50 Indian films to see before you die!

While lists on World Cinema and American Cinema and European Cinema abound, I wonder why there are no lists of Indian Cinema. Here is one to begin with. This is in chronological order and includes films made till 1995. I am still working on a list post 1995. 

1.     Neecha Nagar (1946) by Chetan Anand

2.     Dharti Ke Lal (1946) by K.A. Abbas

3.     Dr. Kotnis ki amar Kahani (1946) by V. Shantaram

4.     Kalpana (1948) by Uday Shankar

5.     Do Bigha Zameen (1953) by Bimal Roy

6.     Pather Panchali (1955) by Satyajit Ray

7.     Jaagte Raho (1957) by Shambhu Mitra

8.     Aparajito (1957) by Satyajit Ray

9.     Mother India (1957) by Mehboob Khan

10. Kaagaz ka Phool (1959) by Guru Dutt

11. Mughal e Azam (1960) by K. Asif

12. Charulata (1964) by Satyajit Ray

13. Goopy Gyne Bagha Byne (1968) by Satyajit Ray

14. Bhuvan Shome (1969) by Mrinal Sen

15. Uski Roti (1969) by Mani Kaul

16. Samskara (1970) by Pattabhi Rama Reddy

17. Pakeezah (1971) by Kamal Amrohi

18. Ankur (1973) by Shyam Benegal

19. Sholay (1975) by Ramesh Sippy

20. Ghasiram Kotwal (1976) by Saeed Akhtar Mirza etc (YUKT Coop)

21. Ekdin Pratidin (1976) by Mrinal Sen

22. Aakaler Sandhaney (1980) by Mrinal Sen

23. Chakra (1980) by Ravindra Dharmaraj

24. Bhavni Bhavai (1980) by Ketan Mehta

25. 36 Chowringhee Lane (1981) by Aparna Sen

26. Elipathhayam (1981) by Adoor Gopalakrishnan

27. Ardha Satya (1983) by Govind Nihalani

28. Jaane Do Bhi Yaaron (1983) by Kundan Shah

29. Maya Miriga (1983) by Nirada Mahapatra

30. Damul (1984) by Prakash Jha

31. Mukhamukham (1984) by Adoor Gopalakrishnan

32. Paar (1984) by Gautam Ghosh

33. Chidambaram (1985) by G. Aravindan

34. Bombay, Our City (1985) by Anand Patwardhan

35. Mirch Masala (1985) by Ketan Mehta

36. New Delhi Times (1985) by Ramesh Sharma

37. Klanta Aparanha (1985) by Manmohan Mahapatra

38. Tabarane Kathe (1986) by Girish Kasaravalli

39. Genesis (1986) by Mrinal Sen

40. Anantaram (1987) by Adoor Gopalakrishnan

41. Nayakan (1987) by Mani Ratnam

42. Tamas (1987) by Govind Nihalani (5 hour TV series)

43. Piravi (1988) by Shaji Karun

44. Roja (1992) by Mani Ratnam

45. Bandit Queen (1994) by Shekhar Kapur

46. Hkhgoroloi Bohu Dur (1994) by Jahnu Barua

47. Kadhalan (1994) by S. Shankar

48. Unishe April (1995) by Rituparno Ghosh

49. Dilwale Dulhaniya Le Jayengey (1995) by Aditya Chopra

50. Kathapurusham (1995) by Adoor Gopalakrishnan

Film Appreciation Course at NCPA, Bombay

Here are the outlines of the lectures that I shall deliver at NCPA through the month of August. In case you are interested in attending them, please register directly with NCPA by writing to Kavita Ogale kogale@ncpamumbai.com.

1^st Session: 7^th Aug, Sat, 2pm to 6pm – The Landscape of Cinema

Though certain kinds of cinemas have greater visibility than others, there is a vast diversity in the films made around the world. The general character of Hollywood cinema, ‘Bollywood’ and its relationship with ‘Indian Cinema’ and concepts such as ‘independent’, ‘parallel’, ‘regional’ and ‘world’ cinemas would be understood as stepping-stones for celebrating cinema in relation to the cultures and contexts from which they emerge.

