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Men in <keyword id="143" type="CITY" weightage="100" keywordseo="Bollywood">Bollywood</keyword> have always stood out as the most favoured species. From movie plots to pay cheques – everything shouts out their supremacy. But time and again, the female actors have proved their mettle and outshone their male counterparts. Bollywood can boast of some fine movies where <keyword id="624" type="ORGANIZATION" weightage="100" keywordseo="Women">women</keyword> have played the ‘hero’ and got all the fan adulation. No wonder so many writers are now penning stories with <keyword id="1296508" type="UNKNOWN" weightage="100" keywordseo="female-leads">female leads</keyword> on their mind and women are literally having a ball! O Womaniya! 
 This Women’s Day, let us take a look at some of the finest <keyword id="18300" type="UNKNOWN" weightage="100" keywordseo="Bollywood-movies">Bollywood movies</keyword> that raise a toast to womanhood. 
 
1. <keyword id="102571" type="ENTERTAINMENT" weightage="100" keywordseo="mother-india">Mother India</keyword> Think of <keyword id="2113386" type="UNKNOWN" weightage="100" keywordseo="Woman-centric-movies">woman-centric movies</keyword> and Mother India will be the first in the list. Directed by <keyword id="227412" type="CITY" weightage="100" keywordseo="Mehboob-Khan">Mehboob Khan</keyword>, it has the <keyword id="7914" type="POSITION" weightage="100" keywordseo="Legendary-Actress">legendary actress</keyword> <keyword id="42508" type="PERSON" weightage="100" keywordseo="Nargis">Nargis</keyword> in the lead role. This epic melodrama of 1957 brings forth a unique depiction of motherhood and is highly praised for its striking dramatic appeal. 
 
2. <keyword id="167989" type="ENTERTAINMENT" weightage="100" keywordseo="Aandhi">Aandhi</keyword> Starring <keyword id="112471" type="PERSON" weightage="100" keywordseo="Suchitra-Sen">Suchitra Sen</keyword> and <keyword id="55364" type="PERSON" weightage="100" keywordseo="Sanjeev-Kumar">Sanjeev Kumar</keyword>, Aandhi is considered one of the best Bollywood films dedicated to a woman and the choices she has to make in her life. The film is supposedly based on the life and times of the then <keyword id="71" type="POSITION" weightage="80" keywordseo="Prime-Minister">Prime Minister</keyword>, <keyword id="6354478" type="PERSON" weightage="80" keywordseo="Indira-Gandhi">Indira Gandhi</keyword>. And it is intriguing to watch how the <keyword id="303" type="POSITION" weightage="80" keywordseo="Director">director</keyword> has captured the changes that circumstances bring about in a woman’s personality. Aandhi was banned during <keyword id="2113394" type="UNKNOWN" weightage="100" keywordseo="1975-Emergency">1975 Emergency</keyword> but was later aired on national television. 
 
3. <keyword id="302928" type="ENTERTAINMENT" weightage="100" keywordseo="Arth">Arth</keyword> Starring the aces of <keyword id="389881" type="ORGANIZATION" weightage="100" keywordseo="Parallel-cinema">parallel cinema</keyword> including <keyword id="19" type="PERSON" weightage="100" keywordseo="Shabana-Azmi">Shabana Azmi</keyword>, <keyword id="6486523" type="PERSON" weightage="100" keywordseo="Smita-Patil">Smita Patil</keyword>, Kulbhushan Kharbanda and Raj Kiran, Arth is the story of a woman who bounces back to an independent life after being betrayed by her husband. While Shabana plays the loving wife, Smita is the other woman, who gets involved with hubby Kulbhushan Kharbanda. This gem of a movie about man-woman relationship has been directed by <keyword id="6370367" type="PERSON" weightage="100" keywordseo="Mahesh-Bhatt">Mahesh Bhatt</keyword>. 
 
