Following India's independence, the period from the late 1940s to the 1960s are regarded by film historians as the "Golden Age" of Hindi cinema.Following India's independence, the period from the late 1940s to the 1960s are regarded by film historians as the "Golden Age" of Hindi cinema. Some of the most critically-acclaimed Hindi films of all time were produced during this period. Examples include the Guru Dutt films "Pyaasa" (1957) and "Kaagaz Ke Phool" (1959) and the Raj Kapoor films "Awaara" (1951) and "Shree 420" (1955). These films expressed social themes mainly dealing with working-class urban life in India; "Awaara" presented the city as both a nightmare and a dream, while "Pyaasa" critiqued the unreality of city life. Some of the most famous epic films of Hindi cinema were also produced at the time, including Mehboob Khan's "Mother India" (1957), which was nominated for the Academy Award for Best Foreign Language Film, and K. Asif's "Mughal-e-Azam" (1960). V. Shantaram's "Do Aankhen Barah Haath" (1957) is believed to have inspired the Hollywood film "The Dirty Dozen" (1967). "Madhumati" (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularized the theme of reincarnation in Western popular culture. Other acclaimed mainstream Hindi filmmakers at the time included Kamal Amrohi and Vijay Bhatt. Successful actors at the time included Dev Anand, Dilip Kumar, Raj Kapoor and Guru Dutt, while successful actresses included Nargis, Meena Kumari, Nutan, Madhubala, Waheeda Rehman and Mala Sinha.
While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a new Parallel Cinema movement. Though the movement was mainly led by Bengali cinema, it also began gaining prominence in Hindi cinema. Early examples of Hindi films in this movement include Chetan Anand's "Neecha Nagar" (1946) and Bimal Roy's "Two Acres of Land" (1953). Their critical acclaim, as well as the latter's commercial success, paved the way for Indian neorealism and the "Indian New Wave". Some of the internationally-acclaimed Hindi filmmakers involved in the movement included Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam Benegal and Vijaya Mehta.
Ever since the social realist film "Neecha Nagar" won the Grand Prize at the first Cannes Film Festival, Hindi films were frequently in competition for the Palme d'Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival. Guru Dutt, while overlooked in his own lifetime, had belatedly generated international recognition much later in the 1980s. Dutt is now regarded as one of the greatest Asian filmmakers of all time, alongside the more famous Indian Bengali filmmaker Satyajit Ray. The 2002 "Sight & Sound" critics' and directors' poll of greatest filmmakers ranked Dutt at #73 on the list. Some of his films are now included among the greatest films of all time, with "Pyaasa" (1957) being featured in Time magazine's "All-TIME" 100 best movies list, and with both "Pyaasa" and "Kaagaz Ke Phool" (1959) tied at #160 in the 2002 "Sight & Sound" critics' and directors' poll of all-time greatest films. Several other Hindi films from this era were also ranked in the "Sight & Sound" poll, including Raj Kapoor's "Awaara" (1951), Vijay Bhatt's "Baiju Bawra" (1952), Mehboob Khan's "Mother India" (1957) and K. Asif's "Mughal-e-Azam" (1960) all tied at #346 on the list.
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