26/08/2025
Hrishikesh Mukherjee, an auteur in the truest sense, had a distinctive approach to filmmaking that set him apart in the Indian film industry. His films, often described as'middle cinema', straddled the line between commercial entertainment and serious cinema, capturing the nuances of everyday life with a simplicity that spoke volumes.
Hrishikesh Mukherjee, fondly remembered as Hrishi-da, was born on September 30, 1922, in Calcutta. Mukherjee was a chemistry graduate and was teaching math and science in a school before turning his focus towards the creative field. He learnt the technicalities of the film industry and made a name for himself first as a film editor and later as a cameraman. He first worked for the Calcutta-based film studio, New Theatre, before moving to Bomaby. In Bombay he worked as an assistant to the legendary Bimal Roy.
It was with him that he acquired the sensibilities of the Bimal Roy school of filmmaking and the nitty-gritty gritties of storytelling. The influence of Bimal Roy shaped his approach, which was grounded in realism, focussing on the Indian middle class and their daily struggles and joys. Throughout his career, he remained true to stories that were relatable, often drawing from the lives of ordinary people rather than larger-than-life characters. His films were characterised by their narrative clarity, emotional depth, and subtle humour, which allowed audiences to see a reflection of their own lives on the screen.
Mukherjee's directorial debut, "Musafir (1957)," though not a commercial success, laid the foundation for a career that would span over four decades, during which he directed 42 films. Musafir was an experimental film, not only by its subject matter but also in its narrative style. Devided into three separate episodes, Marriage, Birth, and Death, the story was linked by the house where they were set.
His second film, Raj Kapoor-Nutan starrer "Anari (1959)," won five Filmfare Awards and brought him into the limelight. Mukherjee's films are celebrated for their simplicity, charm, and ability to capture the essence of the Indian middle class. His storytelling was straightforward yet profound, often weaving humour and drama seamlessly. His films often explored the lives of the Indian middle class with humour and empathy, creating a genre that was unique. Let's look at some of his films.
Anuradha (1960): This film tells the story of a doctor's wife, played by Leela Naidu, who sacrifices her own dreams of being a singer for the morals of her husband (Balraj Sahni'). It's a poignant tale of love and loss, featuring soulful soundtracks by Pandit Ravi Shankar.
Asli-Naqli (1962): Through the story of a rich man posing as a pauper to find true love, this film critiques materialism and highlights the value of genuine relationships. The film stars Dev Anand and Sadhana and has music by Shankar Jaikishen.
Anupama (1966): This film delves into the complex relationship between a father and daughter, exploring themes of love and neglect. It's noted for its lyrical storytelling and powerful performances by Sharmila Tagore, Dharmendra, Tarun Bose, Shashikala, and Deven Verma.
Aashirwad (1968): Mukherjee examines the themes of redemption and familial bonds as a father seeks forgiveness from his estranged daughter. The film is remembered for the powerful performance by Ashok Kumar as well as its songs like "Rail Gaadi Chhuk Chhuk Chhuk Chhuk" and "Naav chali" by Ashok Kumar.
Satyakam (1969): Often considered one of Mukherjee's finest works, this film deals with the struggle of maintaining personal integrity in a corrupt world. It tells the story of a principled man, Satyapriya 'Sath' Acharya, portrayed by Dharmendra, a man unwavering in his adherence to truth. The narrative follows his journey as he grapples with the moral decay around him, striving to live by his principles in a world that often rewards dishonesty.
Guddi (1971): A charming tale of a schoolgirl's infatuation with a film star, this film also serves as a critique of the influence of cinema on society.
Anand (1971): In the film starring Rajesh Khanna and Amitabh Bachchan, Mukherjee explored the theme of impending death with a protagonist who chooses to live his remaining days with joy and laughter. The film's humour does not detract from the seriousness of the subject; instead, it adds a layer of poignancy.
Bawarchi (1972): A heartwarming story about a cook played by Rajesh Khanna, who brings joy and harmony to a dysfunctional family.
Abhimaan (1973): Exploring the complexities of marital relationships and professional rivalry, this film features stellar performances by Amitabh and Jaya Bachchan and a memorable soundtrack.
Namak Haraam (1973): A drama that explores themes of friendship, class conflict, and industrial strife, showcasing Mukherjee's ability to handle serious subjects with nuance. The film pitched Rajesh Khanna and Amitabh Bachchan as friends who find themselves in a situation where they have to choose between friendship and their morals.
Mili (1975): This touching narrative revolves around a vivacious girl (Jaya Bachchan) suffering from a terminal illness, highlighting the themes of love and life's fleeting nature.
Chupke Chupke (1975): Considered one of the finest comedies of Indian cinema, the classic film is beloved for its humorous take on language and premise of mistaken identities. The film is a commentary on the pretences and facades people maintain in society. The film's characters, Parimal Tripathi (Dharmendra), Sukumar (Amitabh), Sulekha (Sharmila Tagore), Vasudha (Jaya Bacchan), Raghav Bhaiyya (Om Prakash), Prashant (Asrani), Haripad Bhaiyya (David), and D'costa (Keshto), are still fab favourites after almost five decades.