4. <keyword id="370667" type="ENTERTAINMENT" weightage="100" keywordseo="Mirch-Masala">Mirch Masala</keyword> Yet another classic tribute to women’s courage. The film stars Smita Patil, <keyword id="6354338" type="PERSON" weightage="100" keywordseo="Naseeruddin-Shah">Naseeruddin Shah</keyword>, <keyword id="20398" type="PERSON" weightage="100" keywordseo="deepti-naval">Deepti Naval</keyword> and <keyword id="6381489" type="PERSON" weightage="100" keywordseo="Om-puri">Om Puri</keyword>, but it was the character portrayed by Smita that grows on you. No one can forget the climax where the rebellious women throw red chilli powder on the subedar, played by Naseeruddin. 
 
5. <keyword id="305558" type="ENTERTAINMENT" weightage="100" keywordseo="Khoon-Bhari-Maang">Khoon Bhari Maang</keyword> 
Hell hath no fury like a woman scorned. And Khoon Bhari Maang starring <keyword id="182" type="PERSON" weightage="100" keywordseo="Rekha">Rekha</keyword> has featured this quite effectively. An innocent woman is deceived and nearly killed by a man in the name of love. Following this, starts her <keyword id="6374782" type="UNKNOWN" weightage="80" keywordseo="journey">journey</keyword> from a Plain Jane to a femme fatal, out to take revenge on the man who has torn her life apart. 
 
6. <keyword id="239593" type="COMPANY" weightage="100" keywordseo="Damini">Damini</keyword> What happens when a demure daughter-in-law drags her wealthy family to court to get justice for her <keyword id="6425546" type="POSITION" weightage="80" keywordseo="maid">maid</keyword>, who is raped by her brother-in-law? Chaos and mayhem, especially in a society where a bahu is always expected to obey her in-laws. While <keyword id="236235" type="PERSON" weightage="100" keywordseo="Meenakshi-Sheshadri">Meenakshi Sheshadri</keyword> gives a stellar performance as the female lead, the movie also stars <keyword id="6357910" type="PERSON" weightage="100" keywordseo="Rishi-Kapoor">Rishi Kapoor</keyword> and <keyword id="9271" type="PERSON" weightage="100" keywordseo="Sunny-Deol">Sunny Deol</keyword>. 
 
7. <keyword id="11116" type="ENTERTAINMENT" weightage="100" keywordseo="Page-3">Page 3</keyword> 
This film gives you a peek into the adventurous and challenging life of a Page 3 <keyword id="9059" type="POSITION" weightage="80" keywordseo="journalist">journalist</keyword>. The film stars <keyword id="6413189" type="PERSON" weightage="100" keywordseo="Konkona-Sen-Sharma">Konkona Sen Sharma</keyword>, who has delved deep into the character and conveyed a realistic view of the hazards associated with the seemingly glam job. 
 
8. <keyword id="17579" type="ENTERTAINMENT" weightage="100" keywordseo="dor">Dor</keyword> This is an entirely different take on the relationship between two women – one who has lost her husband while the other’s spouse is in jail for murdering the first one’s hubby. The film stars <keyword id="16352" type="PERSON" weightage="100" keywordseo="Ayesha-Takia">Ayesha Takia</keyword> &amp; <keyword id="8864" type="PERSON" weightage="100" keywordseo="Gul-Panag">Gul Panag</keyword>, and both act remarkably well. 
 
9. <keyword id="512405" type="UNKNOWN" weightage="100" keywordseo="the-dirty-picture">The Dirty Picture</keyword> Being unashamed about your sexuality takes guts and at times, it borders on arrogance. <keyword id="3844" type="PERSON" weightage="100" keywordseo="Vidya-Balan">Vidya Balan</keyword>, who has played South’s sexy siren <keyword id="31591" type="PERSON" weightage="100" keywordseo="Silk-Smitha">Silk Smitha</keyword> in this flick, is a revelation as she portrays the character of an over-the-top seductress with élan. It’s all the more commendable in a country where being open about your sexual urges is still considered a taboo. The film delivers ‘<keyword id="4578" type="COMPANY" weightage="100" keywordseo="entertainment">entertainment</keyword>, entertainment, entertainment’ and reveals a different face of a woman. 
 
