Little by little, with the arrival in the second half of the 1980s of innovative directors, the “masala” films were endowed with more elaborate scenarios, proposing innovative themes. These new films, like Nayakan by Mani Ratnam and Ijaazat by Gulzar, both released in 1987, or Parinda by VidhuVinod Chopra, released in 1989, benefit from a Western-style realization, which gradually makes the Indian public more demanding. The biggest success of 1992 is a Tamil film by Mani Ratnam, dubbed in Hindi: Roja . His main subjects deal with terrorism and the thorny problem of Kashmir, with a woman as the main character. This film is a real shock in Bollywood, where we gradually realize that a colossal success at the box office is no longer necessarily linked to the traditional and recurring “clichés” of popular musical films. At the new-movies123.com you can find the best choices now.
Other films of a new genre continue to see the light of day.
Rangeela, released in 1995, and Satya , released in 1998, inaugurate an aggressive, dark and realistic style, which gradually becomes the hallmark of Ram GopalVarma’s cinematography. The latter deliberately breaking with traditional Bollywood productions, makes films influenced by both Asian cinema (Hong Kong, Korea) and American cinema. We owe him in particular Company in 2002, Fantômes, biggest success of 2003, and Sarkar in 2005. This cinematographic evolution does not stop accentuating with the incessant arrival of young talented directors like, for example, FarhanAktar, who, in 2001, offers the very successful DilChathaHai, or Rohan Sippy (son of Ramesh Sippy), whose film Bluffmaster, endowed with a clever script, became one of the successes of 2006.
A cinema reflecting the changes in Indian society
Since the 1990s, India has experienced very strong economic growth, which is reflected in the gradual emergence of a young and urban “western-style” middle class, whose purchasing power is constantly increasing. Accompanying this development, the films thus deal with new subjects: Saathiya, released in 2002 and based on a script by Mani Ratnam, perfectly illustrates this change. While marriage was often the culmination of traditional Indian romantic films, it becomes here the pretext to address the difficulties of the life of a young modern and urban couple. Admittedly, songs still play an important role, but the themes of the film are treated realistically, far from the “naivety” of the great colorful and shimmering musicals of Bollywood. Finally, this striking development in Indian films is accompanied by a professionalization of an opaque sector (allowing the laundering of dirty money), in particular thanks to the entry into the running of large distribution and production groups such as Reliance.
Faced with these evolutions, the biggest producers and directors of “classic” Bollywood decide to react in their turn and to release films likely to attract new niche audiences and especially young spectators more and more numerous. Yash Chopra, among others, produced Dhoom released in 2004, modern and effective action film which he wishes to make a franchise: it will be a huge success. In 2005, Sanjay LeelaBansali, eagerly awaited after his sublime and very musical Devdas, released in 2003, took everyone on the wrong foot by making a film acclaimed by all the critics of Indian cinema: Black. It’s a two-hour film, without any song, but with an original staging and a flawless script largely inspired by Miracle in Alabama (Arthur Penn, 1962) which is magnified by the masterful interpretation of the great actor Amitabh Bachchan. This film was a unanimous success in India, both with critics and the public.