Hrishikesh Mukherjee Movies

Complete Hrishikesh Mukherjee Movies List

Hrishikesh Mukherjee Movies As Director

Year	Film Name	Starring
1957	Musafir	Dilip Kumar, Kishore Kumar, Suchitra Sen and Usha Kiran.
1959	Anari	Raj Kapoor, Nutan, Lalita Pawar and Motilal.
1960	Anuradha	Balraj Sahni, Leela Naidu
1961	Chhaya	Sunil Dutt, Asha Parekh
	Memdidi	David, Jayant, Lalita Pawar, Asit Sen, Tanuja
1962	Asli-Naqli	Dev Anand, Sadhna
	Aashiq	Raj Kapoor, Padmini
1964	Saanjh Aur Savera	Guru Dutt, Meena Kumari
1966	Anupama	Dharmendra, Sharmila Tagore
	Gaban	Sunil Dutt, Sadhana
	Biwi Aur Makan	Biswajit, Kalpana Mohan, Mehmood
1967	Majhli Didi	Dharmendra, Meena Kumari
1968	Aashirwad	Ashok Kumar
1969	Satyakam	Dharmendra, Sharmila Tagore
	Pyar Ka Sapna	Mala Sinha, Biswajeet, Ashok Kumar, Helen, Johnny Walker
1971	Anand	Rajesh Khanna, Amitabh Bachchan
	Guddi	Dharmendra, Jaya Bhaduri, Utpal Dutt
	Buddha Mil Gaya	Om Prakash, Navin Nischol, Deven Verma
1972	Bawarchi	Rajesh Khanna, Jaya Bhaduri
	Sabse Bada Sukh	Vijay Arora, Asrani
1973	Abhimaan	Amitabh Bachchan, Jaya Bhaduri, Asrani
	Namak Haraam	Rajesh Khanna, Amitabh Bachchan, Rekha
1974	Phir Kab Milogi	Biswajit, Mala Sinha, Deven Verma
1975	Chupke Chupke	Dharmendra, Amitabh Bachchan, Sharmila Tagore, Jaya Bhaduri
	Mili	Amitabh Bachchan, Jaya Bhaduri
	Chaitali	Dharmendra, Saira Banu
1976	Arjun Pandit	Sanjeev Kumar, Ashok Kumar
1977	Alaap	Amitabh Bachchan, Rekha
	Kotwal Saab	Shatrughan Sinha, Aparna Sen
1978	Naukri	Rajesh Khanna, Zaheera, Raj Kapoor
1979	Gol Maal	Amol Palekar, Utpal Dutt, Bindiya Goswami
	Jurmana	Amitabh Bachchan, Rakhee, Vinod Mehra
1980	Khubsoorat	Rekha, Rakesh Roshan, Ashok Kumar
1981	Naram Garam	Amol Palekar, Utpal Dutt, Swaroop Sampat, Shatrughan Sinha
1982	Bemisal	Amitabh Bachchan, Rakhee, Vinod Mehra
1983	Rang Birangi	Amol Palekar, Parveen Babi, Deepti Naval, Farooq Sheikh
1983	Kissise Na Kehna	Utpal Dutt, Deepti Naval, Farooq Sheikh
	Achha Bura	Raj Babbar, Anita Raj
1985	Jhoothi	Rekha, Raj Babbar, Amol Palekar, Supriya Pathak, Deven Verma
1988	Namumkin	Sanjeev Kumar, Raj Babbar, Zeenat Aman, Vinod Mehra
1998	Jhooth Bole Kauwa Kaate	Anil Kapoor, Juhi Chawla, Amrish Puri, Reema Lagoo

Hrishikesh Mukherjee Movies As Editor, Writer Or Assistant Director

1947	Tathapi
1950	Pehla Aadmi	Editor,Assistant Director
1952	Maa	Editor, Assistant Director
1953	Do Bigha Zamin	Scenario, editor, Assistant Director
1953	Parineeta	Editor
1954	Biraj Bahu	Editor
1955	Devdas	Co-editor with Das Dhaimade
1955	Garam Coat	Editor
1958	Madhumati	Editor
1959	Heera Moti
1961	Char Diwari	Editor
1961	Ganga Jumna	Co-editor with Das Dhaimade
1965	Chemmeen	Editor
1968	Mere Hamdam Mere Dost	Editor
1974	Nellu	Editor
1970	Dastak	Editor
1977	Anuroopa	One and only Kannada Film as editor
1981	Professor Pyarelal	Editor
1983	Coolie	Editor

