Baseerat: Honouring the Artists Who Shaped Indian Animation
Pioneering animators have shaped Indian animation history, yet one aspect remains largely undocumented—the animated opening credits of Hindi films from the pre-liberalization era. Baseerat (Insight) is an initiative led by Aditi Rajnathan, Harsh Dalal, and Vitista Moza under the guidance of Asst. Prof. Aroop Dwivedi, that seeks to bridge this gap by celebrating the artistry behind these sequences from the 1950s to the 1990s.
As part of the elective Animation Content Curation, the team has meticulously curated animated credits from 23 films, preserving a vital yet overlooked chapter of Indian cinema. Though the course did not receive enrollments in its second offering, their work ensures that these artistic contributions remain recognized and accessible for future generations.
While Indian animation has often been associated with standalone projects and advertising, only now has its presence in mainstream cinema gained popularity.
“Many old Hindi films featured animated or stylized graphic opening credits, sometimes used as a prologue to set the tone of the narrative.”
These sequences not only showcased the skill and vision of animators but also introduced innovative storytelling techniques within the limitations of the time.
This project sheds light on the work of several Indian animators and special effects artists whose contributions have largely gone unnoticed.
"By preserving the works of these artists, we can document the evolution of animation in India, creating a valuable resource for both aspiring and experienced creators"
Some of the films included in Baseerat showcase a wide array of animation techniques, from traditional hand-drawn sequences to experimental cutout animation. Among them are:
Chalti Ka Naam Gaadi (1958)
Designed by Pran Lal Vyas, inspired by Grim Natwick’s Betty Boop cartoons.
The 1958 Bollywood film Chalti Ka Naam Gaadi features an animated credit sequence designed by Indian artist Pran Lal Vyas. The film follows Brijmohan, who, after a misunderstanding, grows resentful of women and warns his brothers to avoid them—until love changes their lives. The black-and-white animated credits creatively introduce the cast and crew, each with their own unique animation. Influenced by Grim Natwick’s Betty Boop series, the sequence retains Vyas’ distinct style, making it a memorable and influential part of Indian cinema.
When it comes to the film's credit sequence, an animated piece depicted in a black and white scheme is all about introducing the cast and crew of the film. This is done in a very unique and engaging manner, since each person named here has their own animation playing their own role.
Half Ticket (1962)
Animated opening by B. Gupta, featuring playful cut-out animation.
Half Ticket (1962), a classic comedy directed by Kalidas, stars Madhubala, Kishore Kumar, and Pran. The film features an animated title sequence by special effects artist B. Gupta, known for Lootera (1965) and Khiladi (1992). Using black-and-white cut-out animation, the sequence playfully introduces the cast with dancing text and cartoon versions of the actors. At a time when animation was rare in Indian cinema, this creative opening captivated audiences, contributing to the film’s lasting appeal.
Credits: Youtube
“Apart from stills, sometimes the letters jumble up and the words come dancing onto the screen, creating a unique and cheerful introduction to the story.”
Padosan (1968)
Stylized graphics by R. Nasir and Ansari, possibly influencing later animated credits.
Padosan (1968) features a striking graphic credit sequence by Ansari and R. Nasir. Though not animated, its stylized caricatures and vibrant colors set it apart, complemented by classical background music. The sequence, influenced by The Pink Panther Show, played a key role in shaping later animated openings, including Do Jasoos and Do Aur Do Paanch. This makes it a pivotal moment in Indian animation and character design for film.
Credits: Youtube
“Making this opening credit a watershed movement in the history of Indian Animation and Character Design done for motion pictures.”
The Train(1970)
By Ravikant Nagaich
"The Train" (1970), a Hindi murder mystery, is a remake of the Kannada film "Bangalore Mail" (1968), retaining the plot and character names. RD Burman's simple songs, Rajesh Khanna's CID officer, Nanda's love interest, Helen's vamp role, and Shetty's villainy highlight the film. The opening credits feature a unique animated Rose Movies logo, a rare stylistic choice for the production house. The film offers a compelling, slightly complex mystery.
