Anil Sinanan

As he told David Letterman in 2019, Shah Rukh Khan boasts 3.5 billion fans aross includes his home land, the wider Indian diaspora and even Greece, Switzerland, and Egypt. Three point five BILLION. Such is the extraordinary levels of fame attained by India’s most famous actor and his only-slightly-less-famous acting peers in the country’s film industry. Hollywood stars can only dream of those numbers. But who sits alongside Khan at the top of that very big, very lush tree? There are a whole host to choose from, including OGs like Mammootty, Mohanlal, Chiranjeevi, Nagarjuna and Hrithik Roshan, and a new generation of rising stars like Dulquer Salmaan, Fahadh Faasil, Prabhas and Vijay Devarakonda. Picking a top ten is no easy task. Here are our picks. 

We need to talk about Bollywood. Not as a source of magnificently uplifting movies with great songs and flamboyant costumes – that’s a given – but as a term. For the purposes of this list we’re using it as a catch-all for the full multitude of Indian film industries. This, we know, will upset purists who’ll point out – correctly – that it should only be used to refer to the Hindi film industry based in Mumbai. But rightly or wrongly, the term has come to represent Indian cinema more broadly – taking in everything from the Telugu-language films of Hyderabad to the very un-Bollywood work of Kolkata great Satyajit Ray. It’s an imperfect framework to examine a complex, multilingual film culture, but it’s a great way to introduce a tonne of worthy movies to dive into. Which brings us to our next dilemma, because choosing a definitive ‘best-of’ list is an impossible task. Our top 100 is a bulging, wildly varied collection of our favourites: there are rom-coms like Jab We Met, canonical ‘curry westerns’ like Sholay, eternal romantic touchstones like Dilwale Dulhania Le Jayenge, modern classics like Swades and Barfi!, and art-house staples like Ardh Satya and Ankur. Between them all, they’re proof that Bollywood is both more than, and the epitome of, song-and-dance cinema. And whether you’re looking for musicals, action, comedy or romance, there’s something here for you. RECOMMENDED: 🇮🇳 The 11 best Bollywood songs🔥 The 100 best movies of all time🎌 The 50 best foreign language fi

Bollywood’s most controversial release in years (its story allegedly ‘disrespects’ Hindu culture) is a straightforward opulent period drama. Based on the legend of Padmavati, a perhaps fictional thirteenth-century high-caste Indian Hindu ‘Rajput’ queen mentioned in the revered poem of the film’s title, it follows the attempts of madcap Muslim conqueror Alauddin Khilji (Ranveer Singh) to seize control of the territory of King Ratan Singh (Shahid Kapoor) and capture Queen Padmavati (Deepika Padukone). Rather than subject herself to such a humiliating defeat, the feisty queen decides on a fiery plan of action to keep her honour intact. Director Sanjay Leela Bhansali (who dedicates the entire confection to his late dog) presides over a lavish fantasy that ticks all the expected boxes: gorgeous leads, fabulous costumes, lavish dance sequences and lots of CGI. It does not disappoint in this respect: camp excess dominates every single frame with gay abandon. The ethereal Padukone exudes an effortless dignity that the often barely-clad Kapoor and Singh struggle to match. Protestors, who didn’t wait to see the film to start firing off death threats to the superstar actress, will hopefully realise it was all a storm in a chai-cup. For everyone else, it’s an enjoyable ‘Game of Thrones’-stye epic given a Bollywood spin and some seductive (though frustratingly, only partially subtitled) songs.

Bollywood’s attempt at a serious wartime romance is something of an ambitious misfire. Set in pre-independence India against the backdrop of the Second World War and Gandhi’s nonviolence movement, this is essentially a doomed love story. At the request of General Harding (Richard McCabe), married film director Rusi (Saif Ali Khan) sends his fearless swashbuckling heroine and mistress Julia (Kangana Ranault) to entertain the ‘British’ troops comprised mainly of Indian officers at the Indo-Burmese border. Her assigned bodyguard is Nawab (Shahid Kapur), a secret member of the Indian National Army who believes that violence is the key to the end of colonialism. When Japanese troops ambush them, Nawab and Julia escape into the jungle where passions ignite. Will Julia dump Rusi for Nawab or will they always have Burma? Director Vishal Bhardwaj, best known for his trilogy of Bollywood Shakespeare adaptations ‘Maqbool’, ‘Omkara’ and ‘Haider’, wants to say that life is about being true to yourself, your cause and ultimately your country. But this lengthy film never really follows that mantra. The result feels like two different films struggling to achieve two separate goals. Some violent set-action pieces and dance sequences are truly spectacular – Bhardwaj doubles as the music director with an effective background score. The performances are adequate, with the three beautiful leads enhancing what must be the best looking film of 2017 so far.

