Quick Facts
Also called:
Hrithik Rakesh Nagrath
Born:
January 10, 1974, Bombay [now Mumbai], India
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Hrithik Roshan (born January 10, 1974, Bombay [now Mumbai], India) is an Indian actor known for his work in Bollywood films. Roshan first appeared on screen as a child actor in the 1980s before making his debut as a lead actor in the Hindi film Kaho Naa…Pyaar Hai (“Say It…You Are in Love”) in 2000. The film’s success catapulted him to fame. His subsequent box office hits, several of which were directed by his father, Rakesh Roshan, made him a household name in India. Hrithik Roshan has won several acting awards and is known for his action roles as well as his dancing skills. He is one of India’s highest-paid actors.

Early life and family

Hrithik Roshan was born into a Bollywood family. His maternal grandfather, J. Om Prakash, was a film producer and director. His paternal grandparents, Roshan Lal Nagrath (known mononymously as Roshan) and Ira Roshan, as well as his paternal uncle Rajesh Roshan have all composed music for Bollywood films. His father, Rakesh Roshan, is also a Bollywood actor, as well as a director and producer. Hrithik Roshan’s first screen appearance was in an uncredited dance sequence in the 1980 Hindi film Aasha (“Hope”), directed by Prakash. Roshan made several more such uncredited appearances before his first credited role, in the 1986 Hindi film Bhagwaan Dada (“Brother Bhagwaan”), again directed by Prakash.

“My thumb used to repel people in school. Today I am posting it to millions like you who I know are just like me. Beautifully imperfect. Thank you God for this wonderful life. Make your weaknesses your strength. Be proud. You are beautiful. Trust me.” —Roshan on his Facebook page in 2014

Roshan faced several struggles in his childhood. He was born with an extra thumb on one hand, which led his fellow students to avoid him at school. Later, after becoming a star, he wrote about accepting his impairment and rising above it. In addition, Roshan was treated for stuttering, which persisted into his teenage years. In 2008 he inaugurated a speech and audio therapy wing for children at the Nanavati Hospital in Mumbai, where he had been treated. A severe back problem at the age of 21 left him unable to perform stunts or dance, but he recovered a year later. He assisted his father on his film projects while studying acting, martial arts, and dance.

Roshan was married to interior designer Sussanne Khan, the daughter of former Bollywood actor Sanjay Khan, from 2000 to 2014; they have two sons. Roshan launched the casual wear brand HRx in 2013; it reached 1,000 crore rupees (approximately $118 million) in revenue in 2024.

Career as a lead actor

Hrithik Roshan’s Bollywood journey began with a behind-the-scenes position on Karan Arjun (1995), starring Shah Rukh Khan and Salman Khan. Roshan, who worked as an assistant director, later wrote at length about his experiences on set and the lessons in the craft of acting he received by observing the two Khans at work. A few years after the release of Karan Arjun, Roshan was cast in a lead role for the 2000 Hindi film Kaho Naa…Pyaar Hai, directed by his father. His impending debut prompted Roshan to spend a few months working on his physique. The movie starred him in a dual role alongside fellow debutant Ameesha Patel, and it became a blockbuster, making him famous overnight. Roshan’s next two films, Fiza and Mission Kashmir (both 2000), featured him in supporting roles, as a conflicted and morally complex character who turns to terrorism in each case; both films were commercially successful.

Roshan followed up his success with the critically panned Yaadein (2001; “Memories”) followed by the superhit film Kabhie Khushi Kabhie Gham (2001; “Sometimes Happiness, Sometimes Sadness”), which featured an all-star ensemble cast that included Bollywood stars Amitabh Bachchan, Shah Rukh Khan, Kajol, and Kareena Kapoor Khan. His next few films, such as Aap Mujhe Achhe Lagne Lage (2002; “I Have Started to Like You”) and Main Prem Ki Diwani Hoon (2003: “I Am Crazy About Prem”) were not as successful.

The Krrish franchise

Roshan tasted success again with another film directed by his father, the 2003 science-fiction Hindi feature Koi…Mil Gaya (“Someone Has Been Found”). He starred as a man with developmental impairments who makes contact with an alien he names Jadoo (“Magic”) and acquires superpowers. The film was a spectacular hit and won numerous awards. It sparked a franchise, which includes two more popular movies, Krrish (2006) and Krrish 3 (2013). The second and third movies costarred Priyanka Chopra Jonas. Hrithik played a dual role in both films, portraying the titular superhero as well as the character’s father, the latter having been his original role from Koi…Mil Gaya. A fourth movie, Krrish 4, is in the works.