“For some reason this animated title reveal has been only used very sparsely in other films produced by the production house, Rose Movies”
Bawarchi(1972)
A culinary tale in animation
Bawarchi (1972), a Hrishikesh Mukherjee classic, follows a cook, Raghu, who transforms a quarrelsome family with his wisdom and warmth. The film's animated title sequence mirrors its theme, depicting a montage of kitchen utensils, with a pan and cracked egg forming the movie title. Though simpler than Ram Mohan or Bhimsen’s work, the animation captures the film’s essence and the lively chaos of a joint family.
Credits: Youtube
“The animation appears spontaneous, and it doesn’t seem to hold the dexterity of the type of animation Mr,Ram Mohan or Mr. Bhimsen were doing in the same era. Yet it exudes an endearing quality and underscores the chaos of the joint family”
Joru Ka Ghulam(1972)
Joru Ka Ghulam (1972), directed by Bhimsingh, follows a businessman testing a suitor’s intentions toward his daughter. The film’s cutout-style opening credits depict men as puppets controlled by their wives, reinforcing the film’s theme. With minimalistic animation and a traditional color palette, the sequence resembles Silly Symphony, using simple yet expressive character design to enhance its storytelling.
Credits: Youtube
“The sequence subtly depicts the surface plot ,with very minimal and simple details complemented by very subtle colours at the start and taken forward with bright background and title colours.”
Do Jasoos(1975)
A Playful Animated Opening by Ram Mohan
The 1975 film Do Jasoos features a lively animated credit sequence by Ram Mohan. Following two detectives searching for a millionaire’s missing daughter, the film’s animation mirrors its comedic tone with vibrant colors and dynamic character design. Using classic hand-drawn cel animation, reminiscent of The Atom Ant Show, the sequence playfully sets the stage for the film, showcasing Mohan’s artistry and ingenuity.
Credits: Youtube
“The ‘Do Jasoos’ title sequence is regarded as one of the most original and entertaining in Indian film, and it is a tribute to Ram Mohan's artistry and ingenuity”
Gharaonda (1977)
Studio title animation by Bhimsain Khurana.
A young working couple in Bombay strives to build a home together, but a setback challenges their plans. Gharaonda (1977) lacks animated credits but features a studio title introduction for THE CLIMB FILMS by Bhimsain Khurana. The sequence depicts a heart-shaped character climbing a film reel, resembling the minimalistic storytelling style of the Zagreb School, though Khurana’s versatile approach makes direct influence uncertain
Credits: Youtube
“This movie does not have animation related to the movie credits but studio title introduction of THE CLIMB FILMS by Mr Bhimsain Khurana. Who started his career at the Film Division of India, where he made animation for the Indian government, followed by his career at his first film studio, THE CLIMB FILMS.”
Pati Patni Aur Woh (1978)
Bold animated prologue by Ram Mohan, with an adult-themed take on Adam and Eve.
Pati Patni Aur Woh (1978) features a bold animated prologue by Ram Mohan, depicting Adam and Eve’s journey from heaven to modern times. The four-minute sequence, set to Ravindra Jain’s music, pushes boundaries with its adult themes. B.R. Chopra and Mohan’s daring animation remains one of the most unconventional in Indian cinema.
The Great Gambler (1979)
Animated security system explainer by S.G. Naiksatam and M.R. Purulekha.
The Great Gambler (1979) features an animated segment by S.G. Naiksatam and M.R. Puruleka, used for world-building rather than opening credits. This cel-animated sequence explains a new security system with a realistic style and voice-over narration. Its aesthetic resembles the 1957 British series Captain Pugwash, reflecting a blend of international animation influences.
Credits: Youtube
“The animation here doesn’t take place during the opening credit, instead, it is used to do the world building about a new security system that has been established on the country's borders to safeguard it from any outside intruders.”
Gol Maal (1979)
Motion graphics by Suresh Kamat and Syed Galib, inspired by Hitchcock’s Vertigo.