10. <keyword id="6358300" type="UNKNOWN" weightage="100" keywordseo="Kahaani">Kahaani</keyword> 
With her stellar performance in Kahaani, Vidya proves that you don’t need a hero to deliver a hit! In the film, she has played a seven-month pregnant woman who is in search of her husband, and a breath-taking thriller unfolds. Kudos to Vidya, who ironically displays more ‘male ornaments’ than most heroes. 
 
Image credit: Thinkstock Photos/Getty Images

Women’s Day Special: 10
Bollywood Movies That Celebrate Womanhood

Though anticipated, when it became official that the Melody Queen of India, <keyword id="31278" type="General" weightage="20" keywordseo="Lata-Mangeshkar" source="Orion">Lata Mangeshkar</keyword>, is no longer among us, it hit the collective consciousness of the nation like a sledgehammer. The only consolation was that she may have passed on, but her voice, which moved our hearts and provided succour to our souls for more than seven decades, will forever be with us. Like all inspirational stories, Lataji's early struggle to establish herself in the 1940s is one that we cannot ever forget. In those days, she would take a BEST bus and travel from her south Mumbai home regularly to meet Naushad Ali at his Khar West bungalow or in the studios, hoping for a 'singing break' under the legendary music maker's baton. In the vicious Mumbai monsoon, she would come to Naushad's home, wearing her trademark sari, carrying an umbrella but totally drenched, shivering and barely able to speak, let alone sing. The music director would offer her piping hot tea and cookies to soothe her, but no songs ... yet ... . "I felt her voice was not yet 'ripe' for my style of music," said Naushad, the perfectionist, in a conversation with this writer. He was trying to justify not giving her an early break. "To improve her diction and control over words, I advised her to learn and practice Urdu, which she did ... and finally, she was ready to record for me." The first choices of Naushad were the reigning stalwarts -- Noorjehan, Suraiya, Shamshad Begum, Zohra Ambalewali, to name a few. With time, trained by her father, Dinananth Mangeshkar, Lataji grasped the maestro's advice and got her first major hit -- 'Uthaye Ja Unke Sitam' ('Andaz', 1949) -- composed by her mentor Naushad. With it, she 'arrived' in the film industry. Thereafter, top music directors of the era wooed her, and they included Sachin Dev Burman, Husan Lal-Bhagat Ram (brothers), Ghulam Haider, Sardar Malik, Ghulam Mohammed, Jaidev, Salil Chowdhary, C. Ramchandra, Shankar-Jaikishan (partners), Roshan, Madan Mohan, M. Zahur Khayyam, Kalyanji-Anandji (brothers), Laxmikant-Pyarelal (partners), Sonik-Omi (uncle-nephew), Ravi Kumar Sharma or 'Ravi', Sudhir Phadke, Sajjad Hussain, Usha Khanna, and even A.R. Rahman, Anu Malik, Rajesh Roshan, Anand-Milind and Jatin-Lalit, among the younger crop of baton wielders. Producers and directors vied for Lataji's unique voice and style for their top heroines, especially because she could 'mould' her voice to suit most heroines. Without doubt, she had become the first among women singers, a position that Mohammed Rafi enjoyed among the men. Yet, there was a music director who remained aloof from Lataji -- with haughty pride -- and yet rose to the top echelons of the music industry -- the incomparable O.P. Nayyar. "I found Lata's voice too thin, too shrill, which did not suit my compositions," Nayyar had once said, claiming he was "the only music director who succeeded in Bollywood without Lata's voice". He added: "I needed a more vivacious, richer, healthier voice of, say, Shamshad Begum, Geeta Ghosh-Dutt, Asha Bhosale." One woman singer, Suman Kalyanpur, was blessed with a voice rivalling that of Lataji's, but she was content being in the shadows, yet she thrived on enduring masterpieces composed by some of the music directors. As Lataji's singing style matured under master music directors, her voice helped heroines who acted or danced to her tunes catapult to stardom, such as Madhubala, Meena Kumari, Nargis, Ameeta, Beena Rai, Waheeda Rehman, Vyjayanthimala Bali, Tanuja, Sharmila Tagore, Asha Parekh, Nutan, Saira Bano, Sadhana Shivdasani, Babita Kapoor, Zeenat Aman, Parveen