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Partnership with Aishwarya Rai Bachchan and others

Hrithik Roshan’s other popular roles have included those of a good-natured but aimless man who matures after joining the Indian Army in Lakshya (2004; “Goal”), an antagonist who is an international thief in the action thriller Dhoom 2 (2006; the second film in a hugely successful heist trilogy titled Dhoom or “blast”), and the Mughal emperor Akbar in the period drama Jodhaa Akbar (2008). In the latter two films, he played opposite Aishwarya Rai Bachchan. They starred in a third film, Guzaarish (2010; “Last Request”), in which Roshan was praised for his portrayal of a person with quadriplegia who seeks to be euthanized.

Roshan played a leading role in the 2011 road trip film Zindagi Na Milegi Dobara (“You Won’t Get Another Life”), set in Spain and costarring Katrina Kaif. In 2012 he starred as the revenge-seeking antihero in Agneepath (“Path of Fire”), a remake of the iconic 1990 Bachchan film of the same name. In 2017 Roshan earned praise for his portrayal of a blind artist seeking to avenge his wife’s assault and murder in Kaabil (“Capable”). Two years later he performed in Super 30, playing a fictionalized version of Anand Kumar, a mathematician famed for his successful Super 30 program, which trains select aspirants for the highly competitive Indian Institute of Technology (IIT) entrance exam.

Yash Raj spy universe

In 2019 Roshan also starred as a secret agent in War, set in a spy universe created by the producers from Yash Raj Films. The spy universe contains interconnected films starring Shah Rukh Khan and Salman Khan; a sequel to War is to be released in 2025. Roshan received rave reviews for his performance as a gangster being questioned by the police in the 2022 crime thriller Vikram Vedha, a Hindi remake of a critically acclaimed Tamil film of the same name. In 2024 he starred in the big-budget Fighter opposite Deepika Padukone.

Reputation as a dancer

Roshan has exceeded expectations in an industry that is heavily dependent on song and dance sequences for the success of its films and stars. He is particularly well known for his accomplishments as a dancer, and his films often showcase his talents in a hero dance sequence. His dancing has been praised by critics, fans, and the media. His most famous dance numbers include “Ek Pal Ka Jeena” (“We Live for a Moment”) from Kaho Naa…Pyaar Hai, “Dhoom Again” from Dhoom 2, “Main Aisa Kyun Hoon” (“Why Am I Like This?”) from Lakshya, “You Are My Soniya” from Kabhi Khushi Kabhie Gham, “Señorita” from Zindagi Na Milegi Dobara, and “Ghungroo” (“Ankle Bells”) and “Jai Jai Shiv Shankar” (“Praise to Shiv Shankar”) from War. Roshan has performed at concerts and other events as well. In 2011 he served as a judge on the dance reality show Just Dance.

Awards and other recognition

Hrithik Roshan has won several acting awards, including four Filmfare Awards for best actor. The first of his awards was the Filmfare Award for best debut actor, for his work in Kaho Naa…Pyaar Hai. In addition, he won the Filmfare critics award for best actor for his performance in Koi…Mil Gaya. He has also won the Nickelodeon Kids’ Choice Award for favorite dancing star multiple times, showing his popularity across age groups. He has been voted Sexiest Asian Man in the World in a survey by the Eastern Eye Weekly three times, and wax statues of him have been unveiled at the Madame Tussaud’s museums in London and Washington, D.C.

Legal battle with Kangana Ranaut

In 2016 Roshan became entangled in a complicated legal battle with Bollywood actress Kangana Ranaut, his costar in the films Kites and Krrish 3, over a disputed romantic relationship: Ranaut claimed they had had one; Roshan said they had not. The conflict began when Ranaut referred to “silly exes” in an interview on the entertainment portal Pinkvilla. Roshan and Ranaut had been linked by the media when they worked together on Krrish 3 in 2013; Roshan was married at the time. Though Ranaut did not explicitly identify him as an ex in the interview, Roshan sent Ranaut a legal notice in February 2016, asking her to apologize and accusing her of cyberstalking and harassment. Ranaut responded with a counter-notice asking Roshan to withdraw his notice or face criminal charges.