Former A-list Canadian-Indian porn star Sunny Leone, now a Bollywood starlet, sizzles with Shah Rukh Khan in this throwback to vintage vigilante Hindi blockbusters. Set in Gujarat, a ‘dry’ Indian State since prohibition was introduced in 1960, this lengthy film charts the rise of Raees (Khan), a Muslim kid who grows up to become the chief bootlegger and king mobster in the State of Gandhi’s birth. Predictably, there’s a no-nonsense honest cop (Nawazuddin Siddiqui) in hot pursuit, but he’s constantly foiled by our charming villain. Khan continues his quest to become a proper badass action superstar, and largely succeeds. With his pumped up bod, mascara-lined eyes and confident swagger, the actor gets to kick, shoot and run over rooftops. Director Rahul Dholakia stops short of portraying Raees as a ruthless murderer – probably hindered by the immense star power of Khan, whose fans may not accept their ultimate romantic hero as a serious baddie. Instead, Raees is shown as a Robin Hood figure who cooks a mean curry for his pretty wife Aasiya (Mahira Khan) and sings love songs to her before heading out to brutally knock off his opponents. The result is a slick and enjoyable but largely unremarkable masala flick, though it does feature an unashamedly confident and realistic portrayal of ordinary Muslim lives – still a rare thing in a mainstream Bollywood movie.

Bollywood’s big Diwali release examines love and friendship among the beautiful and super-rich elite in urban India. Fans of Hindi cinema’s biggest director Karan Johar’s candyfloss melodramas will not be disappointed. We know what to expect: exotic locations (London, Paris, Vienna), catchy tunes, big emotions, flowery dialogue, fabulous costumes and, of course, a ‘sometimes happy, sometimes sad’ climax. Uptight Ayan (Ranbir Kapoor) falls for carefree Alizeh (Anushka Sharma) when they meet in a London bar and sing a couple of cheesy ’80s Bollywood tracks. Alas, Ayan’s love is unrequited: Alizeh still has the hots for her ex Ali (Fawad Khan). Ayan then starts a torrid affair with divorcee Saba (Aishwarya Rai Bachchan), who teaches him that friendship may be more important that love. Johar yet again addresses the emotional dilemmas of his characters with a laughter-and-tears approach. He is aided by his four attractive leads, all seasoned performers in the genre, and who have sparkling chemistry. Non-Bollywood fans may not care about these private-jet-owning characters, and the film’s obsessive referencing of old Hindi potboilers may alienate. An unexpected twist towards the end may further infuriate some viewers, but its intended audience will love it and gleefully cry into their tissues.

Bollywood’s latest attempt at more realistic cinema is this drama inspired by the infamous OJ Simpson-like Nanavati murder case that gripped India in 1959 with a spicy mix of extramarital sex, politics and murder. Rustom Pavri (Akshay Kumar) is an upright naval officer who discovers that his wife Cynthia (Ileana D’Cruz), who was raised in London, is having an affair. He shoots dead her lover Vikram (Arjan Bajwa), a millionaire Casanova and promptly surrenders to the police. At the subsequent trial, a sympathetic jury declares him innocent. Director Dharmendra Suresh Desai focuses on the court proceedings and successfully portrays the influential role the Indian tabloid press played in real life whipping up populist support for the ‘wronged husband’. The court scenes pack a punch but much of this film comes across as an unintentional comedy packed with witty one-liners. It also fails to delve deeper into why the actual case was so significant, ignoring the fact that it was directly responsible for the abolishment of jury trials in India. Kumar is in serious mode and brings a certain dignity to his one-dimensional character. Frustratingly, an unconvincing subplot is concocted in order to justify Cynthia’s cheating. Anyone interested in knowing more about the ‘three shots that shook the nation’ is advised to turn instead to Indian author Gyan Prakash’s compelling account in his bestselling book ‘Mumbai Fables’. 

