Bollywood Iconic Scenes – Over the Years

A movie is more than an experience. It’s a journey. We’ve evolved from watching cinema as a tool of education, and have embraced it to be a primary way of entertainment. Apart from the cast and the story of the film, the essence of an ideal film lies in the way the scenes are executed. Behind every favorite film of a person, there is a particular scene which stays at the back of their mind and they remember each and every detail about it.

Bollywood is full of masterpieces with scenes that define them. There are scenes that make us laugh, make us cry, inspire us, take our breath away and so many other emotions which we go through while watching it. We, at The MovieWala would like to give a glimpse of some of the iconic scenes of Bollywood.

Golmaal (1979):
No! We are not talking about Rohit Shetty’s Golmaal trilogy here. We are discussing late Hrishikesh Mukherjee’s classic 1979 comedy film ‘Golmaal’ starring Amol Palekar and Utpal Dutt. Mukherjee was one of the few directors who had the knack of bringing out comic timing from the actors. This is the famous scene where Palekar says ‘Jiska naam Bhawani Shankar hai woh toh paida hote hi buddah ho jaana chahiye tha’. Bhawani Shankar wants to hire a music teacher for his daughter and Laxman (who is actually Ram) tries his best to create a bad impression in front of Shankar.


Jaane Bhi Do Yaaro (1983)
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Way ahead of its time, this super comedy starring Naseeruddin Shah and Ravi Baswani had more than one scene we could have mentioned here. But the one that takes the cake is the Mahabharata Climax. The climax itself was far ahead from 1983. Imagine releasing something like this in the intolerant 2017.


Saaransh (1984):

Saaransh is regarded as one of the best works of Mahesh Bhatt. The story revolves around an elderly couple whose son has died in a mugging incident in New York. How they come to terms with the death of their son is what forms the crux of the film. Apart from themes of death, old age and longing, Saaransh also deals with corruption, red-tape, politics and crime. Pradhan (Anupam Kher) goes to the customs office where he is shunned by the front desk officers for not bringing some required applications. In a fit of anger, he then rushes into the main office and shouts at them saying that he is not here to collect any television but to take away his son’s ashes! Till date it is hailed as one of the most poignant scenes. Kher was only 28 years old when he played this role and had no prior experience as to how it should be shot and put all his frustrations of his struggling days so as to reach the point of breakdown. The scene was performed in a single take without the use of glycerine.


Ijaazat (1987):

Ijaazat is Gulzaar saab’s best work till date. Apart from talking about feminism and patriarchy, the movie is more about human emotions, interpersonal relationships and how one decision affects another causing major changes in one’s life. Sudha (Rekha) and Mahender (Naseeruddin Shah) meet years after their separation in the waiting room of a railway station. Initially reluctant to even face each other, they gradually start talking to each and start reminiscing about their days together and what lead to their estrangement. The scene is not overly dramatized but a simple conversation taking place between two individuals over a cup of tea. The power of this scene lies in Rekha and Shah’s poignant acting. This scene is a tight slap to all those critics who say that Hindi films lack maturity.


Sarfarosh (1999):

When it released in 1999, Sarfarosh took the audience by storm and was quite a controversial film, as well. With a plot that revolved around cross-border gun trade and Indo-Pak relations, it still manages to keep its viewers hooked and stays relevant, especially in recent times. Naseeruddin Shah is a fine actor nevertheless. But one particular scene in the film, brings forward the cruelty in the soul of his character, like nothing else. Disturbing though it is, this scene sends a chill down our spines everytime we watch it.


Dil Chahta Hai (2001):

DCH was a celebration of friendship Farhan Akhtar style. The story revolves around three friends Akash (Aamir Khan), Sameer (Saif Ali Khan) and Siddharth (Akshay Khanna). The movie is in flashback where Sameer and Siddharth talk about their old days as a trio. This is a scene that defines their friendship. Definite characters can be outlined from this scene. One funny scene this one, though!


Gadar – Ek Prem Katha (2003):

Anil Sharma’s magnum opus starring Sunny Deol and the pretty Amisha was a super duper film. Probably the most watched film in the number of tickets sold. This particular scene needs no introduction; Hindustan Zindabad Tha, Zindabad Hai aur Zindabad Rahega.


Black Friday (2004):

The raw, docudrama feel of Black Friday with the epic screenplay and editing topped with some extraordinary performances by everyone on the cast cannot be described short of   5 / 5 brilliance. Nobody has done justice to the ACTUAL story 1993 the way Anurag Kashyap did it. This particular scene though, is pure class. DCP Maria (Kay Kay) captures Badshah Khan (Aditya Shrivastava) and interrogates him. The famous dialogue ‘Iss Baar Allah Humare Saath Tha’ is from this iconic scene. Look out for super performances of both actors and some great writing.


Black (2005):

Black is a story of a blind & deaf girl, Michelle McNally (Rani Mukherjee) and how she overcomes her difficulties with the help of her teacher, Debraj Sahai (Amitabh Bachchan) who later himself succumbs to Alzheimers. The movie was also remade in Turkey as ‘Benim Dunyam’. Michelle’s aim is to graduate. After a number of attempts, she finally graduates and in her speech dedicates her success to Sahai. Keep your tissue box handy for this one.


Rang De Basanti (2006):

Rakeysh Omprakash Mehra’s Rang De Basanti starring Aamir Khan was based on a film Mehra wanted to make called Young Guns Of India.
This scene is what explains the sociopolitical scenario of our country and how we are up to only cribbing than actually changing something. ‘Koi bhi desh perfect nahin hota, usse perfect banana padta hai.’


Haider (2014):

Haider could have simply been defined as an adaptation of Hamlet but it went on to raise a lot of eyebrows politically and at the same time being lauded for a glorious script and performance. Just like in Shakespeare’s play the grave-diggers played a significant role about the prophecy of oncoming events, the same way in ‘Haider’, Vishal Bhardawaj contemplates about life and death through this sequence of grave-diggers.

With Indian filmmaking entering a new age, all we can hope and believe is to witness scenes of power and brilliance to adorn the screens of our theatres for years to come.


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