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New directors walked away with the honours in 2010 by introducing fresh ideas and new themes with a blend of reality and entertainment in Bollywood.
While multistarrers like Kites, Mani Ratnam's Ravaan, Sanjay Leela Bhansali directed Guzaarish, and Ashutosh Gowarikar's Khelein Hum Jee Jaan Sey sank without trace at the box office, first timers like Abhishek Chaubey, Abhinav Kashyap, Anusha Rizvi, Abhishek Sharma and Vikramadiya Motwane brought refreshing stories onscreen.
Chaubey, who has worked with Vishal Bhardwarj, introduced Vidya Balan as a vengeful village belle in Ishqiya, who is not only well-versed with expletives but also knows how to shoot and manipulate. The combination of Gulzar-Bhardwaj ensured that the film also won top honours in music with its soul-stirring tracks like Dil To Bachcha Hai Ji and Raina.
The rustic setting of 'Ishqiya' set the trend of rural stories throughout the year. The North-Indian setting, long ignored by Bollywood in favour of modern multiplex and NRI audience, turned out to be a win-win formula at the boxoffice.
Debutante Abhinav Kashyap has become one of the most in demand directors in the industry after his Salman Khan starrer Dabangg.
Kashyap took Salman Khan's macho image and remodelled it according to the sensibilities of the larger audience. Salman is perfect as immoral Chulbul Pandey, who despite having a good heart, is not very adept in emotional department, has no qualms in taking bribe or drinking in police station and loves to beat his enemies to pulp.
This new formula worked well for both single screen and multiplex audience and Munni badnaam hui became the selling point of the movie.
While Kashyap mixed masala with reality, journalist turned-director Anusha Rizvi took a different path.
No less on humour, Rizvi's satirical take on the shallow empathy of politicians and media towards farmers in Peepli Live, raised many questions by its realistic portrayal.
Film's Mehgai dayan track mocking the rising prices became an instant hit with public.
Produced and cleverly marketed by Aamir Khan, the film, made on a shoe-string budget, not only brought in moolah but also became India's official entry for the Oscars next year.
If rural India was the flavour of season, contemporary issues like economic meltdown, great American dream and the struggle of a middle-class school teacher also found voice in the movies by debutante directors.
Abhishek Sharma, an NSD graduate, took world's most fearsome man, Osama Bin Laden, and weaved a comedy around him in his small-budget wonder Tere Bin Laden. The film had deep political undertones by criticising the American approach on war on terror and the South Asian obsession with the great American dream.
Set in Pakistan, the Bollywood movie had Pakistani singer Ali Zafar playing an America lover TV journalist, whose dream to make it big in the US fails after his plans of introducing a fake Laden backfires.
The year's surprise hit Phas Gaye Obama and Do Dooni Chaar, also by new directors Subhash Kapoor and Habib Faisal, tackled cotemporary issues like inflation and the economic meltdown in a humorous way.
Motwane's film Udaan, a heartwarming, coming of age story of a boy, was appreciated for its novel approach. Though the film did not do very well at the box office, it was appreciated by critics and also represented India at the Cannes film festival.
Punit Malhotra too tasted success with his Imran Khan-Sonam Kapoor starrer Bollywood farce I Hate Luv Storys. Though the film was trashed badly for its lack of originality.
The year also saw promising debuts by Amit Rai Road to Sangam, Sudipto Chattopadhyaya Pankh, Sanjay Puran Singh Chauhan's kick boxing drama Lahore, Vijay Lalwani's psychological thriller Karthik Calling Karthik, Faruk Kabir of Allah Kay Banday, Parmeet Sethi's Badmaash Company.
While multistarrers like Kites, Mani Ratnam's Ravaan, Sanjay Leela Bhansali directed Guzaarish, and Ashutosh Gowarikar's Khelein Hum Jee Jaan Sey sank without trace at the box office, first timers like Abhishek Chaubey, Abhinav Kashyap, Anusha Rizvi, Abhishek Sharma and Vikramadiya Motwane brought refreshing stories onscreen.
Chaubey, who has worked with Vishal Bhardwarj, introduced Vidya Balan as a vengeful village belle in Ishqiya, who is not only well-versed with expletives but also knows how to shoot and manipulate. The combination of Gulzar-Bhardwaj ensured that the film also won top honours in music with its soul-stirring tracks like Dil To Bachcha Hai Ji and Raina.
The rustic setting of 'Ishqiya' set the trend of rural stories throughout the year. The North-Indian setting, long ignored by Bollywood in favour of modern multiplex and NRI audience, turned out to be a win-win formula at the boxoffice.
Debutante Abhinav Kashyap has become one of the most in demand directors in the industry after his Salman Khan starrer Dabangg.
Kashyap took Salman Khan's macho image and remodelled it according to the sensibilities of the larger audience. Salman is perfect as immoral Chulbul Pandey, who despite having a good heart, is not very adept in emotional department, has no qualms in taking bribe or drinking in police station and loves to beat his enemies to pulp.
This new formula worked well for both single screen and multiplex audience and Munni badnaam hui became the selling point of the movie.
While Kashyap mixed masala with reality, journalist turned-director Anusha Rizvi took a different path.
No less on humour, Rizvi's satirical take on the shallow empathy of politicians and media towards farmers in Peepli Live, raised many questions by its realistic portrayal.
Film's Mehgai dayan track mocking the rising prices became an instant hit with public.
Produced and cleverly marketed by Aamir Khan, the film, made on a shoe-string budget, not only brought in moolah but also became India's official entry for the Oscars next year.
If rural India was the flavour of season, contemporary issues like economic meltdown, great American dream and the struggle of a middle-class school teacher also found voice in the movies by debutante directors.
Abhishek Sharma, an NSD graduate, took world's most fearsome man, Osama Bin Laden, and weaved a comedy around him in his small-budget wonder Tere Bin Laden. The film had deep political undertones by criticising the American approach on war on terror and the South Asian obsession with the great American dream.
Set in Pakistan, the Bollywood movie had Pakistani singer Ali Zafar playing an America lover TV journalist, whose dream to make it big in the US fails after his plans of introducing a fake Laden backfires.
The year's surprise hit Phas Gaye Obama and Do Dooni Chaar, also by new directors Subhash Kapoor and Habib Faisal, tackled cotemporary issues like inflation and the economic meltdown in a humorous way.
Motwane's film Udaan, a heartwarming, coming of age story of a boy, was appreciated for its novel approach. Though the film did not do very well at the box office, it was appreciated by critics and also represented India at the Cannes film festival.
Punit Malhotra too tasted success with his Imran Khan-Sonam Kapoor starrer Bollywood farce I Hate Luv Storys. Though the film was trashed badly for its lack of originality.
The year also saw promising debuts by Amit Rai Road to Sangam, Sudipto Chattopadhyaya Pankh, Sanjay Puran Singh Chauhan's kick boxing drama Lahore, Vijay Lalwani's psychological thriller Karthik Calling Karthik, Faruk Kabir of Allah Kay Banday, Parmeet Sethi's Badmaash Company.
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