value of starting a trend. He might be the king of romance but some of his best efforts include gangster dramas like Deewaar and Trishul. No wonder Yash Chopra is the baap of Indian directors.
    Yashji has directed 21 films in a career spanning five decades. And all those films put together have won an unprecedented total of 46 Filmfare Awards! Its been seven years since he directed a film. But breaking news is that Shah Rukh Khan and Katrina Kaif feature in his comeback film.


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    Reality Bites
    Bimal Roy

    We can list his filmography and rest our case. You wouldnt need any more explanation. But the heart says otherwise. An angst-ridden film critic still asks, Where are the good old days of filmmakers like Bimal Roy? You think black and white, you think Roys brand of cinema. Films like Bandini and Do Bigha Zamin conveyed unaffected emotions with unheard of simplicity. His cinema was so real, it was almost surreal. Stark images that reproduced the darkness of life were a characteristic of Roys films. The master craftsmans legacy lives on through masterpieces like Devdas and Madhumati that make even the best of productions look like film school projects.


    Wherever You Are I'll Find You..Cause You're The One I Turn To
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    Master of melancholy
    Guru Dutt
    It takes eight films to make an iconic director. It takes two classics to make a celebrated visionary. As much as that sounds like breaking the rules, Guru Dutt stands for a new form of Indian cinema. Hed spend countless hours hounding his cinematographer VK Murthy to get the perfect lighting on his transition shots! Pursuit of excellence leads to perfection. That was his mantra. Like a good comedian laughs at himself, a good dramatist uses his personal tragedies to excel in conveying dark emotions. Films like Pyaasa and Kaagaz Ke Phool were a reflection of his own personal battles. Thats why hes one of the best the film industry ever saw. And thats why we never managed to fill the void left behind by this honest filmmaker.

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    Dream Merchant
    Raj Kapoor

    Walt Disney described Charlie Chaplin as a little fellow trying to do the best he could. The same holds true for our own version of the tramp. Raj Kapoor was the short man with giant dreams, whose hero was the common man. He was Howard Hughes, John Ford and Chaplin all rolled into one! He was a man who could sell dreams to insomniacs. He directed 10 films and every single one is considered a classic. He was the showman, our showman. His face would gleam with every success and his heart would sink with every failure. Consumed by the world he lived in, Raj Kapoor breathed cinema. He wasnt afraid of staging ambitious productions like Mera Naam Joker. The film failed upon release but is considered a classic today. The joke is on us. Raj Kapoors classics like Aag, Awaara and Shree 420 are the cornerstone of quality Indian cinema.

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    Lifes Like That

    Hrishikesh Mukherjee
    Watching a Hrishikesh Mukherjee film is like training to see that the glass is always half full. The world is not a grim place. Its a place full of colourful and simple characters with touching stories to tell. This was the world of Hrishikesh Mukherjee. Films like Guddi, Gol Maal and Bawarchi were his version of slice of life, sprinkled with just the right spice and sugar. Ask the million filmmakers waiting to get a break and theyll tell you theyd happily retire if they can make one Anand. Hrishikesh made about 44 more. He gave commercial actors like Dharmendra, Amitabh Bachchan, Rajesh Khanna and Sanjeev Kumar a taste of the critique caviar in films like Satyakam, Abhimaan, Bawarchi and Arjun Pandit respectively. He was the man who could make art look like fun.
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    Lost And Found

    Manmohan Desai
    Inventor extraordinaire. Manmohan Desai is unofficially credited as the pioneer of the lost and found theme in Hindi films. He didnt devise the separation from the family and finding them by chance equation. But he did employ it to the best effect in films like Amar Akbar Anthony. Manmohan Desais brand of cinema was pure commercial entertainment. His films couldnt be called potboilers because they had all the trappings of a well-constructed story. But they did come with a large dose of Indian masala. They taught us the blissful meaning of suspension of disbelief. They made Amitabh Bachchans angry young man an enjoyable epithet. Manmohan Desai was the genius who knew every answer to that dreaded Friday film test.


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    How The West Was Won

    Ramesh Sippy
    Thank you Mr Ramesh Sippy. Your film has given the nation a dream to believe in. Every Friday the audience flocks to the theatre wishing that a film like Sholay comes their way. Every year about a hundred mainstream directors plan films with the expectation of drawing in crowds like Sholay did. The superstars, including Amitabh Bachchan and Dharmendra, wish theyd be offered another role like the ones in Sholay. Sippys film defines the past, the present and the future of our film industry. Its the spine of all that we call entertainment. Its the almanac of good times.


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    Dressed To Thrill

    Vijay Anand
    Vijay Anands phenomenal talents in wielding the megaphone made him deserve the pet name Goldie. He could write dialogue and screenplay, he could direct, he could edit his film and of course find time and inclination to even act in them. While he wasnt Orson Welles, his contribution to Indian cinema wasnt any less. His films were stylish and slick. Films like Guide and Teesri Manzil could very well hold their own against a Hollywood film. Filmmaking techniques and use of colour palates in classics like Kala Bazar, Johny Mera Naam and Jewel Thief was a Goldie Anand trademark. Much of older brother Dev Anands best work came with Goldie in the directors chair.


    Last edited by sheikh; 06-04-2012 at 11:55 AM.
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    The Showman

    Subhash Ghai
    One of the youngest luminaries of Indian cinema, Subhash Ghai’s strength as a filmmaker has always been his music and stories. The best of his films featured memorable music. Choli ke peeche kya hai (Khal-Nayak), One two ka four (Ram Lakhan), Imli ka boota (Saudagar) and Om shanti om (Karz). These are numbers, whose timeless popularity resonates with Ghai’s sense of achievement. Subhash Ghai is a master of entertainment for masses, an ace at pulling strings behind a gossamer curtain. When a story needs to be told with elan and verve, you pick up the phone and call Mr Ghai.



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    ... i like only him.... other's i like movies also... but him.. i like everything abt him...



    awesome thread!
    Quote Originally Posted by sheikh View Post


    Dream Merchant
    Raj Kapoor

    Walt Disney described Charlie Chaplin as a little fellow trying to do the best he could. The same holds true for our own version of the tramp. Raj Kapoor was the short man with giant dreams, whose hero was the common man. He was Howard Hughes, John Ford and Chaplin all rolled into one! He was a man who could sell dreams to insomniacs. He directed 10 films and every single one is considered a classic. He was the showman, our showman. His face would gleam with every success and his heart would sink with every failure. Consumed by the world he lived in, Raj Kapoor breathed cinema. He wasnt afraid of staging ambitious productions like Mera Naam Joker. The film failed upon release but is considered a classic today. The joke is on us. Raj Kapoors classics like Aag, Awaara and Shree 420 are the cornerstone of quality Indian cinema.

    Live amongst people in such a manner that if you die they weep over you and if you are alive they crave for your company.

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