Gol Maal (1979) follows a man whose small lie spirals into chaos, creating a comedic chain of events. Its title sequence, designed by Syed Galib and Suresh Kamat, features motion graphics with shifting ovals, symbolizing playfulness. Inspired by Vertigo (1958), it repurposes Saul Bass’ hypnotic visuals for humor, setting the tone for the film’s lighthearted narrative.
“The only difference is that Saul Bass did it to create an unsettling feeling of suspense and dread while Gol Maal uses the same style for levity and comic effect.”
Shaan (1980)
Special effects and animated typography by S.G. Naiksatam.
Shaan (1980) is a Bollywood action-thriller where two crook siblings seek revenge against underworld gangster Shakaal for their brother’s murder. An uncredited Sholay sequel, it trades rural settings for Bombay’s crime underworld, aiming to rival Hollywood with grand set pieces and relentless pacing. Its opening credits, inspired by James Bond films, feature special effects by S.G. Naiksatam, using liquid-like typography and projection mapping—an innovative experiment for its time.
“The playing around with the typo in special effects and the projection mapping over the subject was a very new and interesting experiment we could see at that time.”
Chashme Buddoor (1981)
Cutout-style animated credits by S.G. Naiksatam, reminiscent of Terry Gilliam’s work.
S.G. Naiksatam designed the cutout-style opening credits for Chashme Buddoor (1981), reflecting 1980s Delhi bachelor life with magazine clippings, posters, and doodles. Influenced by Terry Gilliam’s animation, the sequence humorously sets the film’s tone while offering a visual glimpse into its world.
Credits: Youtube
Biwi-O-Biwi (1981)
Animal caricature animation by Ram Mohan.
Biwi-O-Biwi features an animated opening by Ram Mohan, using anthropomorphized animals to represent characters, a signature style seen in Katha (1981). The sequence, complemented by R.D. Burman’s music, carries a vintage Pink Panther-inspired aesthetic while retaining Indian humor and storytelling.
Credits: Youtube
“If you follow Mr Ram Mohan's early work closely, you can notice his predisposition of using this conceit where he caricatures characters in the film with animal attributes (eg Katha 1981)”
Angoor (1982)
Cut-out animation credits by Ram Mohan Biographics.
The Angoor (1982) title sequence, animated by Ram Mohan Biographics, uses vibrant cut-out animation and playful visuals to reflect the film’s comedic chaos. Featuring transforming grape cut-outs as a visual metaphor, the sequence sets a lighthearted tone, enhanced by Rahul Dev Burman’s lively score, making it a memorable introduction.
“It is a testament to the creativity and vision of the director and the animator, who successfully collaborated to create a unique and enjoyable opening sequence.”
Katha (1983)
Hare-and-tortoise fable animation by Ram Mohan.
Katha (1983), a modern take on the hare and tortoise fable, features an animated opening by Ram Mohan using cut-out stop motion. The sequence introduces characters as animals, blending satire with playful visuals. Its minimalist design emphasizes storytelling, with a recurring deer possibly nodding to Clair Weeks’ The Banyan Deer, reflecting Mohan’s animation roots.
Credits: Youtube
“The animation and music suggest a playful theme, but the sequence is heavily strewn with satire.”
Rang Birangi (1983)
Stop motion peacock feather animation by Hemchandra.
Rang Birangi (1983) opens with a vibrant stop-motion sequence by Hemchandra, featuring animated peacock feathers symbolizing the film’s theme of color and rekindled romance. The lively visuals and bright colors set a playful tone, making the title sequence a fitting and memorable introduction. This creative animation perfectly reflects the film’s lighthearted exploration of relationships and renewal.
Credits: Youtube
“The title sequence serves as a visual metaphor for the story and creates a connection between the audience and the film's theme.”
Baap Numbri Beta Dus Numbri (1990)
Fast-paced animated credits by Ramesh Potnis, echoing Hanna-Barbera’s style.