Gol Maal (1979): One of the most iconic comedies in Indian cinema, this film's take on employment and identity has entertained audiences for generations. The film is remembered for the antics of "moustache-loving" Bahwani Shankar (Utpal Dutt) and his employee with fake moustaches, Ramprasad, played by Amol Palekar.
Khubsoorat (1980): This film is a delightful comedy that pits the free-spirited protagonist (Rekha) against the strict matriarch of a household, Deena Pathak.
Hrishikesh Mukherjee's films are renowned for their unique blend of humour and depth, a balance that has made his work timeless and relatable across generations. His use of humorous one-liners and dialogues, which were sharp and witty, often laced with satire and irony. Mukherjee's mastery of balancing these elements can be attributed to his profound understanding of the subtleties of human behaviour and relationships. He had the exceptional ability to find humour in ordinary situations without undermining the gravity of the underlying themes.
Some of his other notable works include "Chhaya (1961)," "Memdidi (1961)," "Aashiq (1962)," "Saanjh Aur Savera (1964)," "Gaban (1966)," "Majhli Didi (1967)," "Buddha Mil Gaya (1971)," "Chaitali (1975)," Arjun Pandit (1976)," "Naukri (1978)," "Jurmana (1979)," "Gol Maal (1979)," "Naram Garam (1981)," "Bemisal (1982)," Rang Birangi (1983)," "Jhoothi (1985)," "Namumkin (1988)," and "Jhooth Bole Kauwa Kaate (1998)." These films not only entertained but also addressed social issues and human emotions with sensitivity and wit.
He was known for his unique casting choices and for bringing out the best in actors, often casting them against type. The top actors who worked extensively with Mukherjee were Dharmendra, Rajesh Khanna, and Amitabh Bachchan. Mukherjee cast them in roles that were in stark contrast to their images, adding several layers to their acting portfolios. He also worked repeatedly with Raj Kapoor, Sadhana, Amol Palekar, Sanjeev Kumar, and Biswajit.
Mukherjee's films often featured actors like Ashok Kumar, David, Om Utpal Dutt, Sharmila Tagore, Jaya Bhaduri, Rekha, and Asrani in significant roles, creating a repertoire of artists who understood his vision and brought his stories to life with authenticity and grace.
The themes Hrishikesh Mukherjee explored were diverse yet interconnected, often revolving around human values, societal norms, and personal relationships. He had a unique ability to weave complex moral and ethical questions into his narratives without being preachy. His films frequently addressed the importance of integrity, the strength of character, and the beauty of simplicity.
One recurring theme in Mukherjee's work was the exploration of the individual's journey towards responsibility in a flawed world. His characters often faced moral dilemmas, and through their journey, Mukherjee subtly commented on the broader social and cultural issues of the time. Films like "Satyakam," "Anupama," "Ashirwad," and "Namak Haram" are prime examples of this, where the protagonists navigate through personal and societal challenges to uphold their values.
Another significant theme was the relationship between fantasy and reality. Mukherjee skilfully used humour and satire to comment on the escapism offered by cinema and the impact it had on society. "Guddi," for instance, is a meta-commentary on the film industry itself, told through the eyes of a young girl infatuated with a movie star.
Mukherjee also delved into gender relations and the dynamics within conservative societies. His female characters were often strong-willed and complex, challenging the traditional roles assigned to them. Films like "Anuradha," "Mili," "Khubsoorat," and "Abhimaan" explore these themes, showcasing the struggles and triumphs of women in a patriarchal setup.
Performance, or 'naatak-baazi', as a revelation of character was another motif in his films. Mukherjee used the act of performance, both literal and metaphorical, to reveal deeper truths about his characters. "Chupke Chupke" is a brilliant example, where the act of disguise and role-play leads to humorous situations while also shedding light on the characters' true selves.
Hrishikesh Mukherjee's cinema was a reflection of his personality—simple, unassuming, and profound. Through his films, he contributed to the shaping of a cinematic language that was uniquely Indian, one that celebrated the beauty of simplicity and the strength of storytelling.
His contributions to Indian cinema were recognised with several awards, including the prestigious Dada Saheb Phalke Award in 1999 and the Padma Vibhushan in 2001.
Mukherjee also served as the chairman of the Central Board of Film Certification (CBFC) and the National Film Development Corporation (NFDC), influencing the direction of Indian cinema.
On the personal front, Mukherjee was the proud father of five children: Pradip, Sandeep, Jaishree Banerjee, Rajshri Bhattacharya, and Surashree Chatterjee. Hrishikesh Mukherjee passed away on August 27, 2006, but his legacy lives on through his films, which continue to be loved and celebrated for their heartfelt storytelling and timeless appeal.
