Science fiction is one of the most untapped genres in Bollywood. While Hindi films are still a long way away from the Hollywood Sci-Fi norm, they aren’t that far behind.
Because the whole subject is complicated, science fiction may be a hard genre to work with, but it will provide us with stories that will eternally lodge themselves inside our minds if they are handled with proper Integrity.
Indian Cinema tried to do it and gave us some sweeping and fun movies. Even if today, we look at some of the science fiction films, They left us light-hearted too. The sci-fi movies created by Bollywood, may not be the very first when we speak about the genre, but surely the ones who opened the door for future directors to explore this niche of entertainment.
In recent decades Indian cinema has changed and more and more film creators are moving out of their convenience zone and into uncharted territory just to entitle us with. Although not all Sci-Fi films have met our expectations, some are warmly welcomed by the public.
Let’s look at Bollywood’s finest science-fiction films.
Kalai Arasi
Jaadu from Koi Mil Gaya may be the most known character, but he wasn’t the first alien character in an Indian movie. This credit goes to the aliens cast in the Tamil science fiction movie Kalai Arasi, who abduct a woman in order for her to educate their people with classical music.
The first Indian film, directed by A Kasilingam, depicted a narrative about aliens and space travel. The picture also contains a great deal of drama, love, and laughter as the boyfriend travels to save her to the alien planet.
Mr. X in Bombay
Kishore Kumar accomplished the same thing in Mr. X in Bombay before Anil Kapoor gave us the Invisible Man in Mr. India.
It is one of the earliest Hindi science fiction films with Kumkum and Madan Puri in addition to Kishore Kumar. The movie was directed by Shantilal Soni.
This movie recounts a scientist’s narrative whose experiment is incorrect and finally kills one of his staff. In addition to being the pioneer in science fiction films, Mr. X also gave Mere Mehboob Qayamat Hogi an evergreen success.
Patalgarh
The movie goes as a scientist has invented the sleeping machine. However, difficulties occur when after the scientist’s death, people begin to seek the gadget. The movie inculcates more attention when the extraterrestrial whom he has placed in the slumber wakes up simultaneously, 150 years later.
It is one of the most iconic science fiction films the Bengali cinema industry has made based on Shirshendu Mukhopadhyay’s novel, Patalghar (The Upper Chamber), directed by Abhijit Chaudhuri. The film received two National Film Prizes, including Abhik Mukhopadhya’s Indira Gandhi Award for best film in director’s debut.
Shree
This is not the first Indian film to deal with time trips, but a few steps before other movies on the same topic, as it has deeply dived into the notion.
Rajesh Bachchani’s narrative depicts the lives of an average man who takes part in the science experiment in return for a large payment. But things go wrong when he is suspected of killing the experimental scientist and others. The essence of the picture is what he is doing to establish his innocence.
Ra.One
‘Ra.One’ starring Shah Rukh Khan, Kareena Kapoor Khan, and Arjun Rampal in the lead roles. ‘Ra.One’ was in terms of special effects, is the most costly and technologically sophisticated picture.
The villain and the hero join an endless universe of possibilities and combat based on restricted regulations, as spelled forth in the computer game. The deal was the game must be played independently of the results.
In G.One’s role, the character, the steel-blue eyes to Shahrukh Khan looks like he himself came out of a video for the real game. The movie embarks South Superstar Rajinikanth, arrives in a remarkable moment, and saves G.One (SRK). It’s a short movie but very enjoyable.
Cargo
The debut on Netflix in 2020 was Arati Kadav‘s Cargo with Vikrant Massey and Shweta Tripathi. The storyline is located in outer space, where a demon called Prahastha (Massey) is operating for post-death services on a spaceship called Pushpak 634A.
This service is designed to help people go onto their next life after death. The young female astronaut (Tripathi) helps Prahastha who, after his retirement, takes in his footsteps. This picture debuted for mixed reviews but cleared the way for the filmmakers to discover its intricacies.
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