10 Evergreen Slice-Of-Life Hrishikesh Mukherjee Films

A certain enduring quality could be found in Hrishikesh Mukherjee’s films. He incorporated middle-class everyday experiences into his stories while deftly juggling serious and humorous themes. Gol Maal, Chupke Chupke, Abhimaan, and Chupke Chupke were all directed by the same person. His storytelling skill was exceptional because it was never oversimplified. Instead, it would improve the movie-watching experience so the viewers would remember the characters, dialogue, mannerisms, and costumes.

After 15 years since his passing and 64 years since the release of his first film as a director, Musafir, Hrishi da’s brilliance is still recognized as one of Indian cinema’s most recognizable voices.

Here, we look at a few of his timeless slice-of-life movies that, even decades later, still make us laugh, think, relate, and cry a little bit of sadness.

Anari (1959)

Think of Raj Kapoor crossing the streets of Bombay while singing “Kisiki Muskuraahaton Pe Ho Nisaar” by Mukesh. He would be dressed like Charlie Chaplin, with a plain shirt, pants, a cap, and a big smile. Anari is his name. It’s a story about a kind-hearted man named Raj, who is poor and struggles to make ends meet.

Raj is a good man but may be too good for a bad world. Because he is kind, his landlord, Mrs D’Sa (Lalita Pawar), and the love of his life, Aarti (Nutan), see him as a mother figure. Things look up when he gets a full-time job, but tragedy strikes, and the rich and corrupt exploit his goodness.

Anand (1971)

‘Anand mara nahi, Anand marte nahi.’ What happens when you know that a character will die pretty much from the start? Even though you know how the movie will end, you can’t help but cry buckets of tears as Amitabh Bachchan reads the last lines. Anand (Rajesh Khanna) is all about happiness, just like his name says.

Anand is the most popular movie Mukherjee has ever made and was also the most popular movie of that year. It stands out in the history of Hindi movies for other reasons. One of them, Salil Choudhury, wrote the music and had playback singers like Mukesh sing the songs. Two, Anand is one of Rajesh Khanna’s 17 movies that did well at the box office between 1969 and 1971.

It made Amitabh Bachchan a star overnight, even though he had played the same role in other movies that didn’t do well. It helped Rajesh Khanna make more money at the box office and made him even more of a star. Five, there wasn’t much romance for the hero. Even though the hero died at the movie’s end, it was a huge hit at the box office.

Khanna and Bachchan have only been in two movies together: Anand and Namak Haraam, which came out in 1973 and was also directed by Hrishikesh Mukherjee.

Mukherjee said that the southern film Ikiru gave him some ideas for Anand. In the early 1960s, he considered casting Shashi Kapoor or Raj Kapoor in the lead role. Anand was modelled after Raj Kapoor, who used to call Mukherjee “Babu Moshay.” Hrishikesh Mukherjee is thought to have written the movie when Kapoor was very sick, and he thought he might die.

The movie was made for Kapoor and the people of Mumbai.

The unforgettable dialogue from the film Anand.

 “Zindagi badi honi chahiye, lambi nahin” is one of the most famous lines from the movie. Anand said it. It has become a common line in movies; any character can say it as a lesson about life. Dr Bhaskar Banerjee is treating Anand, who has cancer of the intestines and is near the end of his life.

When the doctor (Bachchan) sees how lightly Anand treats his terminal illness, which gives him only six months to live, he is initially shocked and angry. Anand says, “Death is just a moment, just like all the other moments we live every day. Why should I worry about that one moment and ruin the moments I will live in the next six months?”

One Of my favrouite song from the Hrishikesh Mukherjee’s movie Anand is Kahin Door Jab Din Dhal Jaye.

Choudhury and Gulzar, who wrote some lyrics and lines for the songs, also made them famous. In the movie, Mukherjee, known for Johnny Walker, Lalita Pawar, Ramesh, and Seema Deo, gave very strange performances.

Anand is still a cult movie that shows how Death is just a part of life. It is also remembered for the small touches of humour, friendliness, and romance heavily tinged with melodrama. It has several parts, including a deepening friendship between Anand.

