By Hindustan Times
1912 Dadasaheb Torne’s Pundalik — first Indian movie released in India at Coronation theatre, Mumbai
1913 The primary full-length movie — Dadasaheb Phalke’s silent film Raja Harishchandra
1917 Dadasaheb Phalke’s
Lanka Dahan — India’s first box-office hit
1920 Ardeshir Irani’s Nala Damayanti — first international co-production (with Italy)
Suchet Singh’s Shakuntala — first Indian film to cast a foreigner (Dorothy Kingdom)
Suchet Singh’s The Cremation of Lokmanya Tilak — the primary optical newsreel
1925 Baburao Painter’s Savkari Pash — the primary try to provide realistic treatment to the tale of a peasant exploited by moneylenders
Fatma Begum — first woman director-producer
1931 Mohan Dayaram Bhavnani’s Lafanga Langoor — first animation film
Ardeshir Irani’s Alam Ara — first Indian talkie film. This was a breakthrough in Indian cinema because earlier, the British had tried marketing their films here, and this was the primary successful Indian attempt on talkies or a movie with synchronised sound
1932 This phase also saw the start of the now established ‘Bollywood musical’. Madan Theatre’s Indrasabha, with over 70 songs, holds the sector record for essentially the most choice of songs in any musical
1933 J L Freer-Hunt’s Karma — first film to be made entirely in English
1934 Bombay Talkies was arrange. The primary public limited film company — it introduced a Western-par level of technical standard with regards to soundstages, editing rooms, and preview theatres
Jayant Desai’s Toofan Mail — first major success within the stunt film genre
Devika Rani, Bombay Talkies’ most successful actor, was the primary Bollywood ‘Diva’. A cultural icon, and member of National Academy of Dance, she was the primary actor to win the Dadasaheb Phalke award
1935 Nitin Bose’s Dhoop Chaon —introduced playback singing.
P C Barua’s Devdas — was not melodramatic with theatricality of discussion and acting, but brought the Bengali sensibility of understated tragedy. Though it was Bengali film, it was highly successful inside the country, proving that there has been a marketplace for an alternate form of cinema
1937 Kisan Kanya by Ardeshir Irani — first colour film. He continued to create milestones by introducing the primary colour film, and filmmakers in South India rapidly followed suit.
1943 Gyan Mukherjee’s Kismet — first thriller to be released in India. This film also saw the patriotic fervour among Indians, and the lyricist of the song, Door Hato O Duniya Walo needed to go underground, and the Brit tried their best to prohibit the film
1946 Chetan Anand’s Neecha Nagar — first Indian film to win Grand Prix at Cannes. This started the ‘new wave’ in Indian cinema
The putting in place of the Indian People’s Theatre Association (ITPA), an art movement which pioneered ‘realism’ in Indian cinema, that mainly focussed on Bengali films, but in addition produced Hindi films equivalent to Mehboob Khan’s Mother India and Guru Dutt’s Pyaasa
Mother India — first Indian film to be nominated on the Academy Awards (1957). Guru Dutt’s Pyaasa credited with intensifying the ‘Indian realistic’
cinema
Bimal Roy’s Do Bigha Zameen, first Indian film to win a world award (on the Cannes Film Festival)
1954 Sohrab Modi’s Mirza Ghalib — first hindi film to win a countrywide Award for Best Film
Dilip Kumar (The Tragedy King) rose to fame with films reminiscent of Deedar (1951) and Devdas (1955). Kumar holds the Guinness World Record for having won the utmost selection of awards by an
Indian actor
The Era of the Showman: The 1950s also saw the upward push of legendary actor, Raj Kapoor, the Showman. Shree 420 was his first film that got critical praise. His delivered several hits thereafter, over the following two decades
Emergence of Satyajit Ray — films just like the Apu Trilogy (1956) came into prominence. He was this kind of great visionary that filmmaker Steven Spielberg’s E.T is recommended to was inspired from his script Alien (which was never made). In his 1955 film Pather Panchali, Ray developed his unique type of lyrical realism in films