Bollywood’s ongoing fascination with a grittier, more realistic type of cinema continues with this film inspired by the real-life story of Sarbjit Singh, an Indian farmer who was convicted for spying and taking part in bomb attacks, and sentenced to death by a Pakistani court in 1991. He claimed he’d accidentally strayed into Pakistan from his village on the border with India.  In the film we see Sarbjit (Randeep Hooda) drunkenly stagger across the then unmarked border from his nearby Punjabi village after a night of booze. The bulk of the film follows the enduring efforts of his sister Dalbir (Aishwarya Rai-Bachchan) to clear his name and free him from prison. Her struggle would last 23 years.    There is much to commend in this gripping one-woman-against-the-system drama, especially as it is played out against the backdrop of major events in the turbulent India-Pakistan historical relationship. But it suffers from an inability to break completely free from the shackles of the ‘formula’. Many scenes seem contrived to make this yet another star-vehicle for its lead actress, with no concession to her somewhat limited acting range. Rai-Bachchan over-emotes and relies on shouting and wide-eyed expressions to convey anguish. Nine songs feature on the soundtrack and their liberal use disrupts the narrative. Director Omung Kumar is clearly convinced of his man’s innocence, and takes what you might view as an unsubtle, patriotic approach. That said, ‘Sarbjit’ is at times genuinely m

The first release of 2016 from Bollywood’s biggest romantic superstar, Shah Rukh Khan, is a major departure from his recent slide into silly overblown action comedies. This is a psychological thriller about a fan’s irrational obsession with a superstar and the tragic consequences that inevitably follow. Wearing prosthetics, Khan plays Delhi boy Gaurav, whose favourite film hero is Aryan Khanna (Khan again). When Gaurav wins a local talent competition he decides to use the prize money to go to Mumbai to meet his idol. When Khanna refuses to grant him five minutes of his time, Gaurav is enraged and plots to destroy his hero. There is much to commend in this engaging film: it’s all the better for being song-less, the obligatory romantic subplot is minimal and 'Fan' realistically explores the Indian everyman’s fixation with buff ageing male actors. Best of all Khan drops his hammy antics to genuinely get under the skin of the delusional superstar character. There are also several funny in-jokes about what it is really like to be ‘SRK’, Khan’s brand image. Alas, after a successful first-half set-up, director Maneesh Sharma almost derails his propulsive plot when the action shifts to lengthy and potboiler-style chase sequences across London and Croatia. A little more restraint in maintaining the tonal consistency would have resulted in a much darker and satisfying cautionary tale about the perils of fame and blind love.

The first release of 2016 from Bollywood’s biggest romantic superstar, Shah Rukh Khan, is a major departure from his recent slide into silly overblown action comedies. This is a psychological thriller about a fan’s irrational obsession with a superstar and the tragic consequences that inevitably follow. Wearing prosthetics, Khan plays Delhi boy Gaurav, whose favourite film hero is Aryan Khanna (Khan again). When Gaurav wins a local talent competition he decides to use the prize money to go to Mumbai to meet his idol. When Khanna refuses to grant him five minutes of his time, Gaurav is enraged and plots to destroy his hero. There is much to commend in this engaging film: it’s all the better for being song-less, the obligatory romantic subplot is minimal and 'Fan' realistically explores the Indian everyman’s fixation with buff ageing male actors. Best of all Khan drops his hammy antics to genuinely get under the skin of the delusional superstar character. There are also several funny in-jokes about what it is really like to be ‘SRK’, Khan’s brand image. Alas, after a successful first-half set-up, director Maneesh Sharma almost derails his propulsive plot when the action shifts to lengthy and potboiler-style chase sequences across London and Croatia. A little more restraint in maintaining the tonal consistency would have resulted in a much darker and satisfying cautionary tale about the perils of fame and blind love.