His young doctor Bhaskar Banerjee (Amitabh Bachchan), Anand’s self-made “family” with his doctor friend Kulkarni (Ramesh Deo) and his wife, an elderly nurse who takes care of him, and Bhaskar’s wife, who learns about his lost love from a dried-up rose hidden in Anand’s poetry notebook.

Guddi (1971)

It was a coming-of-age movie with Jaya Bhaduri in the lead role that addressed subjects that weren’t commonly discussed. Indian cinema has a strong star culture, with much fan worship and idolatry. Because of this, many people, regardless of gender, harbour romantic fantasies involving their favourite celebrities.

Schoolgirl Mili, who believes she loves actor Dharmendra, the ideal man who could do no wrong, lives in a similar fantasy. She cannot tell the difference between the real and the fake, and she will not accept anything that suggests she can. The movie shows empathy for and kindness toward her sensibilities and emotions without making her appear foolish.

Additionally, it humanizes stars and stardom, which was unusual back then.

Bawarchi (1972)

In Bawarchi, Raghu, played by Rajesh Khanna, was like the silent Robin Hood the Sharma family didn’t know they needed. Their house, Shanti Niwas, was not only not peaceful but also not in tune with itself. There were too many holes, cracks, and egos, a metaphor for what happens to mortals outside their homes.

Their fights happen so often and are so bad that most housekeepers don’t stay with them for more than a month. Raghu shows up at their house one day out of the blue and asks for a job as a cook. No one asks him any questions; they just hire him right away. They have no idea that a kind stranger will take over their kitchen and lives in a way that will change them as a family and individuals.

Chupke Chupke (1975)

Who could forget Dharmendra’s, Parimal Tripathi? He is a well-known botany professor and everything Sulekha (Sharmila Tagore) didn’t anticipate him to be: young, attractive, helpful, hilarious, and a self-described prankster.

Due to this, Parimal decides to play a practical joke on Raghavendra (Om Prakash), his brother-in-law, when Sulekha, now his wife, appears astounded by his intelligence and perception. He enters Sulekha’s sister’s home as Pyare Mohan, Raghavendra’s new shuddha Hindi-speaking driver—not her husband. How long can he—and Sulekha—maintain the facade during his meticulously crafted plan and lovestruck heart?

Mili (1975)

In a tender love story, Mili was a bit like Hrishi Da’s Anand, but from a woman’s point of view, she was in a situation bound to end in tragedy. Both characters are sick and know they have little time left, but they may be more lively than those around them. They sing, try to understand each other, and spread happiness wherever they go.

Even Amitabh Bachchan has much in common with the man whose life changes when he meets and bonds with the main character. But the last thing we know about her is a little bit hopeful. We don’t know exactly what will happen to her, but we know she has a short window of opportunity. And that’s the beauty of climaxes that don’t end the story, right?

Gol Maal (1979)

This movie is just as strange (in a good way) as its famous title song, “Seedhe rate ki yeh this hi chaal hai.” Ramprasad Sharma (Amol Palekar) wants to work for Bhavani Shankar’s company (Utpal Dutt). He is qualified, knows what he is doing, and has everything he needs to get the part except maybe one or two things.

Shankar is very strange. He likes sports, but he looks down on other sports fans. He doesn’t like it when people wear clothes that aren’t “desi,” He only takes men seriously if they have a moustache. Ramprasad has both of these things and is also a good actor. Together, he puts on an act, which is Hrishi da’s favourite way to trick people.

This act makes him fall in love, have a fake mother, and make up an identical twin named Lakshmanprasad, or Lucky.

Khubsoorat (1980)

In the early 1980s, Rekha’s role as Manju, a smart, opinionated, beautiful woman who doesn’t want to follow anyone’s rules, was a big deal. She was the main character, but not in the usual way. Rekha was a breath of fresh air because she was outgoing, spontaneous, and easygoing. She did what she wanted.

She sang songs of revolution, like “Sare Niyam Tod Do,” to make fun of Nirmala (Dina Pathak), the strict mother-in-law of her sister’s husband. The film is already very good, but the music by RD Burman and the electric voice of Asha Bhosle makes it even better. Gulzar’s lines like “Miyaan-biwi raazi toh kya Karen maaji?” make you laugh out loud.

