It is usually said that laughter is the best medicine. This tiny reality has been verified psychologically and biologically. Laughter will offer a variety of advantages, from reducing our stress to even boosting our immune systems. Now, let’s have a look at the top ten most funny Bollywood movies.
However, unless you want to pay tons to attend a circus or a stand-up comedy show, you then don’t have an outsized number of choices once it involves having a healthy dose of laughter daily. However, we’ve come up with the most effective solution for your health with a hearty dose of laughter with the assistance of a number of the most effective funny Bollywood movies. We’ve compiled a list of the best comical Bollywood films that will have you rolling on the floor like a maniac.
So, plow ahead and have a glance at the list that is mentioned below to search out a movie that you simply must see today.
1. Gol Maal
Is the film industry a corrupting influence on Hrishikesh Mukherjee’s characters? In GolMaal, Amol Palekar incorporates a liking for Hindi films and, in a very fantasy song, dreams regarding dislodging Amitabh Bachchan to become Bollywood’s leading hero. This scene assumes a dimension of meta-fun once seen from the context of Palekar’s common man standing on and off-screen. He may never displace Bachchan from the top slot (many would justifiably argue he never meant to), but a number of the 1970-80s process middle cinema classics can not be fanciful without Palekar’s extraordinary ordinariness. In the same film, his stern and authoritarian boss, Bhawani Shankar (Utpal Dutt), is repulsed by all fashionable elements, cinema and sports included.
Interestingly, in Guddi (1971), Dutt plays a sincere prof smitten by the make-believe world of cinema (he’s appalled to learn that a blind beggar can’t see but speaks English, although he later learns that he’s simply another actor in a very get-up looking ahead to his scene) but, ironically, doesn’t mind negotiating with sensation Dharmendra (as himself) to help cure Guddi (Jaya Bhaduri) of her film obsession. Once more, in GolMaal, Hrishida pits Palekar and Dutt in a sparkling interaction of the auteur’s familiar tropes of role-playing, charades, and trickery—prodded gently by the ever-elderly David. The hair and what it stands for within the creation of a man’s honor is clearly the best-loved half of Gol Maal.
2. Jaane Bhi Do Yaaro
British author Martin Amis once described the satire as “warrior irony”. We’re pretty sure the lowly Kundan Shah wouldn’t have heard of Friends, nor would he agree with this definition. But director Jaane Bhi Do Yaaro is hot-tempered (his friend Saeed Mirza would agree), absurd, insane, mean, and funny. Ravi Baswani (Sudhir) and Naseeruddin Shah (Vinod) embody unlucky photographers mired in a theater of absurdities that were completely not created by them.
Through these two tiny timekeepers, the underlings (and the underdogs) at the wheel of the system, Shah unleashes powerful streams of social commentary. JBDY isn’t so much about changing the world as it’s about crashing into it militarily, one by one. Made on a shoestring budget, this blackest of comedies hints at all the issues that are still relevant in India today – political corruption, crony capitalism, unemployment, and most importantly, the media. Rewatching the film, “Hum honge kaamyab” plays like a lost cause.
However, depending on your point of view and how you interpret the film, you are free to read hope or hopelessness from the film’s freeze-framed climax.As Sudhir and Vinod, in prison clothes, break the fourth wall and make a throat-slashing gesture, you know things are headed straight to the gallows.
3. Chupke Chupke
Hrishikesh Mukherjee stripped Rajesh Khanna of his starry sheen in 1972’s Bawarchi and gave the overdue celebrity the position of a prepared dinner., that is no ordinary dinner prepared for every day. He’s a philosopher. Three years later, Hrishida forged Dharmendra and Amitabh Bachchan in opposition to kind in Chupke Chupke, an undying comedy of approximately flawed and newly-assumed identities, realistic jokes, and complicated charades and disguises. Dharmendra plays a famous professor (Parimal Tripathi) who masquerades as a driving force (Pyare Mohan) in order to bring his wife Sulekha’s (Sharmila Tagore) hero-worshiping reverence for her brother-in-law (Om Prakash) down a notch. The driving force speaks impeccably chaste Hindi, simply as Bawarchis prepared dinner expounded philosophy.
Amitabh Bachchan gets to show his comic aptitude because of the awkward and worried English lit professor, Sukumar, while Sharmila Tagore, as a woman from a totally first-rate upper-magnificence Indian family, breaks all social norms. First, via a means of sitting within the first seat, subsequent to driving force Pyare, and then, via a means of making a song, a romantic duet with him, and eventually, eloping to the embarrassment of “genius jijaji” Om Prakash. A conventional Hindi movie trope that Hrishida and his privileged and knowledgeable middle-magnificence characters frequently take an innocent dig at. Cinema, for them, will not be vulgar; however, it is a vice that would not sit well with the aged bookish Bhadralok set.
