Zindagi na milegi dobara – “Arjun.. I’m really sorry”

Imran’s meeting with his father, who he has never known, ends in pain when he realises there’s neither a place for him in his world, nor an apology. Imran, and the film sink into a pit of irreparable melancholy, so when Arjun approaches him the next morning, he can’t mend much, all he can really say is – “nikalna chahiye na?”. Imran, who is already overwhelmed with how one human can hurt another, is reminded of his own betrayal to Arjun. It’s as if Imran looks at Arjun, at the world of his friends that he has. Gentle piano notes stand witness as Imran picks up the broken pieces of his relationship with his father to repair that with his friend when he says – “Arjun, I’m really sorry!”

Gangs of Wasseypur – “Baap ka Dada ka sab ka badla lega re Tera Faijal”

In a gangster film whose snappy quotes and songs are on everyone’s mouths and memes, the most memorable moment, and dialogue is one of deep sentiment. Faizal Khan, cold, emotionless as always, arrives at his elder brother’s funeral and realises quickly that he is now ‘the’ elder son of his family. Moved by this sudden burst of belongingness in a family that he has never belonged in, he tears up when he lays claim to the family’s legacy of revenge, saying – “Baap ka Dada ka Bhai ka, sab ka badla lega ee Tera Faijal”.

Dum laga ke haisha – The two “Moh Moh ke dhaage” songs.

We get two versions of this superb song. The first version is sung through Sandhya’s pov. She sings – “Tu din sa hai, main raat aa na dono mil jaayein shaamo ki tarah”. True to these words, her version is played at night, it is a sad tale about how their love is incomplete. In the end, it is sung through Prem’s pov, & again true to that line where she equates him with day time, this song is in the daylight, when their relationship is complete. As they kiss finally, the light goes dim – it’s as if night and day have truly come together to meet like evening

Dil dhadakne do – The final jump

When Zoya Akhtar’s elite society sets off on a cruise, it looks less like a celebration and more like a metaphor of our lives, where the ocean becomes the enormity of life and the ship becomes our own little world that we are caught in. It is why everyone relates to the film’s claustrophobia of social and familial relations, and it is why one of the moments this decade is when Ranveer Singh throws himself off that ship unexpectedly, breaking away, before his family can leave everyone behind to join him too, as if they had rid themselves of all facades, all bondages.

Tamasha – Ved, Tara, and the shadow of Don!

When Ved & Tara reconcile in the city, Ved does everything that Don didn’t do, and nothing that Don did, but Tara sails along. But when Ved proposes her at a restaurant, like marriage were not an intimate call but a social convention, she pulls him out and tells him she doesn’t recognize him anymore. Rahman’s music and her words lay blows at Ved’s psyche, as she rips apart the layers of Ved, and Ranbir brings tonnes of yet unrevealed pain in his eyes. He assures her that he is just that person, but look at Imtiaz Ali’s shot-taking closely, and you see that there’s another shadow of Ved in the background – distant, fuzzy, right between him and Tara, like the animal within him waiting to come out.

English Vinglish – The final speech

Shashi learns English and helps prepare her niece’s wedding simultaneously. At the end, the wedding and her final coaching test fall on the same day and Shashi cannot make it to her class. We feel sad for her, until we realise director Gauri Shinde does this intentionally to tell us how life itself is Shashi’s classroom, where she is judged, strives for learning and acceptance. Shashi’s speech has to be the finest ending speech this decade. Her family is astonished to see this, and heartbroken at realising how her speech may be directed just at them, but one extra laddu joins hearts once again!

Kick – “Aye maaro re isko”

This wasn’t an exciting decade for masala film villains, and so the iconic villain dialoguebaazi degraded too. Perhaps it is both fitting & ironical then that it took Nawazzudin to give us an enjoyable villain in a mainstream film where the villain was far more interesting than the hero. In the climax, as Salman Khan begins a hero’s speech, Nawaz aptly cuts him off, as if condemning the boring age old Bollywood hero and his melodrama, and says in his iconic cool style – “Aye maaro bey isko”.

Masaan – “Hum nai maare Hain tumhaari maa ko”

Devi & her father have gone through several tragedies; it has created a prickliness in their relationship. Hardly has any of them laid a hand of support on the other. It’s just been emotional, and on occasion, physical abuse. When finally everything seems to be getting calm, Devi informs him that she’s leaving home for another town. Her father panics, and realises that his daughter may leave with a grudge and never see him again; all that he has never said comes to him in a flood as he breaks down, and in this unsentimental relationship, the father now lying down like a kid into the daughter’s lap, says, in one tearful blow at redemption – “Hum nahin maare Hain tumhaari maa ko”.

Lootera – “Kya tumne kabhi bhi mujhse pyar Kiya tha Varun?”

In what was one of the few very personal films this decade, we saw such striking surprises of human nature that no mystery can offer. Varun, who is the reason behind the ruins of Paakhi’s life, arrives at her snow-bathed house once again. A lot of physical and verbal quarrel follows, but it all melts in the revelation that Paakhi seeks answers and closure much more than justice, when she finally asks him, both of them in tears – “Kya tumne kabhi bhi mujhse pyar Kiya tha Varun?”

Dabbang – “Aapka naam kya hai?”

In introvert universe, Rajjo and Chulbul make for perfect misfits in their families. She cares after an absent, drunken father, he sticks to a distant stepfather because of his mother. It is why they seem like two outsiders drawn to each other magnetically, hardly any romantic words are shared between them. Rajjo says nothing when Chulbul comes to pick her stuff up after her father’s death, it’s one of the most amazingly wordless relationship built in this decade. It concludes wonderfully when on their marriage night, the first thing Rajjo asks him is – “Aapka naam Kya hai?”.

Manmarziyaan – “Jaisi Teri marzi” song

The “happy ending” song in a Hindi film has been there for ages. But nothing came close to the beauty of the closing song of Kashyap’s Manmarziyaan – “Jaisi Teri marzi”, to how wonderfully this song closes the film. The whole film was about how Rumi (Tapsee) commits to her marriage with Robbie but cannot commit enough, cannot let go of her past entirely. How fitting it is then, that when Robbie sees in her eyes that very readiness for marital commitment, he yields to her again, and as she rushes into his arms, the song lays a sweet promise of commitment in its lyrics – “Sunun main tu Jo farmaaye, jaisi Teri marzi.”

This post is written in collaboration with @fablesoffilm