Editing Hindi cinema (section)

=== Golden age (late 1940s–1960s) ===
The period from the late 1940s to the early 1960s, after [[Indian independence movement|India's independence]], is regarded by film historians as the Golden Age of Hindi cinema.<ref>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|page=17}}</ref><ref>{{Cite journal|title=Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge|first=Jenny|last=Sharpe|journal=Meridians: Feminism, Race, Transnationalism|volume=6|issue=1|year=2005|pages=58–81 [60 & 75]|doi=10.1353/mer.2005.0032|s2cid=201783566}}</ref><ref>{{Cite journal|first=Sharmistha|last=Gooptu|title=Reviewed work(s): ''The Cinemas of India'' (1896–2000) by Yves Thoraval|journal=[[Economic and Political Weekly]]|volume=37|issue=29|date=July 2002|pages=3023–4}}</ref> Some of the most critically acclaimed Hindi films of all time were produced during this time. Examples include ''[[Pyaasa]]'' (1957) and ''[[Kaagaz Ke Phool]]'' (1959), directed by [[Guru Dutt]] and written by [[Abrar Alvi]]; ''[[Awaara]]'' (1951) and ''[[Shree 420]]'' (1955), directed by [[Raj Kapoor]] and written by [[Khwaja Ahmad Abbas]], and ''[[Aan]]'' (1952), directed by [[Mehboob Khan]] and starring [[Dilip Kumar]]. The films explored social themes, primarily dealing with working-class life in India (particularly urban life) in the first two examples. ''Awaara'' presented the city as both nightmare and dream, and ''Pyaasa'' critiqued the unreality of urban life.<ref name=Gokulsing-18>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|page=18}}</ref>

[[Mehboob Khan]]'s ''[[Mother India]]'' (1957), a remake of his earlier ''[[Aurat (1940 film)|Aurat]]'' (1940), was the first Indian film nominated for the [[Academy Award for Best Foreign Language Film]]; it lost by a single vote.<ref name="Thaindian 1">{{cite web|first=Priyanka |last=Khanna |title=For Bollywood, Oscar is a big yawn again |work=Thaindian News |date=24 February 2008 |url=https://www.thaindian.com/newsportal/entertainment/for-bollywood-oscar-is-a-big-yawn-again_10020729.html |access-date=29 July 2012 |url-status=live |archive-url=https://web.archive.org/web/20120930012303/https://www.thaindian.com/newsportal/entertainment/for-bollywood-oscar-is-a-big-yawn-again_10020729.html |archive-date=30 September 2012 }}</ref> ''Mother India'' defined conventional Hindi cinema for decades.<ref>{{cite news|last=Sridharan |first=Tarini |url=https://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mother-india-not-woman-india/article4131747.ece |title=Mother India, not Woman India |date=25 November 2012 |access-date=5 March 2012 |newspaper=The Hindu |location=Chennai, India |url-status=live |archive-url=https://web.archive.org/web/20130106095550/https://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mother-india-not-woman-india/article4131747.ece |archive-date= 6 January 2013}}</ref><ref>{{cite video|url=https://www.youtube.com/watch?v=wChe8xWDwbo |title=Bollywood Blockbusters: ''Mother India'' (Part 1) |publisher=[[CNN-IBN]] |year=2009 |medium=Documentary |ref={{sfnRef|Bollywood Blockbusters Part 1|2009}} |url-status=live |archive-url=https://web.archive.org/web/20150715143942/https://www.youtube.com/watch?v=wChe8xWDwbo |archive-date=15 July 2015}}</ref><ref>{{cite news|last=Kehr|first=Dave|url=https://movies.nytimes.com/movie/review?res=9C03E5DE153CF930A1575BC0A9649C8B63|title=Mother India (1957). Film in review; 'Mother India'|newspaper=[[The New York Times]]|date=23 August 2002|access-date=7 June 2012}}</ref> It spawned a genre of [[dacoit film]]s, in turn defined by ''[[Gunga Jumna]]'' (1961).<ref name="Teo">{{cite book|last=Teo|first=Stephen|title=Eastern Westerns: Film and Genre Outside and Inside Hollywood|date=2017|publisher=[[Taylor & Francis]]|isbn=978-1-317-59226-6|page=122|url=https://books.google.com/books?id=pi8lDwAAQBAJ&pg=PA122}}</ref> Written and produced by Dilip Kumar, ''Gunga Jumna'' was a dacoit [[crime drama]] about two brothers on opposite sides of the law (a theme which became common in Indian films during the 1970s).<ref name="Ganti">Tejaswini Ganti, [https://books.google.com/books?id=GTEa93azj9EC&pg=PA153 ''Bollywood: A Guidebook to Popular Hindi Cinema'', page 153]</ref> Some of the best-known [[epic film]]s of Hindi cinema were also produced at this time, such as [[K. Asif]]'s ''[[Mughal-e-Azam]]'' (1960).<ref>{{cite web|title=Film Festival – Bombay Melody |publisher=[[University of California, Los Angeles]] |date=17 March 2004 |url=https://www.international.ucla.edu/calendar/showevent.asp?eventid=1618 |access-date=20 May 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090620171328/https://www.international.ucla.edu/calendar/showevent.asp?eventid=1618 |archive-date=20 June 2009 }}</ref> Other acclaimed mainstream Hindi filmmakers during this period included [[Kamal Amrohi]] and [[Vijay Bhatt]].