Rise of the bevy of Bollywood Beauties — still known for his or her classical beauty in addition to their meaningful contributidirectly to Indian Cinema. Madhubala, Nargis, Meena Kumari
Deccan Dreams — South Indian actors make it big in Bollywood. Trend started with Vyjanthimala, went on to include Waheeda Rahman, Hema Malini, Rekha, and Sridevi
V Shantaram delivered entertainers including Jhanak Jhanak Payal Baaje (1955), and Do Aankhen Barah Haath (1957). He was so talented that even Charlie Chaplin praised him for his Marathi film Manoos
1958 Satyen Bose’s Chalti Ka Naam Gaadi saw actors Ashok Kumar, Anoop Kumar and singer-actor Kishore woo the audience
1959 Guru Dutt’s Kaagaz ke Phool — first Indian Cinemascope film
1960 K Asif’s Mughal-E-Azam — first large-scale movie when it comes to cinematography and art direction. This also kick-started the rage of romantic movies
Emergence of the Superstar — Rajesh Khanna with films comparable to Raaz (1967), Ittefaq (1969) and Aradhana (1969). He was the primary superstar of Indian cinema, hugely well-liked by girls. He would get mobbed wherever he’d go. “He needed police protection when he was in public. I had never seen anything like this before,” actor Sharmila Tagore, and Khanna’s co-star in lots of of his films was quoted as saying
Sadhana Shivdasani, the actor, who turned a way icon introducing the perimeter cut that’s still called the ‘Sadhana Cut’
1965 Vijay Anand’s The Guide — considered a masterpiece of Indian Cinema
1967 First appearance of a lady in bikini — Sharmila Tagore in Shakti Samanta’s film, A night in Paris
1969 Asit Sen’s Khamoshi — black and white experimental cinematography by Kamal Bose
Mrinal Sen’s Bhuvan Shome — Amitabh Bachchan’s debut in films, but as a voice narrator. This film also launched the ‘New Cinema’ movement of India
Mani Kaul’s Uski Roti – a key film of the brand new wave genre
The Yahoo Days — Shammi Kapoor ushers in a fresh dose of energy and youthfulness in Indian films
India’s Gregory Peck — Dev Anand spreads his charm at the Indian screen
1972 Conrad Rooks’ Siddhartha starring Shashi Kapoor and Simi Garewal — first film to be banned from distribution as a result of Garewal’s nude scene
Kamal Amrohi’s Pakeezah tells the tale of a tawaif played by actor Meena Kumari
1973 Raj Kapoor’s Bobby first introduced the subjects of sweet sixteen romance and rich-vs-poor, in Bollywood
Angry Young Man — Prakash Mehra’s Zanjeer, which gave Amitabh Bachchan the ‘Angry Young Man’ image that became the hallmark of his career and of popular Bollywood films ever since
1975 Ramesh Sippy’s Sholay — the film with the largest cult status — a formula which was repeated by countless filmmakers
Yash Chopra’s Deewar — a ground-breaking film on the subject of heroine liberation (smoking, drinking), and violence
1976 Shyam Benegal’s Manthan — Indian submission to Oscars under Best Foreign Film. It won the National Award, and rediscovered the genre of socially relevant cinema
Hrishikesh Mukherjee — films similar to Anand (1971) and Abhimaan (1973) won over the audience’s hearts
Yash Chopra — Kabhie Kabhie (1976), Trishul (1978), and Kaala Patthar (1979) became super hits
Smita Patil emerged out as probably the most leading actors of parallel cinema along with her films reminiscent of Bhumika and later, Mirch Masala
1981 The Disco Dancer era of Bappi Lahiri and Mithun Chakraborty. Bappi Lahiri popularised disco music in films similar to Disco Dancer (1982), Namak Halaal (1982), and Sharaabi (1984)
Yash Chopra’s Silsila — considered one of most ‘talked-about’ films that had the famous Holi number Rang Barse ... It was probably the most first films to make use of scenic locales
Muzaffar Ali’s Umrao Jaan starring Rekha won critical acclaim
Govind Nihalani’s Aakrosh won the Golden Peacock for the most productive Film on the International Film Festival of India. His Ardh Satya also won critics’ praises
1982 Mahesh Bhatt’s Arth — brought in a brand new wave of movies with emphasis at the heroine
