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Paranoia on screen, from s gangster films to today’s cop TV serials.

John Russell Taylor ed. Herbert Blumer and Philip M. Singh is a shadowy kingpin who orders muggings and murders. Aar-Paar in particular nudged Hindi cinema in the direction of organized crime by having its hero participate, reluctantly, in a bank robbery, most likely based on the Lloyds Bank heist on Hornby Road, Mumbai. Some went ahead and got one. The Hollywood-influenced cigarettes-and-trench-coats film was on its way out by the early s.

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Colour had arrived, and this meant a new kind of thriller: less brooding, unconcerned with the rhythms of the street. But the upper-crust villain, dressed in bow tie and coat or bandhgala , issuing commands to his henchmen, not only survived the move to colour, but thrived.

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This figure would continue into the decade, but become campier, crazier—a possible influence of the Bond movies, in which was as constant as the North Star but the villains were distinguished by their weirdness. Meanwhile, Hollywood was moving on. With Mean Streets , Martin Scorsese showed it was possible to make a personal, even poetic film about street hoods.

The previous year, his friend Francis Ford Coppola had reinvented the crime syndicate film with The Godfather. Over in Mumbai, Vijay Anand was assembling a holy trinity of smarmy villainy—Prem Nath, Prem Chopra and Ajit—for Chhupa Rustam , a film with all the inherent danger of a pillow fight. The Hindi film villain was stuck, and the gangster was nowhere in sight. There was one significant change, though.

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Varadarajan Mudaliar, from Tamil Nadu, manoeuvred his way into the alcohol business in Mumbai. Kamal Haasan played him as Velu Naicker in Nayakan Mastan was fascinated by the film world; he married a starlet and was seen in public with stars like Dilip Kumar.

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He even financed a couple of movies. Hindi cinema began to attract blood money. Commercial Hindi film in the s is usually dismissed as uninspired and crude, a cinematic wasteland separating the socially committed s and the youthful s. Subhash Ghai, J. Dutta and Rahul Rawail showed flashes of style beyond the capabilities of the more workmanlike directors of the s.

Between their extravagant commercial films and the grittier visions of parallel cinema, the gangster film gathered steam.

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In a larger sense, Ardh Satya also showed how the Hindi gangster film of the future might look, sound and feel: spare, shorn of glamour, engaged with the city at the ground level, flawed characters negotiating an unsympathetic universe. This brings us to the birth of the modern Hindi gangster film. Gone were the camp thrills, the bodies flying through the air. Here, for the first time, were films which gave you a real sense of the Mumbai underworld and the people who ran it. Karan vows revenge, even as a frantic Kishen tries to talk Anna out of killing his brother.

Something just felt different. Chopra, along with cinematographer Binod Pradhan and editor Renu Saluja, drew on the paranoid American cinema of the s to create an atmosphere both burnished and unsettled. When a character shoots himself in the factory, the whirring machinery slices the light into jagged patterns typical of noir cinema. Unlike Parinda , which frequently finds itself on greatest film shortlists, Hathyar— about the gradual slide into hard crime of a young man, Avi Sanjay Dutt —is largely forgotten today.

Avi takes the local train; Karan and Kishen drive around in cars. One musical sequence in Parinda involves the cooking of dinner. In Hathyar , Avi ends up killing someone over food. It was in the s that the Mumbai underworld seemed to come above ground—a system unto itself, complicated and often malfunctioning, like the local trains or the municipality.

Shoot-outs and extortions made the front pages; criminals and cops alike were profiled as stars.

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