The three most popular male Indian actors of the 1950s and 1960s were [[Dilip Kumar]], [[Raj Kapoor]], and [[Dev Anand]], each with a unique acting style. Kapoor adopted [[Charlie Chaplin]]'s [[The Tramp|tramp]] persona; Anand modeled himself on suave Hollywood stars like [[Gregory Peck]] and [[Cary Grant]], and Kumar pioneered a form of [[method acting]] which predated Hollywood method actors such as [[Marlon Brando]]. Kumar, who was described as "the ultimate method actor" by [[Satyajit Ray]], inspired future generations of Indian actors. Much like Brando's influence on [[Robert De Niro]] and [[Al Pacino]], Kumar had a similar influence on [[Amitabh Bachchan]], [[Naseeruddin Shah]], [[Shah Rukh Khan]] and [[Nawazuddin Siddiqui]].<ref name="quint">[https://www.thequint.com/entertainment/2015/12/11/before-brando-there-was-dilip-kumar Before Brando, There Was Dilip Kumar], The Quint, 11 December 2015</ref><ref name="hindu-kumar">{{cite news|title=Unmatched innings|url=https://www.thehindu.com/arts/magazine/article597902.ece|newspaper=[[The Hindu]]|date=24 January 2012|access-date=9 January 2015|url-status=dead|archive-url=https://web.archive.org/web/20120208164035/https://www.thehindu.com/arts/magazine/article597902.ece|archive-date=8 February 2012}}</ref> Veteran actresses such as [[Suraiya]], [[Nargis]], [[Sumitra Devi (actress)|Sumitra Devi]], [[Vyjayanthimala]], [[Madhubala]], [[Meena Kumari]], [[Waheeda Rehman]], [[Nutan]], [[Sadhana Shivdasani|Sadhana]] and [[Mala Sinha]] have had their share of influence on Hindi cinema.<ref name="actorsuntil90" />

