The film goes out of its way to proclaim the untainted virgin status of its female lead, as Madhu (Parekh) only pretends to be a widow in order to assume a new identity. The film was a runaway hit, best remembered for Khan and Kajol’s sizzling chemistry and Jatin-Lalit’s music. But ‘Bandit Queen’ remains a harrowing depiction of fearful and unforgiving lives in rural Uttar Pradesh. Cast: Rajesh Khanna, Amitabh Bachchan, Johnny Walker. Cast: Amitabh Bachhan, Shashi Kapoor, Kulbhushan Kharbanda. Both films blend high fantasy and action with an almost Shakespearean sense of drama, resulting in a double bill that knows when to rein it in. Dit betekent dat Zalando.nl als webshop is gecertificeerd door de Stichting Certificering Thuiswinkel Waarborg. The brothers head towards an unavoidable face-off. The city is the big, bad villain of the piece – Shambhu migrates to Calcutta in order to earn money and save his land, but he’s sucked deeper into a pit of poverty and depression. Cast: Hrithik Roshan, Aishwarya Rai Bachchan, Sonu Sood. The big sceneAnjali is unaware that one of her students, also named Anjali, is actually Rahul and Tina’s daughter. Nothing else really happens, yet its shameless lavish depiction of every celebration of a perfect north Indian family, and especially their elaborate colourful Hindu wedding rituals, sucked audiences into cinemas again and again. The big sceneRaju’s mother collapses and dies just as he’s about to perform – but the show must go on. Yash Chopra’s most infamous film is based on the alleged real-life affair between Bollywood’s biggest star, Amitabh Bachchan, and the ultimate diva, actress Rekha. ‘Omkara’ is one of Bhardwaj’s three adaptations of Shakespeare for Hindi cinema: 2003’s ‘Maqbool’ interpreted ‘Macbeth’, while 2014’s ‘Haider’ did the same for ‘Hamlet’. These blockbusters play like the Bollywood ‘Black Panther’. Boasting opulent production design, lavish musical set pieces and an orgy of superstars, ‘K3G’ (as the film came to be known) is guilty-pleasure Bollywood at its best. The standard love-triangle template is made exotic by Shankar-Jaikishan’s timeless music and Raj Kapoor’s love for foreign locales. Told in three ‘chapters’, this overlong film is awash with iffy symbolism about the meaning of life, exhibits a questionable attitude towards women and is burdened with a mother-fixation subplot. In this popular comedy, a nonsensical plot about a botched kidnapping and phone calls going to the wrong number is balanced by some fine acting from lead actors Kumar, Shetty and Rawal. This 1961 drama helped to set the template for what would become a Bollywood staple: stories of brothers on opposite sides of the law. Will a bandit’s son always end up a criminal? After spending eight years at a boarding school, 16-year-old Rohan (Barmecha) is expelled and returns home to Jamshedpur to discover that his father has remarried and been widowed a second time in his absence. The big sceneThe film’s extended climax, during which all the characters fight over a bag of diamonds in a warehouse, boasts immense repeat value. The big sceneWhen the top screen villain of the time Prem Chopra makes a cameo as himself. But there’s no denying that Bhansali conjures up gorgeous worlds. The two discover the dead body and fight to ensure that it doesn’t end up in the hands of a motley group – the killer, his competitor, his two associates and a journalist, all of whom have vested interests in the case. Along the way, this coming-of-age comedy addresses ‘ragging’ (initiation rituals), the intense pressure to excel in education, student suicide and the tension between the ambitions of students and their parents. By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. With Richa Chadha, Sanjay Mishra, Vicky Kaushal, Pankaj Tripathi. It’s three hours of decadence, with loose gems, fast women and a hero on the run. The big sceneA poor farmer explains the difficulties faced by him because of the oppressive nature of the people he deals with, which moves Bhargav to tears. The big sceneThe film’s final sequence: a young boy throws a brick at the landlord’s house, suggesting that the unfair social order may soon change, even violently. Amitabh Bachchan plays sullen loner Vijay, a disgraced naval officer who abandoned a sinking ship; Shashi Kapoor is clean-cut engineer Ravi; and Shatrugan Sinha is escaped convict Mangal. The big sceneThe now-famous Irrfan Khan pops up briefly as a professional letter writer. Cast: Guru Dutt, Madhubala, Johnny Walker. ‘It’s all about loving your parents,’ screamed the trailer for ‘Kabhi Khushi Kabhie Gham…’, a film that piled on the mush in true Karan Johar (‘My Name is Khan’) style. Cast: Amitabh Bachchan, Akshay Kumar, Ajay Devgn. Shyam Benegal’s directorial debut introduces Shabana Azmi (‘India’s Meryl Streep’) as Laxmi, the servant-wife of a deaf and dumb untouchable potter. College sweethearts Amit (Bachchan) and Pooja (Gulzar) separate when Pooja announces that her parents have arranged her marriage to Vijay (Kapoor). Cast: Emran Hashmi, Kangana Ranaut, Shiney Ahuja. Pooja (Azmi) finds the bubble of her happy marriage starting to burst when she discovers that her filmmaker husband, Inder (Kharbanda), is having an affair with Kavita (Patil). Cast: Shah Rukh Khan, Deepika Padukone, Arjun Rampal. It's why, to help us find our top 100 films, we asked a bunch of Bollywood experts and Time Out writers to whittle them down. The big sceneAfter the big song ‘Balam Pichkari’, Bunny’s friends discover a letter congratulating him for landing a job in America. Like the ‘Wakanda forever!’ salute in ‘Black Panther’, ‘Baahubali’ will always be associated with the chant ‘Jai Mahishmathi’. Simran (Ranaut) meets Akash (Hashmi) in an Indian restaurant in Seoul, and they fall in love. As an adult, Vijay’s path crosses the gangster responsible, Teja (Ajit), and the stage is set for a final showdown. Sat on a park bench, Rahul asks Rohan questions about things they had talked about when Rohan was just a kid. Inspired by the Hollywood weepie ‘No Man of Her Own’ (1950), Shakti Samanta’s film addresses the still-taboo theme of widows remarrying. When Insia tells her mother that they should flee their abusive home, leaving her young brother, Guddu, behind, and her mother says that Guddu will grow up to be just like his father if they abandon him. 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