4. Hera Pheri
Director Priyadarshan breathes sufficient confusion and chaos into this multi-starrer to hold the target audience in splits. Writers Neeraj Vora and Siddique-Lal amp up the density of comic opportunities through introducing ever more modern characters and with no decision in sight. Enter Khadak Singh (Om Puri’s hilarious Punjabi), the stranger who comes seeking out a sure Shyam (Suniel Shetty). This keeps the plot rolling. Shyam, along with Baburao Apte (Paresh Rawal) and his tenant Raju (Akshay Kumar), should act rapidly to get back Khadak Singh’s money.
Throw in an aspect plot related to an incorrect cell phone name and a kidnapping, and you already know you’re hurtling in the direction of a normal Priyadarshan climax, complete with misunderstanding and deception. Call it a Seventies influence, but a Priyadarshan climax brings the entire cast together in a game of cat and mouse.s our closing showman in that sense. It is frequently false that Priyadarshan positioned Hera Pheri at the pinnacle of his career as a comedian director.In fact, it was one of his first Hindi comedies, and it set the tone for what this Malayalam filmmaker’s Bollywood career might entail.The film, led by an aspect-splitting Paresh Rawal, Akshay Kumar, and Om Puri, is more than feel-good. It feels better!
5. Munna Bhai, M.B.B.S.
One of the reasons Raju Hirani’s first film and his groundbreaking work worked so beautifully was Sanjay Dutt’s portrayal of a cute gangster. For example, while Vaastav’s Dutt was a more professional gang in Munnabhai, Hirani had the opposite effect and pranked him for laughter. Hirani also turns Vaastava’s Indian mother syndrome into Munnabhai’s father’s problems and sticks to that trajectory in his most recent subsequent hit, Sanju.
With Sanjay Dutt in comic mode, you’ve already won half of your battles as a manager. Dutt plays Munnabhai, a friendly thug who goes to medical school to become a doctor and gets help from a chain of partners (Arshad Warsi). “Insangi Body Main Type 206 Kasif Hardy High. Todne ka time apun sochte kya? ” Munnabhai shares his new wisdom with Circuit, who later sends the “imported corpse” to his boss for a medical autopsy.
DuttWarsi’s bromance and Hirani’s jaadu ki jhappi formula diverge from the lead actor’s tarpori image. It offers a fresh, entertaining film that combines pure humor with the social commentary that has become Hirani’s film brand. Years later, in his concept sequel, Lage Raho Munnabhai, Hirani resurrects the ghost of Gandhi, giving us a new buzzword this time. is Gandigiri.
6. Andaz Apna Apna
Summing up this Rajkumar Santoshi scam into a linear storyline is like explaining how Aamir Khan used sorbet glasses to score goals for Mohun Bagan. One of the drinks was spiked, and his memory just returned. To add to the confusion, the target is very strategic, or perhaps he’s making up bullshit. To annoy Prem Salman Khan, Aamir plays the slacker Amar.Paresh Rawal, also known as Teja, dismisses them as “captives and idlers.” When you first meet them as swindlers in endless rounds of domination, trying to outdo each other right from the start, it’s clear that this journey won’t be good for them.
But it does. And it’s nothing short of a laugh riot along the way.AAA clearly belongs to the quick-talking Aamir, perhaps because he was given a central role for being a bigger star at the time, but it’s incomplete without the collective madness of Salman Khan, Shakti Kapoor, Raveena Tandon, Karisma Kapoor, Mehmood (his Wah Wah Productions gag is a homage to Pyar Kiye Jaa), Jagdeep and Paresh Rawal in a double role, creating further confusion about who is the real Teja (He’s the one with a mark on his cheek).
Padosan became relevant to the singer’s reputation as a spitfire comedian, as any fan will tell you.This is likewise a movie in which his funnyman and crooner personas collide into natural anarchy, and this very mixture of a person who may want to sing and make you snort at the same time has become his leader stock-in-trade. When we first meet him, Kishoreda is a paan-chewing theater director (the paan serves as an equal characteristic as the pipe in Groucho Marx) who’s pulling his hair (middle-parted, in case you will) out trying to educate Keshto Mukherjee the proper pronunciation of the Perso-Arabic word “Qais.” Later in the film, Kishoreda, aka Guru, may have the same difficulty teaching Bhola (Sunil Dutt), so named because he’s a piece of bumpkin), about music.
Bhola’s assassination of Sa Re Ga is epic. The scenes involving Kishore Kumar presenting playback to Bhola as he attempts to woo the trendy neighbor (Saira Banu, the title’s padosan Bindu) are without a doubt among the funniest ever shown on Hindi screens. Not to mention, Mehmood’s stereotypical Madrasi, who anticipates the destiny of Southies in Bollywood. At a time when the activity of a heroine is turned into a glamorous prop, Padosan happily gives a meaty comedian function to the eyelash-fluttering Saira Banu. One wonders why filmmakers didn’t tap into Sunil Dutt’s comedic flair. He is past incredible here, as a brahmachari-turned-majnu who’s pressured to vie with his mamaji (Om Prakash) for Saira Banu’s affection. In what may have descended right into a mama-bhanja plot, director Jyoti Swaroop (one of the many instances in which we realize the movie, but are blissfully oblivious of who made it) continues it approximately Bhola, Bindu, Guru, and Mehmoods Master Pillai.