Bollywood springs a welcome surprise on us with this taunt thriller largely devoid of the trappings of the ‘masala’ formula. Based on a real-life tragic incident, it’s relatively short (at 121 minutes) and tells the story of Neerja Bhanot (Sonam Kapoor), the head stewardess of Pan Am Flight 73, which was hijacked by a Palestinian terrorist group while on the ground at Karachi airport in September 1986. The pilots evacuated (as per their training, to avoid being coerced to fly), leaving 22 year-old flight attendant Neerja to safeguard 361 passengers on board from the gunmen. The stand-off lasted for over 17 hours during which Neerja was instrumental in helping the majority of passengers escape alive. Neerja herself was not so lucky. Director Ram Madhvani cuts from the action to flashbacks fleshing out Neerja’s relatively happy personal life. With the exception of a song and dance sequence and the characterisation of the lead terrorist, which veers close to standard-issue baddie, it's efficiently and movingly told. Sonam Kapoor, daughter of ‘Slumdog Millionaire’ quizmaster Anil Kapoor, proves at last that she is more than just a pretty star-kid, delivering a career-defining performance as the vulnerable but composed protagonist. Strong support from a veteran cast makes ‘Neerja’ a rewarding and emotional watch. 

Charles Dickens’s ‘Great Expectations’ gets the Bollywood treatment in this handsome adaptation of the classic Victorian novel. The plot is transposed to present day Kashmir, Delhi and London with the dubious addition of some tuneful songs. Working-class kid Noor (Aditya Roy Kapoor) works for the super rich Begum (Tabu), an eccentric opium-smoking bitter spinster. When he meets her adopted daughter Firdaus (Katrina Kaif), he is smitten. Begum sends Firdaus away to London. Years later, and with the help of a mysterious benefactor, Noor is now a successful artist in Delhi. He is reunited with Firdaus who is cold and distant towards him. Director Abhishek Kapoor stays true to the complex plot and the novel’s themes of social alienation and moral redemption are especially resonant to Indian society today. Sadly, he is let down by his two attractive leads who fail to bring the depth required to these tortured souls. Often shirtless, lead man Kapoor is a vacant ‘Pip’. Kaif fares better but is unable to drop her trademark one-note lip-glossed expression. It is veteran actress Tabu in the Miss Haversham role who brings emotional complexity and dignity to the proceedings. Worth seeing but go with low expectations. Nice to see Time Out London featuring in a key scene, even if Poland is outrageously passed off as our capital! 

‘Bollywood’ and ‘realism’ may not go hand in hand, but this is a worthy and largely successful attempt at meaningful commercial Hindi cinema. Based on true events, it follows the privileged life of Ranjit Katyal (Akshay Kumar), a successful Indian businessman living in Kuwait in 1990. When Saddam Hussein’s troops invade the city, hundreds of thousands of Indians living there are trapped. Singlehandedly, Ranjit organises aid for his compatriots and eventually takes charge of what is believed to be the largest civil evacuation in history: about 170,000 people were airlifted from the war-torn area. Director Raja Menon eschews many of the elements of the masala formula. The focus is on the matter-of-fact telling of this fascinating ‘Argo’-like operation and the Oscar Schindler-style redemption of its male protagonist. Kumar, an ageing but firm A-list hero, sheds his hammy antics at last and delivers a solid, natural and heart-warming performance. Nimrat Kaur (‘The Lunchbox’) adds witty support as his feisty wife Amrita. It is rare to see imperfect married life portrayed with such perfection in mainstream Indian cinema. With the exception of what looks like a rushed ‘party song’ and an attempt at enforced patriotism at the climax, this is largely impressive filmmaking. It’s not a perfect film, but its compassion, vigour and restraint undoubtedly lift this above the usual Bollywood escapist fare

After his kid daughter is killed in a shootout in downtown New Delhi, anti-terrorist officer Daanish Ali’s (Farhan Akhtar) life falls apart. His wife Ruhana (Aditi Rao Hydari) blames him for the incident and he contemplates suicide. But a chance meeting with Pandit (Amitabh Bachchan), a much older grieving father, rejuvenates his life. Pandit believes that a government minister murdered his own daughter and that a mysterious killer called Wazir is determined to silence him forever. Daanish decides to find and exterminate the hitman. This relatively short Hindi film is a worthy attempt at a gritty thriller, though it suffers from an inability to free itself totally from the shackles of the Bollywood formula. Director Bejoy Nambiar’s frequent use of flashbacks over explains key plot points and outing the baddie from the outset is a misjudgment. Further, the obligatory songs are distracting. What keeps us watching are commanding and emotive performances from the two male leads. Both Bachchan and Akhtar sustain interest even after the audience guesses the film’s big reveal. Rao Hydari as Daanish's estranged, teary wife is sidelined, as are two Bollywood hunks who have inexplicable short cameos. Despite its limitations, this engaging film is a promising example of Bollywood’s continuing efforts to push the envelope in 2016.