Bhanu Athaiya — first Indian to win an Oscar for costume direction of Richard Attenborrough’s film, Gandhi
1983 Bapu’s Wo Saat Din that saw Anil Kapoor for the primary time in a lead role
1984 Jijo Punnoose’s Chota Chetan —the country’s first 3D film
1985 Raj Kapoor’s Ram Teri Ganga Maili — changed all of the portrayal of ladies with bold scenes, sensuality, and Mandakini’s famous wet sari
1987 Ketan Mehta’s Mirch Masala
1988 Mira Nair’s Salaam Bombay, and Aamir Khan’s debut Qayamat Se Qayamat Tak
1989 Yash Chopra’s Chandni — one of the crucial successful films of Indian cinema — noted for its music which started a brand new trend altogether
Mani Ratnam, a South Indian filmmaker, introduced new techniques of cinematography, art direction and lighting
1992 Abbas Mustan’s Khiladi – spawned a sequence of masala-fare action movies of Akshay Kumar
Comedy films: Govinda-David Dhawan collaboration –Shola Aur Shabnam (1992), Aankhen (1993), Raja Babu (1994), Coolie Number one. (1995), Saajan Chale Sasural (1996), Hero #1. (1997), Deewana Mastana (1997), Bade Miyan Chote Miyan (1998), Haseena Maan Jaayegi (1999), and Jodi No.1 (2001) left the audience in splits and entertained
The Rise of the Khan Empire — Salman Khan wooed Bollywood with films akin to Saajan (1991), Hum Aapke Hain Koun..! (1994), Karan Arjun (1995), Judwaa (1997), Pyar Kiya To Darna Kya (1998) and Hum Dil De Chuke Sanam (1999) Shah Rukh Khan mesmerised all with Darr (1993), Baazigar (1993), and Kabhi Haan Kabhi Naa (1993)
1995 Aditya Chopra’s Dilwale Dulhania Le Jayenge — longest running Hindi film (16 years)
1996 Deepa Mehta’s film, Fire, induce a flurry of public dialogues around issues equivalent to homosexuality and freedom of speech
1998 Ram Gopal Varma’s Satya showed the dark gangster culture of Mumbai in a practical manner
1999 Subhash Ghai’s Taal — relevant for its beautiful cinematography, music by A R Rehman, characters, and ethereal charm
Sanjay Leela Bhansali’s Hum Dil De Chuke Sanam discovered the acting prowess of Aishwarya Rai
2001 Mira Nair’s Monsoon Wedding got a Golden Globe nomination, and won the Golden Lion on the Venice Film Festival
Advent of young filmmakers comparable to Anurag Kashyap, Imtiaz Ali, Vishal Bhardwaj, and Farhan Akhtar
2003 Dil Chahta Hai changed Bollywood’s perception and depiction of urban sensibilities
Rajkumar Hirani’s Munnabhai MBBS
The Candyfloss Romance era — Kunal Kohli’s Hum Tum (2004), Siddharth Anand’s Salaam Namaste (2005) etc
2006 Omkara, Rang De Basanti, Khosla Ka Ghosla changed the dynamics of Indian cinema, bringing in a fresh approach
2007 Aamir Khan’s directorial debut Taare Zameen Par struck a chord
2008 Neeraj Pandey’s A Wednesday packs in a punch within the face of all individuals who think it’s only the hero’s prerogative to do all of the gallant stuff
n Blurring of Lines between Mainstream and Alternative Cinema with films like Anurag Kashyap’s Dev D (2009), Peepli Live
(2010), Zoya Akhtar’s Zindagi Na Milegi Dobara (2011)
* Coming of Age — 3 Idiots (2009), Turning 30 (2011), The Dirty Picture (2011), Delhi Belly (2011), and more
It’s no small achievement for Indian Cinema to have completed 100 years. I BELIEVE proud to be related to it
Ekta Kapoor,filmmaker
It’s an honour to join this fraternity. I’ve been within the business for 10 years, may it continue to entertain generations
Bipasha Basu, actor
My tribute could be a promise to maintain looking to make content cinema that becomes part of our heritage
Onir, filmmaker
It’s a pride. I'D need to see more cinema, so that it will not only make good money but additionally shape a wise audience
Neetu Chandra, actor
It’s an excellent moment for us. Our journey from silent films to contemporary cinema have been amazing
Madhur Bhandarkar, filmmaker
Cinema has always highlighted the morality of the society. The more youthful generation is now holding the megaphone well
Javed Akhtar, poet-lyricist
Thanks to my father that I BELIEVE like a movie child. Would really like to review the archives to grasp more about our film industry
Tusshar Kapoor, actor
