Cinema in India is the most effective mass message carrier. It promises to retain it’s pre-eminence for a few decades longer. Here I list what I consider are the significant events in Indian cinema in my years of cinema watching. Of course, this is a subjective list.

Rangeela – Nudity was mostly equated with declining values. That changed when Mili, after every raunchy exposure/intimacy during filming, asks Munna, “How is my work?” Bipasha today refuses a bikini, not because it is vulgar or revealing but, because it is so damn hard to look sexy in. For the first time, “She is hot” became a compliment.

Dil Chahta Hai – Name an Indian movie that has a rich hero and a poor villain. Difficult? Our movies tried their damndest to make the rich feel guilty for being rich. Well, at least, there is one movie where nobody apologized for being rich. Never has Indian screen seen such guiltless celebration of opulence. Have a blast, Mate, you are not hurting anybody.

Dilwale Dulhaniya Le Jayenge – Not the whole movie; but the reaction of Dharamvir to his son’s failing the exams is a major stereotype breaker. The film provided a national canvas for the “take it easy” attitude of Kaadhalan. You can laugh even if you fail your exams, Mate. Not all effusive heroes need to be good at studies; there are other avenues.

Thiruda Thiruda – Untouchability is a crime? Not for heroines in films. Rape attempts had heroines struggling with hands on their wrists/shoulders while the rapists maintained arm’s distance. A minor character touching heroines is a strict no-no. That changed with Anu Agarwal in the song “Koncham Nilavu”. The effects on choreography are significant.

Indian – There was a time when viewers were treated to the comical site of group dancers trying hard to look/dance worse than the stars. Post “Telephone mani” with Kamal and Manisha, the stars had to do better. The domino effect on other roles resulted in more on-screen beauty. The message was clear. Get better. Don’t ask for mediocrity around you.

A. R. Rahman – The man exploded with his numbers in “Roja”. The impact was big; but unexpectedly, at least for me, it lasted, and it continues. That Rahman revolutionized Indian film music is a fact that I am sure history will acknowledge. Importantly, he democratized the film market for music directors and singers. No longer, are film makers averse to trying out new singers and music directors. That wasn’t so common before him.

Prabhu Deva – Dances were always intrinsic parts of our films. As kids, we fought over who was the best dancer among a lot of mediocre guys. That changed with Prabhu Deva’s number “Chikku Bukku” in “Gentleman”. This eventually led to his memorable work with Kajol in “Minsara Kanuvu” for “Vennilave”. Choreography rarely gets better.

Pardes – A friend had to tell me that the guy was sad when singing “Yeh Dil Deewana”. Indian movies had a stereotype for the hero who despairs for his love. The whole screen would ooze depression and beg you for tears. That was broken, emphatically. Here was a guy who had a fast car, beat, brightness, and a wry smile to express his despair. Classic!

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I am primarily exposed to only Telugu, Tamil, Hindi, and English movies. English movies aren't considered here for obvious reasons. A list like this is always subjective. One of my most important criteria was that the event should set a "successful" example. Other criteria included contributing to betterment of future cinema quality and (what I consider) positive effect on audience attitudes.