SUJATA (1959) (All Time Top 99 Best Hindi Films)

Sujata is a romance between a Brahmin young man, Adheer (Sunil Dutt) and an untouchable woman, Sujata (Nutan). The movie has Dr. B. R. Ambedkar's fight against untouchability and the myth of Chandalika in Buddhism as its subtexts on the basis of which it tries to criticize the practice of untouchability in India.

Brahmin couple Upen and Charu bring up the orphaned Sujata. Although Upen is fond of the adoptive child, his wife Charu and mother can never fully embrace Sujata because she is an untouchable. They never fail to remind Sujata that she doesn't belong amongst Brahmins. One day, Upen's wife falls down the stairs and is rushed to the hospital. The doctors tell the family that in order to save Charu, they need blood of a rare group. Only Sujata's blood matches, and she willingly donates blood. When Upen's wife knows that her life was saved by Sujata, she realizes her mistakes and accepts her as her daughter. Sujata and Adheer are finally married.

Sujata Songs

Jalte Hain Jiske Liye Teri Aankhon Ke Diye
Kaali Ghata Chhaye Mora Jiya Tarsaaye
Bachpan Ke Din Bhi Kya Din The
Tum Jiyo Hazaaron Saal, Saal Ke Din Ho Pachaas Hazaar
Suno Mere Bandhu Re, Suno Mere Mitwa
Nanhi Kali Sone Chali Hawa Dheere Aana
Andhe Ne Bhi Sapne Dekha Kya Hai Zamaana... Waah Bhai Waah

BAIJU BAWRA (1952) (All Time Top 99 Best Hindi Films)

Baiju Bawra is an award-winning 1952 Hindi movie directed by Vijay Bhatt. It stars Bharat Bhushan and Meena Kumari. The movie is based on the legend of Baiju Bawra from the days of Mughal Emperor Akbar in India. Baiju (Bhushan) is the son of a musician who also grows up to be a musician. He comes to believe that Tansen, the famed musician at the court of Akbar, is responsible for his father's death. The movie then follows Baiju's attempt to avenge his father's death by challenging Tansen to a musical duel. The film was both a commercial and critical success and catapulted both its lead actors into stardom. Meena Kumari went on to win the first-ever Filmfare Best Actress Award in 1954, the first of four Best Actress trophies she won in her career. The film's music director, Naushad, also received the inaugural Filmfare Best Music Director Award for the song "Tu Ganga Ki Mauj"; this was Naushad's first and only Filmfare Award win. BAIJU

PYAASA (1957) (All time Top 99 Best Hindi Films)

Pyaasa (English: The Thirsty) is a 1957 Indian film produced and directed by Guru Dutt. The film tells the story of struggling poet, Vijay (Guru Dutt), trying to make his works known in post-independence India. Gulabo (Waheeda Rehman in her first major leading role in Hindi cinema), a prostitute with a heart of gold, eventually helps him get his poems published. The music was composed by S.D. Burman. With the commercial success of thrillers like Baazi, Jaal, Aar Paar and C.I.D. as well as comedies like Mr. & Mrs. '55, Guru Dutt and his studio were financially secure and established. From 1957, he could now make movies he really wanted to make, including Pyaasa. In 2002, Pyaasa was ranked at #160 on the Sight & Sound critics' and directors' poll of all-time greatest films. In 2005, Pyaasa was rated as one of the 100 best films of all time by Time Magazine, which called it "the soulfully romantic of the lot." Indiatimes Movies ranks the movie amon

DO AANKHE BARAH HAATH (1957) (All time Top 99 Best Hindi Films)

The film was inspired by the story of an ' open prison ' experiment Swatantrapur in the princely state of Aundh near Satara . Now Swatantrapur is part of Atpadi tehsil in Sangli district of Maharashtra. It was recounted by screenwriter G. D. Madgulkar to V. Shantaram. In 2005, Indiatimes Movies ranked the movie amongst the Top 25 Must See Bollywood Films . During the filming V. Shantaram battled with a bull and he hurt his one eye during the stunt, though his eyesight survived. The film was later remade in 1975 in Tamil as Pallandu Vazhga starring M.G. Ramachandran and Latha , and in 1976 as the Telugu color film Maa Daivam starring N.T. Rama Rao and Jayachitra . Do Aankhen Barah Haath makes you want to believe in the innate decency of all human beings. And for how many films can one say that? Despite being a message film, it doesn't lapse into dull didacticism but remains cinematically alive throughout. The scene where one o

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