Abhimaan (1973)

The first movie, Abhimaan (1973), starring Amitabh Bachchan and his wife Jaya Bachchan, served as a birthday tribute to Amitabh Bachchan. The film stands out because of the “pooled” plot, script, and dialogue written by the talented minds of Rajinder Singh Bedi, Nabendu Ghosh, Biresh Chatterjee, Hrishikesh Mukherjee, Mohan N.

Sippy, and Biren Tripathi, in addition to the excellent performances of the lead pair and Asrani, A K Hangal, Bindu, and David in key character roles.

Because so many notable authors contributed to the plot, dialogue, and script, it had a twisted narrative that was neither here nor there and went off course in the middle. After they married, a famous singer named Subir Kumar (Bachchan) and a village girl named Uma (Jaya Bachchan) began competing for talent.

Subir Kumar has no issues with Uma joining him in his work because she is also a trained vocalist. But as it turns out, she is significantly more talented than her husband. As a result, he gradually loses favour and fame.

He cannot stand this, as evidenced by how he treats his wife. He is unaware of the wife’s pregnancy when she returns to her village home, hurt beyond words. The narrative offers a unique viewpoint on the husband-and-wife relationship up to this point.

Favrouite song from the Hrishikesh Mukherjee’s movie Abhimaan is Ab To Hai Tumse.

However, after Uma miscarries, the narrative slowly devolves into pure melodrama, undoing careful development—the film’s music was composed by S.D. Burman was its standout component when he was at the top of his game and won the Filmfare Award for Best Music. Additionally, Jaya Bachchan won the Best Actress prize.

Namak Haraam (1973)

I put this one at the end of the list because Mukherjee used some dramatic turns to make the relationship between the poor Somu (Rajesh Khanna) and his wife more interesting.

The son of a wealthy industrialist, Vicky, played by Amitabh Bachchan, was not needed in this movie. The story was strong enough on its own as a beautiful saga of a friendship between two people with different backgrounds and incomes, in which one of the friends has to die to keep things the same between the two.

Somnath (Rajesh Khanna) lives in a slum in Delhi with his widowed mother and his sister, Sarla, who hasn’t found a husband yet. He is friends with Amitabh Bachchan’s rich Vikram (Vicky) Maharaj, who lives in Calcutta. Vicky’s powerful businessman father, Damodar (Om Shivpuri), has a heart attack and is told to rest for two months.

During that time, Vicky takes care of his father’s business. He has a bad fight with the union leader who works in his father’s factory, which causes the workers to go on strike. His father tells Vicky to apologize to the union leader, Bipinlal. Vicky does so, and everything goes back to normal.

Vicky tells Somu about his embarrassment, and they plan to teach Bipinlal a lesson. Somu goes with Vicky to Bombay, gets a job as a labourer in his mill, makes friends with his fellow workers, helps injured workers get money, among other things, and is chosen to replace Bipinlal as the union leader.

One of my favrouite song from the Hrishikesh Mukherjee’s movie Namak Haram is Main Shayar Badnaam.

Some people care a lot about the pain and unrest of the workers, which causes a fight between the two friends. Vicky agrees with what Somu says, but Somu’s father wants to drive a permanent wedge between the two friends because he thinks that if unions grow, it will hurt his business and factory.

Vicky doesn’t know that his father has a terrible plan to kill Somu by having a factory truck run over him. This is to get revenge on his father for killing Somu and to clear himself of the murder, which he thinks he was a big part of. But Vicky finds out the truth and tells the police that he killed Somu, which breaks his heart to pieces.

When his father visits him in prison, he won’t take back what he said. The movie ends with Vicky’s father’s footsteps leaving the prison while a sad Vicky keeps looking through the bars.

Vicky was supposed to die in the original script, according to the backstory. But after he dies in Anand, Rajesh Khanna pressures Mukherjee to change the ending so that his character dies instead of Vicky’s. Khanna was a big star then, so the ending had to be changed. The movie didn’t do half as well as Anand, and Bachchan said he would never work with Khanna again.

The historical story of Becket, which was also made into an English movie, is said to have “inspired” this movie. Amitabh Bachchan won the Best Supporting Actor Award from Filmfare for his role in Namak Haram. Rajesh Khanna won the Best Actor Award, and Gulzar won the Best Dialogue Award simultaneously.

Have you seen any of these films?