While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a [[parallel cinema]] movement.<ref name=Gokulsing-18 /> Although the movement (emphasising [[social realism]]) was led by [[Cinema of West Bengal|Bengali cinema]], it also began gaining prominence in Hindi cinema. Early examples of parallel cinema include {{Lang|hi-latn|[[Dharti Ke Lal]]}} (1946), directed by [[Khwaja Ahmad Abbas]] and based on the [[Bengal famine of 1943]],<ref name="Rajadhyaksha">{{cite book|last=Rajadhyaksha|first=Ashish|title=Indian Cinema: A Very Short Introduction|date=2016|publisher=[[Oxford University Press]]|isbn=978-0-19-103477-0|page=61|url=https://books.google.com/books?id=QUq1DAAAQBAJ&pg=PT61}}</ref> {{Lang|hi-latn|[[Neecha Nagar]]}} (1946) directed by [[Chetan Anand (director)|Chetan Anand]] and written by Khwaja Ahmad Abbas,<ref name="Hindu2007">[https://web.archive.org/web/20081016143853/https://www.hindu.com/fr/2007/06/15/stories/2007061551020100.htm Maker of innovative, meaningful movies]. ''[[The Hindu]]'', 15 June 2007</ref> and Bimal Roy's ''[[Do Bigha Zamin]]'' (1953). Their critical acclaim and the latter's commercial success paved the way for Indian [[Neorealism (art)|neorealism]] and the Indian New Wave (synonymous with parallel cinema).<ref>{{cite web|title=Do Bigha Zamin: Seeds of the Indian New Wave |author=Srikanth Srinivasan |publisher=Dear Cinema |date=4 August 2008 |url=https://dearcinema.com/review-do-bigha-zamin-bimal-roy |access-date=3 August 2008 |url-status=dead |archive-url=https://web.archive.org/web/20141129033621/https://dearcinema.com/review/do-bigha-zamin-seeds-of-the-indian-new-wave/3614 |archive-date=29 November 2014 }}</ref> Internationally acclaimed Hindi filmmakers involved in the movement included [[Mani Kaul]], [[Kumar Shahani]], [[Ketan Mehta]], [[Govind Nihalani]], [[Shyam Benegal]], and [[Vijaya Mehta]].<ref name=Gokulsing-18 />

[[File:RajeshKhanna.jpg|thumb|upright=0.85|alt=A smiling Rajesh Khanna|[[Rajesh Khanna]] in 2010. The first Indian actor to be called a "[[superstar]]", he starred in 15 consecutive hit films from 1969 to 1971.]]
After the social-realist film {{Lang|hi-latn|Neecha Nagar}} received the [[Palme d'Or]] at the inaugural [[1946 Cannes Film Festival]],<ref name="Hindu2007" /> Hindi films were frequently in competition for Cannes' top prize during the 1950s and early 1960s and some won major prizes at the festival.<ref name=passionforcinema>{{cite web|title=India and Cannes: A Reluctant Courtship |publisher=Passion For Cinema |year=2008 |url=https://passionforcinema.com/india-and-cannes-a-reluctant-courtship |access-date=20 May 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090620032814/https://passionforcinema.com/india-and-cannes-a-reluctant-courtship/ |archive-date=20 June 2009}}</ref> [[Guru Dutt]], overlooked during his lifetime, received belated international recognition during the 1980s.<ref name=passionforcinema /><ref>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|first1=K. Moti|last1=Gokulsing|first2=Wimal|last2=Dissanayake|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|pages=18–9}}</ref> Film critics polled by the British magazine ''[[Sight & Sound]]'' included several of Dutt's films in a 2002 list of [[List of films considered the best|greatest films]],<ref name=Cinemacom>{{cite web|title=2002 Sight & Sound Top Films Survey of 253 International Critics & Film Directors|publisher=Cinemacom|year=2002|url=https://www.cinemacom.com/2002-sight-sound.html|access-date=19 April 2009}}</ref> and [[Time's All-Time 100 Movies]] lists ''[[Pyaasa]]'' as one of the greatest films of all time.<ref name=Time>{{cite news|url=https://www.time.com/time/2005/100movies/the_complete_list.html|archive-url=https://web.archive.org/web/20050523235033/https://www.time.com/time/2005/100movies/the_complete_list.html|url-status=dead|archive-date=23 May 2005|title=All-Time 100 Best Movies|access-date=19 May 2008|magazine=[[Time (magazine)|Time]]|date=12 February 2005}}</ref>

During the late 1960s and early 1970s, the industry was dominated by musical [[romance film]]s with romantic-hero leads.<ref name="indianexpress2">{{cite news|title=Revisiting Prakash Mehra's Zanjeer: The film that made Amitabh Bachchan|url=https://indianexpress.com/article/entertainment/bollywood/revisiting-prakash-mehra-zanjeer-the-film-that-made-amitabh-bachchan-4714064/|work=[[The Indian Express]]|date=20 June 2017}}</ref>