The situation escalated when Roshan’s lawyer claimed that Ranaut had sent Roshan more than 1,400 emails; she then alleged that Roshan had hacked into her account. Over the next year the former costars exchanged increasingly acrimonious accusations in the media, especially on social media, dividing public opinion and opinion within the Bollywood community. Roshan filed an official police complaint about having been impersonated, alleging that an imposter had been exchanging emails with Ranaut. The case was transferred to the Crime Intelligence Unit of the Mumbai Police in 2020.

Sanat Pai Raikar
Quick Facts
Also called:
Hindi film industry
Date:
c. 1930 - present
Areas Of Involvement:
film

Bollywood, Hindi-language film industry based in Mumbai (formerly Bombay). Bollywood, a portmanteau combining Bombay and Hollywood, is the largest component of the Indian moviemaking industry, which began in the 1930s and developed into an enormous film empire. Bollywood productions are known for their emotional appeal, spectacular use of music and dance, and contribution to Indian popular culture.

(Read Martin Scorsese’s Britannica essay on film preservation.)

Early years

Very little is known about early cinematic achievements in India, but pioneering filmmaker Dadasaheb Phalke’s Raja Harishchandra (1913; “King Harishchandra”) is thought to be the first feature-length film produced in the country. Sound arrived in 1931 with the release of the first talkie, the Hindi-language Alam Ara (“Light of the World”). From then on, Indian filmmaking diverged into several regional offshoots in languages other than Hindi, such as Tamil, Telugu, and Bengali. After early experiments in silent film, the studio Bombay Talkies, launched in 1934 by actor, director, and producer Himanshu Rai, spearheaded the growth of Hindi cinema. Rai partnered with filmmaker Sasadhar Mukherjee, and, under their stewardship, Bombay Talkies created some of Bollywood’s early milestone moments and also its first star pairing—Rai’s wife, Devika Rani, and Mukherjee’s brother-in-law, Ashok Kumar. During these early experimental years, Bombay Talkies produced a series of social dramas, such as Jeevan Prabhat (1937; “Dawn of Life”), Achhut Kanya (1936; “Untouchable Maiden”), and Kismet (1943).

Chandigarh. Statuettes at the Rock Garden of Chandigarh a sculpture park in Chandigarh, India, also known as Nek Chand's Rock Garden. Created by Nek Chand Saini an Indian self taught artist. visionary artist, folk artist, environmental art
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The golden age (1940s–60s)

Hindi filmmaking grew exponentially after India achieved independence from British rule in 1947. Social realism was a common cinematic register during this period, with films such as Neecha Nagar (1946; “Lowly City”), Do Bigha Zamin (1953; “Two Bighas of Land”), and Naya Daur (1957; “The New Era”) reflecting the challenges and struggles of ordinary citizens in the newly independent country. Over the next two decades Bollywood produced social dramas, romantic films, and historical epics. Some of Indian cinema’s most critically acclaimed and enduring movies were made during this period, including Awaara (1951; “The Vagabond”), Aan (1952; “Pride”), Shree 420 (1955; “Mr. 420”), Pyaasa (1957; “Thirst”), and Mughal-e-Azam (1960; “The Great Mughal”).

Bollywood’s Top Male Stars

The era’s most popular male stars were Raj Kapoor, Dilip Kumar, and Dev Anand, each with his own distinctive screen style. Kapoor adopted a screen persona modeled on Charlie Chaplin’s the Little Tramp, Kumar was known for his method acting, and Anand had a unique set of physical and vocal mannerisms. Actresses Meena Kumari, Madhubala, and Nargis were the equals of their male counterparts in terms of stardom.

Rise of the superstar

The term superstar was first used in India to describe actor Rajesh Khanna, who was featured in 15 consecutive hits between 1969 and 1971 and was the subject of a countrywide fan frenzy that involved obsessive displays such as letters written to him in blood. Khanna dominated the late 1960s and early ’70s with films such as Aradhana (1969), Anand (1971), and Kati Patang (1971; “The Severed Kite”) and set the template for the modern Bollywood icon. The baton was passed in the ’70s to Amitabh Bachchan, whose epochal career redefined the film industry in several ways, including popularizing a new kind of action hero known as the “angry young man.”