Babi, Hema Malini, Rekha, Sridevi, Neetu Singh, Madhuri Dixit, and many others in the post-1980s, right down to the youngsters, notably, Kajol, Rani Mukherjee and Karisma Kapoor. After the exit of Noorjehan from India and the fading away of other stalwart female singers, by the late 1950s/early 1960s, Lataji was firmly perched on the top of the heap and brooked no nonsense from anyone -- producers, directors, composers, siblings or contemporaries -- attempting to clamber anywhere close to her roost. Bollywood is full of stories of how Lataji ring-fenced her position till the very end, often raising the hackles of her female peers, although male singers, such as Mohammed Rafi, Mukesh, Kishore Kumar, Mahendra Kapoor and Manna Dey (all deceased) and others, chose to maintain a professional rapport with her. Nevertheless, there were tales of how Rafi once bore the brunt of her "other side", or certain composers quivering as she gently declined to sing for them after they allegedly dared to commission some other female singers, for whatever reason. Of course, powerful filmmakers such as Mehboob Khan, Raj Kapoor, Kamal Amrohi, Dev Anand, Shakti Samanta, B.R. Chopra, Yash Chopra and the likes had no time for tantrums. Born on September 28, 1929, as the oldest child of a musically inclined family in Indore (Madhya Pradesh) -- comprising father Dinanath, Lataji, Meena (Khadilkar), Asha (Bhosale), Usha and sole brother Hridaynath -- she was tutored by her dad from the age of five and also acted in his musical stage plays, till death in 1942. Helped by a close family friend, Master Vinayak D. Karnataki, she got a foothold in singing and acting that year with a first Marathi song and a maiden Hindi song in 1943 before shifting to the film industry capital in 1945. In Bombay (now, Mumbai), she learnt classical music and continued singing the odd songs, till her big break with 'Dil Mera Toda, Mujhe Kahinka Na Chhoda' ('Majboor', 1948), with full help from Ghulam Haider, whom she later described as her "godfather". With a colossus such as Noorjehan still around, Lataji continued her with a few more hits -- 'Aayega Aanewala' ('Mahal', 1949) and 'Uthaye Ja Unke Sitam' ('Andaz', 1949), heralding her entry with a bang in big-time Bollywood. Simultaneously, she sang in different Indian languages with aplomb, non-film songs, with her range encompassing classical, tragic, melodious, erotic, melancholic, light, mischievous, depending on the composer, or the heroine, or the song situation. After the seniors passed away or faded out, Lataji sang expertly and easily with the gen next of male singers such as S.P. Balasubramaniam, Amit Kumar, Shabbir Kumar, Nitin Mukesh, Anwar, Udit Narayan and Sonu Nigam, and astounded her listeners with the seemingly "undying" power and youthfulness of her golden voice. Over the decades, she was decorated with a multitude of rewards and honours -- three Padma awards, five Filmfare Awards, the Dadasaheb Phalke Award -- capped by the Bharat Ratna in 2001. More than that, state governments named awards and institutions after her. Lataji sang at prestigious live concerts or charitable events, enthralling global audiences, picked up more overseas accolades, such as France's highest civilian honour, Officer of the Legion of Honour, in 2007, briefly dabbled in high-end merchandise, such as signature jewellery and perfumes, launched a production and music house, and entered into international music collaborations. Death has only removed her physically. The legacies she leaves behind will outlive her for decades. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/ecommerce/news/aditya-birla-fashion-retail-d2c-unit-will-sell-ethnic-and-wedding-wear-from-top-designers/articleshow/89347587.cms">Birla has the best wedding suits stacked up and he wants them displayed on your phone</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/stock-market/news/textile-cigarette-metal-and-electric-batteries-sectors-stocks-up-budget-day/articleshow/89346157.cms">Textile, cigarette makers and others sector stocks that rallied since budget speech</a>

Lata Mangeshkar's over 70-year journey from travelling in BEST bus for singing break in the industry to melody queen of India

