Alia Bhatt: Ultimate movie countdown of Bollywood’s crown princess
Eastern Eye ranks all of Alia Bhatt's films, based on her performance and just how good (or not) each one is
By Asjad NazirJul 28, 2023
THERE is enough evidence to back up the theory that Alia Bhatt is the number one leading lady in Bollywood right now.
She headlines this week’s big Bollywood release Rocky Aur Rani Kii Prem Kahaani and then makes her Hollywood debut in action thriller Heart of Stone, which has a Netflix world premiere on August 11. The big budget back-to-back blockbusters in contrasting genres show off the remarkable range of the actress and demonstrate just how much in demand she is.
Eastern Eye used both worldwide blockbusters as a perfect excuse to rank all of Alia Bhatt’s films, based on her performance and just how good (or not) each one is. (The countdown doesn’t include cameos or her small supporting role in RRR).
16. Sadak 2(2020): The idea of starring in a sequel to 1991 film Sadak and teaming up with her legendary director father Mahesh Bhatt may have seemed like a great one, but it turned out to be the worst choice Alia has made. Whether it was the silly storyline, poor performances or outdated direction, nothing worked about this absolute stinker. Sadak 2 (above) crashed at the box office and its trailer became one of the most disliked videos in YouTube history.
15. Shaandaar (2015): The romantic comedy couldn’t make use of the crackling chemistry between Alia and her leading man Shahid Kapoor because of the incredibly poor writing. Instead of having any kind of cohesive storyline, it was more like a series of silly sketches and didn’t really make much sense. Not surprisingly, the film flop was quickly forgotten by audiences.
14. Kalank (2019): A huge budget, big star cast, stunning songs, superb cinematography, great costumes, and the backing of a major production house weren’t able to stop this period romantic drama (bottom left) from being a colossal disaster. Although visually stunning, terrible writing dragged the tedious drama into a dark hole. In terms of expectations, it is the biggest disappointment of her career so far.
13. Student of the Year (2012): The movie (above) will be remembered for introducing Varun Dhawan, Sidharth Malhotra and Alia, but very little else. The story of students quickly turned into a forgettable fare after the initial excitement died down. But it did show that the actress had star potential and kick-started an amazing cinema journey, with her being the most successful of the three newcomers launched.
12. Highway (2014): A film that divided audiences showed the young star had real calibre as an actress. Alia’s second film as a lead saw her play a young woman, who forms an unlikely bond with her kidnapper. She gained multiple Best Actress nominations for the challenging role and showed great screen presence. But as a movie with entertainment or repeat value, for many it fell short and had questionable messaging.
11. Badrinath Ki Dulhania (2017): The spiritual sequel to Humpty Sharma Ki Dulhania (2014) teamed up Alia with Varun Dhawan again, in another marriage set romantic comedy (bottom left). The film attempted to take a deeper dive into other issues like a woman’s right to choose career ahead of marriage. It was a little too fractured and couldn’t match the charm of the first film. But it did do decent business in cinemas and Alia was applauded for her performance.
10. 2 States (2014): The romantic comedy drama based on a best-selling book revolved around two young people who fall in love and overcome challenges generated by their different cultural backgrounds. The actress owns every scene in the relatable drama, which largely connected with audiences, without hitting top gear.
9. Darlings (2022): The actress made her debut as a producer with this dark comedy (above), which had a Netflix streaming site premiere. The story of a young housewife, teaming up with her mother to take revenge on an abusive husband offered audiences something different. It was too stretched out in places, but standout performances and the unique subject made it compelling.
8. Humpty Sharma Ki Dulhania (2014): The old school romance may have gone
down a tried and tested story troupe of an engaged woman, falling in love with another man, but it had plenty of entertainment value. That was largely due to the crackling chemistry between Alia and Varun Dhawan, along with great music. The tribute to Dilwale Dulhania Le Jayenge would be a commercial success.
7. Brahmastra: Part One – Shiva (2022): The superhero movie (above) took a long time to make and despite clocking up big box office numbers, it didn’t quite meet up to expectations. Alia played the love interest in the story of a young man, who discovers he has superpowers rooted in ancient tradition and goes on a collision course with dark forces. The stunning special effects helped Hindi cinema cross a new horizon. But the plans for a trilogy seem to have collapsed.
6. Kapoor & Sons (2016): Although this film was very much about two sons in a dysfunctional family, dealing with their own respective issues, the actress provided a perfect counterbalance with her character. She is brilliant in the critically acclaimed film, offering audiences something new, including a standout turn from Fawad Khan as son hiding his homosexuality.
5. Udta Punjab (2016): The versatile actress completely transformed herself for this crime drama (above), which had unconnected stories centred around the themes of drugs. She delivers one of the finest performances of her career as a young labourer, who is physically and sexually abused by gangsters. The brutal, brave, and brilliant performance stood out in an important movie, which also starred Shahid Kapoor, Diljit Dosanjh and Kareena Kapoor Khan.
4. Gully Boy (2019): The musical (above), was about an aspiring rapper from the Mumbai slums, played by Ranveer Singh. But Alia added an extra dramatic layer as his feisty girlfriend and won multiple Best Actress awards. The award-winning movie took her into a new zone and was also selected as India’s entry for the Best International Feature Film at the 92nd Academy Awards, but not nominated.
3. Raazi (2018): The cross-border spy drama (above) was a cracking big screen adaptation of Harinder Sikka’s acclaimed 2008 novel Calling Sehmat. The actress took centrestage in the story of a woman who marries a Pakistani military officer and relays information to India, prior to the 1971 war between the two countries. She won multiple Best Actress awards and even generated a popular meme.
2. Dear Zindagi (2016): The coming of age drama (above) may have been nominated for multiple awards, but it perhaps didn’t get the credit it deserved. The story of a young woman who gets a new perspective on life with the help of a psychologist had a lot of relatable moments and an ultimately uplifting message of hope. The fact that a lot of leading men, including Shah Rukh Khan, played supporting roles spoke volumes about Alia’s talent and the film’s important subject matter.
1.Gangubai Kathiawadi (2022): In terms of story, setting, direction, cinematography, taking centrestage and performance, this movie is arguably the finest of Alia’s career. She takes on the title role in the story based on true events of a young woman who is sold into a brothel and rises up to become a powerful figure in the Mumbai underworld. She won multiple Best Actress awards for the Sanjay Leela Bhansali directed drama and showed there isn’t a young star in Hindi cinema who can shine as brightly as her.
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.