The 1980s produced a series of potboilers, or masala movies, featuring action and melodrama and often employing an ensemble cast. Stars, rather than plots, were often the driving force behind the films. Two young actors made spectacular debuts at the end of the decade—Aamir Khan in Qayamat Se Qayamat Tak (1988; “From Apocalypse to Apocalypse”) and Salman Khan in Maine Pyar Kiya (1989; “I Have Loved”). Soon after, Shah Rukh Khan’s first film Deewana (1992; “Crazy”) was released, and he became a superstar with Dilwale Dulhania Le Jayenge (1995; “The Brave-Hearted Will Win the Bride”).

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The three Khans would rule the Bollywood charts for several decades, playing romantic and action leads well into the 2010s. They were also responsible for creating a new pop culture shorthand—Qayamat Se Qayamat Tak was the first film to become popularly known by an abbreviation, QSQT, a style subsequently followed for Shah Rukh’s Dilwale Dulhania Le Jayenge (DDLJ), Salman’s Hum Aapke Hain Koun..! (HAHK; “Who Am I To You?”; 1994), and other films. Shah Rukh Khan, also known as SRK by fans, is regarded as the last of the superstars.

Parallel cinema

As mainstream filmmaking of the late 1970s and ’80s prioritized commercial aspects over rich storytelling, a new wave of cinema emerged in Bollywood and other regional film industries. The parallel, or art house, cinema movement rejected the trappings of the masala movie and trained an acute lens on compelling social issues such as caste discrimination, communal harmony, poverty, gender equality, and class struggle. It was led by directors such as Mani Kaul (Uski Roti [1969; “Another’s Bread”], Duvidha [1973; “Dilemma”]), Shyam Benegal (Ankur [1974; “Seedling”], Nishant [1975; “Night’s End”], Bhumika [1977; “Role”]), and Govind Nihalani (Aakrosh [1980; “Outrage”], Ardh Satya [1983; “Half Truth”]). Operating on small budgets precluded the casting of stars (although a handful of the Bollywood elite, such as Rekha, did appear in new wave films). Some of Indian cinema’s most accomplished acting talents flourished during this period—Naseeruddin Shah, Om Puri, Shabana Azmi, Smita Patil, Amol Palekar, Farooq Shaikh, Deepti Naval, and Pankaj Kapur were leading lights of parallel cinema who would also take on more mainstream roles later and become stars in their own right.

The movement declined somewhat in the early 1990s but witnessed a resurgence with films such as Ram Gopal Varma’s Satya (1998; “Truth”) and Sudhir Mishra’s Hazaaron Khwaishein Aisi (2003; “A Thousand Wishes Like This”). Boundaries between commercial and parallel cinema have blurred since then, but the convergence of gritty themes and complex storytelling can be found in the work of contemporary filmmakers such as Vishal Bhardwaj, best known for his trilogy of Shakespeare adaptations—Maqbool (2003; adapted from Macbeth), Omkara (2006; adapted from Othello), and Haider (2014; adapted from Hamlet).

Bollywood in the 21st century

At the turn of the 21st century the Indian film industry—of which Bollywood remained the largest component—was producing as many as 1,000 feature films annually in all of India’s major languages and in a variety of cities, and international audiences began to develop among South Asians in the United Kingdom and in the United States. Standard features of Bollywood films continued to be formulaic story lines, expertly choreographed fight scenes, spectacular song-and-dance routines, emotion-charged melodrama, and larger-than-life heroes.

The new millennium was marked by several important behind-the-scenes developments. The studio system was gradually restructured, and film production companies increasingly functioned as corporate houses. Progress was made in the representation of women on-screen, with female-centric cinema starring actresses such as Vidya Balan growing in prominence. Issues such as the “casting couch” gained public attention—artists of both sexes spoke about being pressured to exchange sexual favors for roles. The Me Too movement, which became prominent in Hollywood in 2017, expanded to Indian cinema as well, leading to a reckoning within Bollywood’s power structures.

The rise of social media redefined celebrity culture with actors and actresses across generations embracing the increased access and visibility offered by photo-sharing platforms. New releases began to use social media to craft publicity campaigns. Paparazzi activity increased as film journalism and coverage of celebrity lives moved from magazines to online publications.