​The Oscar fights never go out of fashion in India. We have not made our mark there yet in spite of many Indian connections with movies like Life of Pi and <keyword id="32892" type="PERSON" weightage="60" keywordseo="Slumdog-Millionaire">Slumdog Millionaire</keyword>. But when it comes to selecting India’s official entry for the Foreign Language Film category at the <keyword id="9344" type="ENTERTAINMENT" weightage="100" keywordseo="Academy-Awards">Academy Awards</keyword>, the heat is full on. This time, there were as many as 22 contenders and some entries like Bhaag Milkha Bhaag, English Vinglish, Celluloid, Shabdo, Ship of Theseus and <keyword id="6354603" type="PERSON" weightage="80" keywordseo="Kamal-Haasan">Kamal Haasan</keyword>’s Vishwaroopam created a lot of buzz. But the final battle royal seemed to have boiled down to just two – Mumbaikar <keyword id="1539946" type="UNKNOWN" weightage="100" keywordseo="Ritesh-Batra">Ritesh Batra</keyword>’s <keyword id="1678680" type="UNKNOWN" weightage="100" keywordseo="The-Lunchbox">The Lunchbox</keyword> and Goa-born <keyword id="1602536" type="UNKNOWN" weightage="100" keywordseo="Gyan-Correa">Gyan Correa</keyword>’s <keyword id="1602537" type="UNKNOWN" weightage="100" keywordseo="The-Good-Road">The Good Road</keyword>. However, The Lunchbox lost to The Good Road, which earlier bagged the national award for the best Gujarati feature film. Correa’s flick was picked by a 19-member jury, appointed by the <keyword id="291689" type="ORGANIZATION" weightage="80" keywordseo="Film-Federation-of-India">Film Federation of India</keyword> (FFI). 
 
What they tweeted 
A Press release said the decision had been unanimous, but congratulatory and disgruntled tweets followed. Here’s a look at some of the significant ones. 
 
Gujarat chief minister <keyword id="6354477" type="PERSON" weightage="60" keywordseo="Narendra-Modi">Narendra Modi</keyword>: Delighted to know that Gujarati film The Good Road has been chosen to represent India at Oscars. My best wishes. 
 
<keyword id="7929" type="PERSON" weightage="100" keywordseo="Anurag-Kashyap">Anurag Kashyap</keyword> (the film-maker co-produced The Lunchbox with <keyword id="197931" type="PERSON" weightage="100" keywordseo="Guneet-Monga">Guneet Monga</keyword>): Feeling very, very disappointed, can’t comment on the film I have not seen, but it better make it to final five… I don’t know who the federation is. But it goes to show, why we completely lack the understanding to make films that can travel across borders… I hope and pray I am wrong and it actually is a film that knocks the socks off everyone… We should then make a clean policy, you want to send the best film, then send the national award winner. Or send the one most likely to win... Anyway, disappointment and anger aside… let’s go back to make cinema… 
 
<keyword id="3778" type="PERSON" weightage="100" keywordseo="Karan-Johar">Karan Johar</keyword> (The director-producer turned presenter for The Lunchbox): Really shocked and disappointed… #LUNCHBOX had every factor working in its favour... we may have just lost our golden chance… SAD!!! 
 
Ritesh Batra (Director, The Lunchbox): Congrats to The Good Road. Hope it makes it all the way, else it will be a lost chance by FFI-appointed jury that lacks vision. Hope I am wrong… 
 
The Good Road and The Lunchbox: Head-to-head 
Some industry experts are not too enthusiastic and feel that The Lunchbox would have been a better Oscar choice for several reasons. So here is a head-to-head for our readers, along with some lesser-known facts. 
 
Auteur cinema is gaining prominence. Written by Correa himself, The Good Road is a documentary-style collage of stories woven around the highway where the protagonists lose their way, struggle on their personal quests and evolve in a way that touches the heart. The Lunchbox, on the other hand, brings to life the ever-present Mumbai dabbawalas (tiffin carriers) and a bitter-sweet story of bonding that starts with a misplaced lunchbox (according to a Harvard University study, the delivery system is so excellent that just one in a million lunch boxes will go to a wrong address). Each film reflects its director’s vision instead treading the beaten path. 
 
