Anmol Ahuja
5. Hari-Bhari
We talk of the end of a decade when everything with Shyam Benegal’s or Shabana Azmi’s name associated with it was by default unanimous with either quality cinema, or groundbreaking, and on a rare occasion, both. ‘Hari Bhari’ is that rare occasion, seeing these two unite for a film that is as essential as it is socially relevant. The film depicts a sad reality prevalent during the time in semi-rural India, of women and their plight, and the mental trauma they had to go through in the name of childbirth and marital duties.
What’s interesting here is that apart from Ghazala’s central story, portrayed by Azmi, there are four other stories of injustice again women in her maternal household, including those of her own mother, that are brought into the light. In the hands of Benegal, the film and the spaces depicted have a very lived in feel to them, that lends them an alluring quality. The story and the proceedings thus seem all the more raw, effective and true-ringing.
4. Bawandar (Sandstorm)
What never fails to amaze me is Nandita Das’ choice of roles that apart from being increasingly diverse and socially responsible, are also exceedingly brave as an effort in the right direction, in times when little other than the song and dance and dramatic chops were rewarded as acting. Apart from being an exceptionally gifted actress, she is also a fairly talented filmmaker, and her performance in this film demands that the film belongs to her. ‘Bawandar’ tells the inspiring story of Bhanwari Devi, who following a brutal gang rape attempt on her, fights for the injustice inflicted upon her and her family in the face of rampant misogyny, social exclusion, trauma and a corrupt bureaucracy. She was allegedly put through these horrors for standing up for her rights and educating the women of her village against child marriage, early pregnancies and women rights.
The film does make your blood boil at certain points, the impact in that sense is unmistakable but leaves you feeling helpless since it ends mirroring the infamous acquittal of the village heads accused of committing the horrific incident. A special mention for Raghuveer Yadav’s performance in the film, who plays Bhanwari’s husband Mohan, although referred to with a different name in the film for legal reasons.
3. Hera Pheri
Still the greatest comedy Bollywood has produced post the Palekar-Mukherjee era of family comedies, ‘Hera Pheri’ remains in the hearts of cinegoers as a pleasantly funny surprise upon its release, and has been voted the best Hindi comedy film of all time in multiple online polls. While I would not go on making a taller claim, I admit to having a hell of a time whenever this movie is cast on the tube even today. The film stars Priyadarshan’s signature trio of Akshay Kumar, Suniel Shetty and Paresh Rawal, and while the former two are consistently funny, Paresh Rawal’s comic timing here is razor sharp, and a few of the scenes starring him are laugh out loud hilarious.
‘Hera Pheri’ is a remake of Malayalam film ‘Ramji Rao Calling’, and owing to its success, has also spawned an awful sequel. However, the film retains the status of a cult classic in Bollywood close to two decades later, and Paresh Rawal’s act as Baburao Apte goes down as one of the finest comedic performances, both in Bollywood and the veteran actor’s career.
2. Dr. Babasaheb Ambedkar
Not many cinematic accounts exist on the life of India’s foremost economist, but this joint production between NFDC and the Maharashtra government more than overcomes that shortage by delivering a comprehensive account on the enigmatic man’s life, shedding more light on his life as a leader and what encouraged him to join politics during his studies abroad and rally to the aid of the Dalits back home, than his personal life. Biopics often struggle with striking a balance between the two, and in the case of this film, where more time is spent highlighting his political career, it just seems to work aptly.
Eventhough the film was primarily made in English, it warranted a spot on this list because it truly is a production of a national nature, meant for a larger audience, and was therefore dubbed in more than nine languages at the time of its release. Mammootty plays the titular role with utmost dedication and that shows on screen, never once letting his stardom get the better of his performance. This is a well-made film that commands the viewer’s attention naturally, and while part of it may be owed to Babasaheb’s national appeal as well, it mostly is the quality of filmmaking here that makes it stick.
1. Hey Ram
It is perhaps ironic that a film released eighteen years ago holds more relevance in the present day than it ever did closer to the years it was ever released. ‘Hey Ram’ is a story about how the common man bears the brink of all that happens in the name of politics, religion, and communalism, especially ringing true in today’s times when India is going through a state of religious and political upheaval amidst growing intolerance. The film, though presenting a highly original, fictitious plot, is sound both in the storytelling departments and the technical departments, especially the rich art direction by Sabu Cyril, easily among the best of the year. It is also one of those rare films where the performances constantly fight for the top spot, without once harming the integrity of the film. All actors, including Kamal Haasan, Shahrukh Khan, Atul Kulkarni, Naseeruddin Shah, Om Puri, Saurabh Shukla, Shubhangi Gokhale, Rani Mukerjee and a host of others are excellent in their respective roles.
‘Hey Ram’ failed to perform at the box office back then because it catered to an audience brainwashed by over two decades of mind-numbing cinema, although, sadly, I feel today the film would struggle to even secure a release. Nonetheless, its artistic brilliance and Kamal Haasan’s vision hasn’t gone unnoticed, and one can only hope that we get to see more of such fantastic cinema in a time when it’s needed most.
Read More: Bollywood Movies 2001