2^nd Session: 8^th Aug, Sun, 2pm to 6pm – Visual Storytelling: Time and Space in Cinema

What is it in cinema that makes it unique from other forms? Is it a language with a certain grammar which we learn innately? Perhaps the better films are those that use this grammar more effectively by telling their stories visually rather than through words. If cinema fragments time and space and then brings them together, how does it manage to give us a coherent vision of an imaginary world seen through the window of the film screen?

3^rd Session: 14^th Aug, Sat, 2pm to 6pm – Evolution of Film Language and the Early Comedies

From its embryonic form in the closing years of the 19^th century, we trace the emergence of cinema through the early 20^th century until it grows into a dominant cultural form, both as art and industry. Some of the great filmmakers of the early years were comedians, many of whom have now been sadly forgotten. Films that we once saw as just hilarious are now perceived as works of great artists who explored and expanded the expressive power of cinema.

4^th Session: 15^th Aug, Sat, 2pm to 6pm – Understanding Story Structure in Films

What makes some stories more compelling than others? What dramatic devices do films often use to give ‘structure’ to a human experience that transforms character? There seem to be some general principles that work for films across cultures and these conventional notions of structure are referred as ‘classical’. However, wherever there are rules, there are exceptions. Is there any specifically ‘Indian’ way of telling stories? How does the Indian popular cinema draw upon the storytelling traditions in India?

5^th Session: 21^st Aug, Sun, 2pm to 6pm – American Cinema: Hollywood and the ‘indie’ film

Though film language was creatively explored in France, it was in USA that the cinema developed into a huge industry as early as 1919. While a few big corporations monopolised filmmaking and developed their own signature styles and dominated the world, the studio system gradually declined and took a different form. In resistance to the studio-system, there developed in America an off-Hollywood independent cinema tradition that subverts the mainstream and yet, it is from this alternative cinema that Hollywood continues to draw its fresh blood.

6^th Session: 22^nd Aug, Sat, 2pm to 6pm – Major European Film Movements

While in USA, cinema was primarily seen as an industry and films as consumer commodities, in Europe it has often been perceived as an art form and an expression of culture and history. Thus films often grew out of vibrant social, political and artistic movements that explored new avenues and deepened cinema’s engagement with the world. These pioneering movements had tremendous impact not only on Hollywood cinema but on cinemas around the world, including India.

7^th Session: 23^rd Aug, Sun, 2pm to 6pm – Mise-en-scène and Film Styles

Mise-en-scène refers to the articulation of cinematic space and defines the style of individual filmmakers. It involves almost everything that goes into the making of a shot: composition, movement of camera and characters, lighting, set design and sound design. Some films drive the story forward with every element in the frame contributing to that end while others invite viewers to pause and reflect on the compositional spaces of the narrative.

8^th Session: 30^th September, Sat, 2pm to 6pm – Concepts of genre and auteur

The idea of genre has defined Hollywood film production to a large extent where films are targeted at specific audiences who have certain expectations. Indian popular cinema, however, addresses its audience differently though it is increasingly embracing the concept. While the supremacy of genre obliges filmmakers to work within certain conventions, master filmmakers (auteurs) manage to transcend them and leave their signatures in terms of style and content on every film they make.

INDRANIL CHAKRAVARTY is Professor of Film Appreciation at Whistling Woods International in Mumbai’s Film City. He graduated in Film Direction from International School of Film & TV(EICTV) in Havana (Cuba) where he studied under the Nobel Laureate, Gabriel García Márquez. He was screenplay consultant for the European Union Cross-Cultural Programme. He has taught screenplay-writing and Film Appreciation at several universities and institutes in India and abroad. His book on Latin American cinema is now a reference text at several universities. He has also published a study of the Indian film industry and several essays in English, Spanish and Bengali. He was Manager of the Osians’ Film Archive and Convenor of the First All-India Screenwriters’ Conference held at FTII, Pune and has been on the jury of film festivals in Brazil, Mexico, Cuba and Spain. He is also the director of a foundation called ILACI (Indo-Latin American Cultural Initiative) which has exclusive collaborative arrangements with UNESCO and IberMedia and is currently producing a documentary series.