Genres and filmmaking elements

In addition to social dramas, biopics, and musicals, Bollywood is responsible for a number of thematic additions to the annals of world cinema. Genres typical to Bollywood include the curry western (Sholay [1975; “Embers”]) the courtesan film (Pakeezah [1972; “The Pure One”]), and the mythological drama (Jai Santoshi Maa [1975]). Popular plot devices of the potboiler era include mistaken identity (often involving an actor in dual or even triple roles), switched at birth, reincarnation, and separation at an event (most often the Kumbh Mela festival) followed by a reunion years later.

One of the defining characteristics of Bollywood productions is their effective use of music and dance. Film soundtracks and choreographed set pieces are often the engines that drive box-office results. Many of Bollywood’s most successful female stars have been skilled dancers; male stars are also expected to acquit themselves with distinction (some, such as Hrithik Roshan, have exceeded expectations). Composers, lyricists, playback singers (whose prerecorded songs underscore lip-syncing by the stars of the film), choreographers, and background dancers form a sizable micro industry within the Bollywood ecosystem.

Landmark films

By common consensus Sholay is the most iconic of all Bollywood productions, despite being derivative of Hollywood’s spaghetti westerns. A jigsaw of genres, Sholay is at once an action thriller, a buddy film, a romance, a musical, a tragedy, and a comedy. Directed by Ramesh Sippy and scripted by writers Salim Khan and Javed Akhtar (Salim-Javed), the film features characters that have become a cornerstone of Indian pop culture: the wisecracking guns for hire, Jai and Veeru; the feared bandit, Gabbar Singh; and the feisty horse and cart driver, Basanti. Sholay features some of the biggest names of the 1970s—Bachchan, Dharmendra, Hema Malini, Sanjeev Kumar, Jaya Bhaduri—and made a star of Amjad Khan, whose portrayal of Gabbar Singh is among Bollywood’s most celebrated performances.

The character of Gabbar Singh helped popularize other over-the-top villains played by actors who specialized in these roles; nobody exemplified this better than Amrish Puri, who played Mogambo in Mr India (1987) and became known to international audiences as the priest Mola Ram in Indiana Jones and the Temple of Doom (1984).

The golden age contributed acclaimed pieces of filmmaking such as Awaara, Pyaasa, Mother India (1957), and Mughal-e-Azam. Dilwale Dulhania Le Jayenge, still running in one Mumbai cinema decades after being released in 1995, is considered the definitive Bollywood entry on romance. Other landmark films include Deewaar (1975; “Wall”), Amar Akbar Anthony (1977), Lagaan (2001; “Tax”), and Gangs of Wasseypur (2012). Family melodramas such as Hum Aapke Hain Koun..! and Kabhi Khushi Kabhie Gham (2001; “Sometimes Happiness, Sometimes Sadness”) center on the notions of filial piety and loyalty and always have a happy ending. Two iterations of Devdas (1955, 2000) set the template of sweeping dramatic fare with a flawed hero and a tragic ending. Dil Chahta Hai (2001; “The Heart Desires”) gave the Bollywood landscape a facelift with a fresh and trendy approach to plot, dialogue, and film editing.

Prominent people

Over the years, each job in filmmaking has produced contributors who have added to the Bollywood calculus in myriad ways. Ardeshir Irani directed India’s first talkie, Alam Ara, and also produced the first indigenously-made color film, Kisan Kanya (1937). Bimal Roy (Do Bigha Zamin), Guru Dutt (Pyaasa), and B.R. Chopra (Naya Daur) set the early standard for quality filmmaking. Hrishikesh Mukherjee pioneered “middle cinema” with films such as Chupke Chupke (1975; “Quietly”) and Gol Maal (1979; “Trouble”), in which mainstream and art house elements intersect. Yash Chopra’s romantic films are considered groundbreaking, and he was also responsible for popularizing Indian cinema in an international market. His son, Aditya Chopra, is among the most influential filmmakers of 21st-century Bollywood, alongside Karan Johar, Rajkumar Hirani, and Sanjay Leela Bhansali.

