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Mithun Chakraborty, Naseeruddin Shah, Jackie Shroff, Sanjay Dutt, Anil Kapoor and Sunny Deol, which lasted into the early 1990s.Actresses from this era included Hema Malini, Jaya Bachchan, Raakhee, Shabana Azmi, Zeenat Aman, Parveen Babi, Rekha, Dimple Kapadia, Smita Patil, Jaya Prada and Padmini Kolhapure.Kapoor followed the "tramp" style of Charlie Chaplin, Anand modelled himself after the "suave" style of Hollywood movie stars like Gregory Peck and Cary Grant, and Kumar pioneered a form of method acting that was similar to yet predated Hollywood method actors such as Marlon Brando.Kumar, who was described as "the ultimate method actor" by Satyajit Ray and is considered one of India's greatest actors, inspired future generations of Indian actors; much like Brando's influence on Robert De Niro and Al Pacino, Kumar had a similar influence on later Indian actors such as Amitabh Bachchan, Naseeruddin Shah, Shah Rukh Khan and Nawazuddin Siddiqui.Though the movement was mainly led by Bengali cinema, it also began gaining prominence in Hindi cinema. Early examples of films in this movement include Dharti Ke Lal (1946) directed by Khwaja Ahmad Abbas and based on the Bengal famine of 1943, Dutt is now regarded as one of the greatest Asian filmmakers of all time, alongside the more famous Indian Bengali filmmaker Satyajit Ray.The 2002 Sight & Sound critics' and directors' poll of greatest filmmakers ranked Dutt at No. and with both Pyaasa and Kaagaz Ke Phool (1959) tied at No.

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In the 1940s, many actors, filmmakers and musicians in the Lahore industry migrated to the Bombay industry, including actors such as K. Saigal, Prithviraj Kapoor, Dilip Kumar and Dev Anand and singers such as Mohammed Rafi, Noorjahan and Shamshad Begum.

Around that time, filmmakers and actors from the Bengali film industry based in Calcutta (now Kolkata) also began migrating to the Bombay film industry, which for decades after partition would be dominated by actors, filmmakers and musicians with origins in what is today Pakistani Punjab, along with those from Bengal.

It combined the dacoit film conventions of Mother India and Gunga Jumna with that of Spaghetti Westerns, spawning the Dacoit Western genre (also known as the "Curry Western"), which was popular in the 1970s.

However, the 'art film' bent of the Film Finance Corporation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema.

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160 in the 2002 Sight & Sound critics' and directors' poll of all-time greatest films. They reinterpreted the rural themes of Mehboob Khan's Mother India (1957) and Dilip Kumar's Gunga Jumna (1961) in a contemporary urban context reflecting the socio-economic and socio-political climate of 1970s India, By the mid-1970s, romantic confections had made way for gritty, violent crime films and action films about gangsters (Bombay underworld) and bandits (dacoits).