There is a less famous dialogue in the Vaastav movie that says “Har cheez ka ek time hota hai dedh futia…!!!”
Meaning that “Everything has to be done when the time is right!!” Well!! The same goes true for some Bollywood movies that were good enough if you see them today but they didn’t do well at the time of their release. If these movies are made in today’s era of OTT & Web series platforms, who knows they might have done well because there is enough room in the present era for Unorthodox subjects, Different way of storytelling, Bold subjects, Freehand on-camera work, Unconventional climax, and the list goes on, you name it!!
Here are 5 Bollywood movies that are good enough and some of them are even counted as classics today but they were a failure at the time of their release because they were simply ahead of their time!!
Contents of this Article
Silsila is Yash Chopra’s interpretation of connections and infidelity in an advanced 80s India. A heartfelt dramatization, it hushes up, genuine and centered, and is shot perfectly like each and every other film made by Chopra. There were no pointless subplots and the movie didn’t get carried away. The story is easy to follow, the content and the characters are very elegantly composed, and the film is for the most part quietly made. Chopra’s depiction of connections is finished. The exchanges are phenomenal. On occasion a few procedures were hard to identify with or relate to, however who knows, perhaps one ought to be in a specific circumstance to comprehend its significance.
Probable reason for Silsila to be a “Hard to Digest” film in advanced 80s era was social beliefs of that time and lake of similar bold concepts because there was no positive depiction of “Extra Marital” concept, especially in the Indian society.
Productive Hindi movie producer Mukul Anand had projected Amitabh in Agneepath which was delivered in 1990. The film sees a little fellow named Vijay (kid entertainer Master Manjunath), living a straightforward, quiet life in the town Mandwa. His dad Master Dinanath (Alok Nath) is a legit and honest teacher, who has consistently shown his child that the way for genuineness is an extreme and testing highway; a way of fire (strict interpretation of the film title), yet whoever ventures to every part of the Path of Fire, no test would be an impediment for that individual. Expert Dinanath is exceptionally regarded and much adored in Mandwa, as he expects to further develop states of the town bit by bit. However, not every person needs to follow the wiseman’s way to success – Local Landlord Dinkar Rao (Goga Kapoor), sees a chance to make it rich by selling the town Kancha Cheena (Danny Denzongpa) – a rich, eager and heartless medication ruler. Who needs to make the town a port for narcotics,since it doesn’t show up on the Indian guide and is just a stones-discard from Bombay City (presently Mumbai). The lone way they could succeed is by freeing the town of Master Dinanath, in the wake of being outlined for infidelity, Master Dinanath is cruelly pounded into the ground by the residents, and his child Vijay is left as the sole provider for his mom and more youthful sister. Then Vijay chooses the path of violence in order to protect his family and avenge his father and regain the town Mandwa for her mother.
Typically inspired by Hollywood flick Scarface (1983); Agneepath was very well made & won Amitabh his first National Award. However Initially movie faced conflicts as fans didn’t liked the voice of Amitabh for which he himself worked so hard to dub by putting cotton buds on sides of his mouth to narrate in a different ascent. However later on Mukul Anand the director was forced to re-dub the movie with “Original!” voice of Amitabh and then it the fans were able to accept it. The film was very ahead of the times in terms of Violence, Main character being violent and being judged in a different way, Dialogues, Background score and a way different story.
3. SHOOL (1999)
Debutant chief E Nivas valiantly recounts the narrative of a fearless cop and his battle against the framework for equity. However the man-against-the-framework story has been abused in Indian film, ‘Shool’ has a coarseness and genuineness that makes that establishes the vibe separated. The film doesn’t simply show the fight however it digs into the brain science of the hero and his inward contentions. The watcher can truly associate with Samar Pratap Singh and his better half Manjiri. Shot in cleaned out green-colored tones and the utilization of the unstable camera and with the absence of exaggerated sets, ‘Shool’ looks exceptionally crude and genuine. The savagery, however intriguing, suggests exceptionally severe and realistic mental pictures. The exhibitions are great. Manoj Bajpai nails the part. The person appears to have been composed for him and a lesser entertainer might have handily made an exaggeration out of this, yet not Bajpai. He’s essentially amazing in showing even the hardest articulations and this positions among his best works. Sayaji Shinde is extraordinary. Despite the fact that his peculiarities are equivalent to different characters he’s played, they consummately suit Yadav’s character. Raveena Tandon plays the job of Manjiri.
Sadly Shool did not do well commercially but gained lot of good critics attention. Experts wrote; lake of lot of good songs and lake of light moments (comic) may have made this movie “Heavy” for the audience. Re looking at it one may also think it was presented to the point without needless distractions. It might have done well in current era where genre separation is more clearer.
Mohandas Karamchand Gandhi is a venerated figure in India. He is one who is nearly raised to the situation with GOD by many. Movies like Richard Attenborough’s “Gandhi” have celebrated this figure over and over and as it should be. Nonetheless, this is just one side of the story. What Kamal Haasan appears on the other side “Experimental! Smash” is that Gandhi is a piece of history and history can’t be changed and should be told as it was. Gandhi was not the “wonder” that he is accepted to be intended for everybody! There were various individuals who went against him and his arrangements. In spite of a significant part of the contention behind this film, “Experiment” doesn’t downplay Gandhi, nor does it fault him. Truth be told, the principle character, Saket Ram (Kamal Haasan in a force to be reckoned with performance)learns to see the value in Gandhi before the finish of the excursion. The mark of the film isn’t that he figures out how to see the value in Gandhi notwithstanding being picked as his likely professional killer, yet rather the manner in which he makes his excursion to that point. This excursion is so amazingly and imaginatively coordinated by Kamal Haasan that one can’t resist the opportunity to pause for a minute and be staggered at what this virtuoso is able to do. What Haasan has made with “Experiment with Truth” isn’t just an epic film however maybe the greatest projecting upset of the decade with entertainers like Nasseeruddin Shah (who makes a preferable Gandhi over Ben Kingsley), Om Puri, Shahrukh Khan, Rani Mukherji, Girish Karnad and numerous other conspicuous names of the Indian Film Industry. The cinematography is essentially splendid and Renu Saluja’s altering is a masterpiece. Ilayaraja’s music is an exceptionally emotive score that viably mixes western instrumental plans with customary carnatic sounds.
Sadly this epic movie falls in same “Ahead of its time” category. May be it was the truly “off-the stream” topic or Too much length or Too much violence or lake of good music or mix of all that; that made this “Experiment with the truth” to fail. But it is still a one of a kind classic.
Fascinating, yet imperfect film about the (mis)adventures of a innocent Ram Saran in the enormous, terrible, frantic universe of Bombay. he is become a close acquaintence with by a couple of odd characters, additionally attempting to make their fortunes in the city (in their own particular manner). likewise he is stricken by a wonderful, beguiling lady who is a maturing television/film scriptwriter. How he gets further a lot into difficulty, and how his (hopeful) dreams are broken, are the same old thing for film buffs. yet, the film has some pleasant minutes sprinkled all through, and the tone is quite often sensible. additionally the acting is acceptable, however Manoj Bajpai superfluously puts on a big show at certain spots. in any case, this is desirable over the normal Indian potboiler. one hot dance number adds flavor to the procedures. by the manner in which the title signifies “don’t acknowledge it, amigo”, so I surmise u don’t need to go over the top with the film.
Dil pe mat le yaar may seem ordinary at first look, but the unfolding of story, and twists in performances at unfolding and an unexpected climax makes it a good to watch movie although it didn’t do well in numbers.