The music industry, in particular, has produced some of Hindi cinema’s most admired talents—composers S.D. Burman and his son R.D. Burman, Naushad, and A.R. Rahman; lyricists Gulzar (also an acclaimed director), Majrooh Sultanpuri, and Sahir Ludhianvi; singers Lata Mangeshkar, her sister Asha Bhosle, Geeta Dutt, Muhammed Rafi, Hemant Kumar, Manna Dey, Mukesh, and actor-singer Kishore Kumar.

Women in Bollywood

Although Phalke made Raja Harishchandra in 1913 with male performers playing women, women began to make the most of the opportunities provided by the nascent film industry soon after. The first generation of actresses are now remembered as trailblazers; Devika Rani, for instance, was known not only for playing difficult roles, such as a backward caste woman, but also for Indian cinema’s first on-screen kiss. Sridevi is regarded as the first female superstar, matching the likes of Amitabh Bachchan in terms of star power.

Bollywood’s Top Female Stars
  • 1940s and earlier: Devika Rani, Suraiya, Zubeida, Sulochana, Kanan Devi, Shobhana Samarth
  • 1950s: Meena Kumari, Madhubala, Nargis, Mala Sinha
  • 1960s onwards: Waheeda Rehman, Asha Parekh, Vyjayanthimala
  • 1970s–80s: Hema Malini, Rekha, Zeenat Aman, Sharmila Tagore, Parveen Babi, Jaya Bhaduri, Dimple Kapadia
  • 1980s onwards: Sridevi, Madhuri Dixit, Juhi Chawla
  • 1990s: Kajol, Manisha Koirala, Karisma Kapoor, Raveena Tandon
  • 2000s: Aishwarya Rai Bachchan, Rani Mukerji, Preity Zinta, Kareena Kapoor Khan
  • 2010s–present: Deepika Padukone, Priyanka Chopra Jonas, Katrina Kaif, Vidya Balan, Anushka Sharma, Alia Bhatt

Women have made a lasting impact off camera as well—Fatma Begum (1892–1983), who made the 1926 film Bulbul-e-Paristan (“Songbird in Fairyland”), is considered the first woman director; Jaddanbai (1892–1949) the first woman composer, and Fearless Nadia (1908–66) the first female stunt artist. Later women filmmakers include Sai Paranjpye, Kalpana Lajmi, and Zoya Akhtar. Women are active in all aspects of filmmaking in contemporary Bollywood.

While there have been efforts to make the Hindi film industry an equal-opportunity workplace, it has failed to make any substantial progress in reducing the gender pay gap. Despite the high salaries commanded by female superstars such as Aishwarya Rai Bachchan, Deepika Padukone, Priyanka Chopra Jonas, and Alia Bhatt, they are often still paid significantly less than their male costars.

Partnerships

The essentially collaborative nature of filmmaking is best illustrated by the many successful professional partnerships in Bollywood’s shared history. Some of the most celebrated of these include writers Salim–Javed (Deewaar, Sholay), and composers Shankar–Jaikishan (Awaara, Shree 420), and Laxmikant–Pyarelal (Amar Akbar Anthony, Karz [1980; “Debt”]). Devika Rani and Ashok Kumar were the first popular jodi, or romantic pairing, on screen and were followed by subsequent jodis who captivated public imagination, among them Nargis and Raj Kapoor (Awaara, Shree 420), and Kajol and Shah Rukh Khan (Dilwale Dulhania Le Jayenge, Kabhi Khushi Kabhie Gham).

Filmmakers have often cast the same actor in many of their projects. Yash Chopra launched Amitabh Bachchan and Shah Rukh Khan into stardom and beyond, and most films directed by Karan Johar feature Khan in the lead role. A number of actresses have served as muses to different filmmakers—notably Waheeda Rehman to Guru Dutt (Pyaasa, Kaagaz Ke Phool [1959; “Paper Flowers”]), and Aishwarya Rai Bachchan (Hum Dil De Chuke Sanam [1999; “Straight From the Heart”], Devdas) and Deepika Padukone (Ram-Leela [2013], Bajirao Mastani [2015], Padmaavat [2018]) to Sanjay Leela Bhansali. Bachchan is known for collaborating on screen with a number of his male contemporaries, such as Vinod Khanna (Amar Akbar Anthony), Shashi Kapoor (Deewaar), Dharmendra (Sholay), and Rishi Kapoor (Amar Akbar Anthony).