Both Correa and Batra did it hands-on. It was real-life research for both the directors. Correa got into a truck and went on a journey, getting to the core of things before he created his story. Batra worked as a <keyword id="415857" type="UNKNOWN" weightage="100" keywordseo="Dabbawala">dabbawala</keyword> for a week to get the hang of it. 
 
But they come from different industries. That’s right. Batra studied Economics and worked as a consultant for Deloitte. He left the job to join the Graduate Film Program at New York University, but dropped out after a year and a half due to fund crunch. Correa is from the advertising space but decided to have a go at film-making. 
 
In spite of debacle, The Lunchbox gets a bite of the global pie. According to media reports, it has already been sold to 30 different territories globally and could be the first Indian film with 3 foreign producers – ASAP Films of France, Rohfilm of Germany and Cinemosaic of America, along with <keyword id="66984" type="ORGANIZATION" weightage="80" keywordseo="NFDC">NFDC</keyword>, Sikhya <keyword id="4578" type="COMPANY" weightage="100" keywordseo="entertainment">Entertainment</keyword>, Dharma Productions and DAR Films from India. It can also be the first Indian movie to be released across 100 screens in Germany. Incidentally, the film was made on a shoestring budget of $1.5 million. On the other hand, NFDC produced The Good Road, but it doesn’t have an <keyword id="1878880" type="UNKNOWN" weightage="80" keywordseo="American-distributor">American distributor</keyword> yet. 
 
But what about Oscar compatibility? The Lunchbox might have got a favourable push at the Oscars, had it been chosen. For one, <keyword id="16207" type="PERSON" weightage="80" keywordseo="Irrfan-Khan">Irrfan Khan</keyword> is a familiar name (his roles in The Warrior, Mighty Heart, Slumdog Millionaire and The Amazing Spider-man certainly helped) and the movie has already received some rev reviews at Cannes, Telluride, Toronto and India. Moreover, <keyword id="6411012" type="COMPANY" weightage="80" keywordseo="Sony-Pictures">Sony Pictures</keyword> Classics will be distributing the film in the US and that could have been another plus. The Good Road has one Oscar connection, though. Its sound designer Resul Pookutty has already won an Oscar for Slumdog Millionaire in 2009. 
 
Bottom line: Till date, only three <keyword id="143" type="CITY" weightage="100" keywordseo="Bollywood">Bollywood</keyword> movies made it to the nomination stage of the Oscar. These include Mehboob Khan’s Mother India (1957), <keyword id="7999" type="PERSON" weightage="60" keywordseo="Mira-Nair">Mira Nair</keyword>’s Salaam Bombay (1988) and <keyword id="17233" type="PERSON" weightage="60" keywordseo="Ashutosh-Gowariker">Ashutosh Gowariker</keyword>’s Lagaan (2001). The Good Road belongs to the art house pack, but going by the poor track record of other ‘arty’ films (Salim Ahamed’s Abu, Son of Adam in 2011, <keyword id="82569" type="PERSON" weightage="60" keywordseo="Anusha-Rizvi">Anusha Rizvi</keyword>’s Peepli Live in 2010 and <keyword id="33044" type="PERSON" weightage="60" keywordseo="Kalpana-Lajmi">Kalpana Lajmi</keyword>’s Rudaali in 1993), will Gollywood’s (a concoction of Gujarat and Bollywood) tryst with Oscar produce something more fruitful this time? Also, will it be possible for the Lunchbox team to push the movie at the Oscars even without the government’s backing? Let us wait and watch how ‘independent’ our independent cinema is in reality. 
 
With additional input from Agencies 
Image courtesy: Indiatimes

‘Good Road’ Tops India’s Oscar Race; Will ‘Lunchbox’ Get The Global Pie?

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Women’s Day Special: 10 Bollywood Movies That Celebrate Womanhood

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Lata Mangeshkar's over 70-year journey from travelling in BEST bus for singing break in the industry to melody queen of India

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‘Good Road’ Tops India’s Oscar Race; Will ‘Lunchbox’ Get The Global Pie?

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