8. Half Ticket
In one of Half Ticket’s funniest scenes, Kishore Kumar stumbles across Tun Tun’s naughty boy (named Bhopu) at a train station and lures him in with a Wikipedia page about Indian sweets (“Rasgulla khaoge, gulab jamun khaoge, imarti khaaoge, peda khaoge!”). Stealing Bhopu’s clothes, Kishore, who plays Seth Lalchand’s son (Vijaychand vald Lalchand vald Dhyan Chand vald Hukumchand), assumes a new identity-it’s a new identity for Munna-and hobbles to Bombay. His mighty family. Enter Pran (jewel thief Raja Babu, Munna’s comedy), who spends the rest of the film severing Munna’s umbilical cord. There’s also Madhubala and Manorama, but the Half Ticket is Kishore’s full ticket to comedic acrobatics-his own Marxist madness is free. Meaningless lyrics that I’m probably an anarchist like “Anyway, I’m against it.” But listen. Unlike the song “Horse Feathers,” which is a meaningless rhyme, Cheel Cheel Chillake attacks his father’s capitalism and the mantra “teen ko hamesha karte aaye saadhe teen.” How easily Kishore moves from skin to skin and situation to situation to walk away from what appears to be an impromptu thing. With him, there were always loud antics around the corner. Interestingly, while in Padosan he corrects Keshto’s grammar, in the climax of Half Ticket it is Pran (with his excellent Urdu command) who manages to clarify “munakka, basherbat” from Kishore. It really was “bamushakkat,” but the word turned out to be an ominous sign for Raja Babu, as he was eventually caught.
9. Dulhe Raja
Govinda has a sense of humor suitable for the masses, not the elite. But, who cares? In Dulhe Raja, the most David Dhawanesque comedy David Dhawan has yet to do, he plays the lead role, a roadside dhaba shop owner. The script sympathizes with him, just like Rajinikanth or Mithun Chakraborty or other stars with irresistible mass appeal. He’s the typical Govinda character of a rogue thug who falls in love with a rich man’s daughter.
The rich man (Kadar Khan) lives in a mansion the size of a football stadium, with massive stairs and circular sofas. When Govinda was at his peak, it seemed like he was born for the role. Director Harmesh Malhotra brings together other Govinda staples for support. They include Kadar Khan, Johnny Lever, and Asrani, who make this comedy unforgettable, even memorable. One of the main pleasures of Govinda movies, besides the rich antics, are the songs. The popular Akhiyon se goli maare demonstrates the stars’ freestyle dance moves, while the qawwali Suno sasurji, though equally cringeworthy, is watchable exactly for those reasons.
10. Raja Babu
David Dawan made it big in dramas like Swag and Shola Owl Shabnam in the 1990s but found his niche in slapstick plays. Aankhen was his first blockbuster, but he turned to a full-fledged populist comedy with Raja Babu. The plots were often (but ridiculously) recreated from southern hits, always having Govinda’s credible and talkative charm, turning them into comic gold. The two are already working together, and by the time of Raja Babu, it turns out that they have reached the level of comfort that frequent collaborators enjoy. Govinda is a good combination of Dilip Kumar and Shammi Kapoor, but she is not as sophisticated as she. Viewers can actually see Dilip Kumar’s influence on Khan, who diverted the romantic side of Dilip Kumar.
In contrast, Govinda picked up Bhojpuri nuances from the King of Tragedy. In Rajab, Dilip Kumar is heavily influenced by Govinda’s acting style. Calling it ignorant or mediocre, the film walks the subtle line between comedy and soap opera, mixing Dawan’s taste for bland plots with goofy humor. The best scenes include the sizzling chemistry between Raja (Govinda) and his buddy Nandu (Shakti Kapoor). Trust Shakti Kapoor to come up with strange accents and strange getups. Their exclusive pastime includes hiring a small theater to watch an Amitabh Bachchan actioner and generally gallivanting around on a flashy bike (matched to Govinda’s colorful costumes), with Nandu faithfully holding the umbrella for his boss from the backseat. Raja Babu makes high art of low humor.
Although the setting is a comedy, its content will definitely make you laugh. An innocent love story (comedy) will be as funny as a dark satire. Some of the best Bollywood comedies appeal to a wide range of audiences. To boost yourself with a laugh day today. Here is a wrap-up of the 10 most funny Bollywood movies of all time, make sure to check it out.
Also Checkout: Movie Defined By Its Songs: Rang De Basanti