Film dynasties

Several generations of the same families have chosen careers in the Hindi film industry, giving it a dynastic complexion. The Kapoors are a vast Bollywood clan—Prithviraj Kapoor was the first of four generations of stars, followed by his sons Raj Kapoor, Shammi Kapoor, and Shashi Kapoor; Raj Kapoor’s sons Randhir Kapoor and Rishi Kapoor were top stars of their time; Randhir Kapoor’s daughters Karisma Kapoor and Kareena Kapoor and Rishi Kapoor’s son, Ranbir Kapoor, form the fourth generation. Many of Bollywood’s top actresses married into the Kapoor family—Geeta Bali (Shammi Kapoor’s wife), Jennifer Kendall (Shashi Kapoor’s wife), Babita and Neetu Singh (married to Randhir and Rishi Kapoor, respectively), and Ranbir Kapoor’s wife, Alia Bhatt.

The Mukherjees, who set up Bombay Talkies and then Filmistan Studios, count many prominent names in their family tree, among them actors Ashok Kumar and Joy Mukherjee; singer-actor Kishore Kumar; actresses Tanuja, Kajol, and Rani Mukerji; and director Ayan Mukerji.

Bollywood is now largely a network of interconnected families, and the dynastic system that has become its default has prompted widespread concerns about nepotism; several actors, among them Alia Bhatt and Ranbir Kapoor, have been accused of benefiting from their family connections, and powerful producers, such as Karan Johar, have been charged with perpetuating the practice of favoring family and friends over “outsiders.”

Cultural and global impact

Bollywood has been a major factor in shaping Indian popular culture: dialogue from various films (especially those starring Bachchan and the Khans) is commonly quoted; Zeenat Aman and Parveen Babi influenced fashion trends of their day, as did several other female stars thereafter; and Bollywood music is an integral part of Indian weddings and special occasions.

Viewership extends beyond the Indian subcontinent and diaspora communities: China was one of the most lucrative markets for Bollywood releases (in particular, actor Aamir Khan’s films) until 2020. Over the years many stars have had fan bases in other countries—Raj Kapoor in the former Soviet Russia and Shah Rukh Khan in Southeast Asia, among others. A handful of artists have also crossed over to international cinema, such as Shashi Kapoor, star of Merchant-Ivory productions such as Heat and Dust (1983) and Priyanka Chopra Jonas, who has headlined the American television series Quantico (2015–18) and appeared in films such as Baywatch (2017).

Neecha Nagar was joint winner of the best film award at the very first Cannes film festival in 1946. As of 2024 three Indian movies have been nominated for the Oscar for best foreign language film; these have all been Hindi offerings—Mother India, Mira Nair’s Salaam Bombay! (1988), and Lagaan. Chopra Jonas and Padukone have participated in the Oscars as presenters. Rai Bachchan, Padukone, and Chopra Jonas, who regularly attend events such as the Cannes film festival, the Met Gala, and award shows such as the Oscars and the Golden Globes, have been instrumental in placing Bollywood stars on the international fashion map.

The future of Bollywood

Aamir Khan’s Dangal (2016; “Wrestling Competition”) is Indian cinema’s top-grossing film worldwide, with lifetime earnings of more than 2000 crore rupees ($260 million). However, in recent years Bollywood has been somewhat eclipsed by the South Indian film industry, which has generated record-breaking revenues from films such as the Baahubali franchise (2015, 2017), the KGF series (2018, 2022), and RRR (2022). Bollywood reclaimed some lost ground in 2023 with the blockbusters Jawan, Pathaan, Gadar 2, and Animal, but shrinking profits remain a concern for the Hindi industry.

Bollywood also faces stiff competition from streaming services such as Netflix, which offer diversity of choice, quality content, and platforms for emerging talent, leading to shifts in audience preferences. Film distributors and exhibitors have voiced concerns about the decline in ticket sales in cinemas in recent years.

Contemporary filmmakers have adapted to these challenges by embracing new formats. For example, production houses have branched into making content for streaming platforms, and the rise of the “pan Indian” film (released across languages instead of in just one) could help restore diminishing revenues. In essence, a reinvented Bollywood in its modern form is superimposed on the palimpsest of the original film industry.

Gitanjali Roy The Editors of Encyclopaedia Britannica