The title sequence of Baap Numbri Beta Dus Numbri features hand-drawn animation by Ramesh Potnis, inspired by classic American cartoons like The Flintstones and Tom & Jerry. With bold outlines and exaggerated caricatures, the sequence playfully moves from gag to gag, set to Bappi Lahiri’s popular title track. This lively introduction sets the comedic tone and offers a glimpse into the film’s characters and story.
Credits: Youtube
The project sheds light on several Indian animators and special effects artists, among them:
Ram Mohan (1931-2019) – Often hailed as the father of Indian animation, he crafted unforgettable title sequences for films like Do Jasoos (1975), Pati Patni Aur Woh (1978), Angoor (1982), and Katha (1983).
Bhimsain Khurana – A pioneer in parallel cinema and animation, instrumental in the animated titles of Gharaonda (1977).
S.G. Naiksatam – Worked on Chashme Buddoor (1981), The Great Gambler (1979), Shaan (1980), and Do Aur Do Paanch (1980).
R. Nasir and Ansari – Stylized graphics for Padosan (1968).
Suresh Kamat – Motion graphics in Gol Maal (1979).
Syed Galib – Special effects artist behind Gol Maal (1979) and Mughal-e-Azam (1960).
M.R. Purulekha – Worked on The Great Gambler (1979).
B. Gupta – Animated credits for Half Ticket (1962).
Pran Lal Vyas – Designed the credits for Chalti Ka Naam Gaadi (1958).
Ramesh Potnis – Animated Baap Numbri Beta Dus Numbri (1990).
Hemchandra – Created the opening sequence for Rang Birangi (1983).
Gordhanbhai Patel – Special effects artist for Wahan Ke Log (1967) and Mere Jeevan Sathi (1972).
This retrospective is an attempt not just to archive these works but to generate interest among contemporary animators, filmmakers, and academics. The sequences not only reflect the technical and artistic evolution of Indian animation but also provide a window into the cinematic trends of the era. If you wish to explore the artistry of animation in Indian cinema, Baseerat serves as an invaluable starting point.
As we conclude this feature, we extend our gratitude to MIT Institute of Design, along with Aditi Rajnathan, Harsh Dalal, Vitista Moza, and Asst. Prof. Aroop Dwivedi, for their dedication to uncovering and preserving India's hidden animation history. Their work on Baseerat sheds light on the rich yet often overlooked legacy of animation in Indian cinema, ensuring it is recognized and appreciated for generations to come.
The Baseerat Team
Harsh Dalal
Harsh is an aspiring animator currently pursuing his M.Des in Animation Design from MIT ADT, Pune. He hails from Bhopal ,M.P , a film aficionado he has grown up watching films and animation and that is when he decided this is what he wants to do for his living.
Aditi Rajnathan
Aditi is an aspiring animator who dreams to work for Disney Studios someday. She's pursuing her M.Des in Animation Design from MIT ADT, Pune.
Vitista Moza
Vitista is an animation student who is passionate about Character Design and 2D animation. She also have a profound interest in films. Being part of the course Animation Content Curation gave her an opportunity to satiate her curiosity through research about Indian motion pictures before 1990 and make an archive of the animated opening credits of the same.
Asst. Prof. Aroop Dwivedi
Aroop Dwivedi an independent animation film maker and Animation trainer from India. He graduated in Commerce in 1998 and later decided to pursue Animation film making as his career; he has been working in the production and education sector at tandem for last 20 years, where other than working on many international projects, he has also assisted in designing the animation syllabus for several Indian universities. He is passionate about the classical style of animation and loves photography.
MIT Institute of Design
MIT Institute of Design (MITID), established in 2006 as part of the MAEER's group under the guidance of design thought leaders like Prof. Kumar Vyas and Prof. Dhimant Panchal in Pune, India, is a premier institution dedicated to fostering innovation in design education. Known for its interdisciplinary approach, MITID offers undergraduate and postgraduate programs in various design disciplines, including animation, product design, and visual communication. With a strong emphasis on research, creativity, and industry collaboration, the institute nurtures aspiring designers and animators, equipping them with the skills to shape the future of design and storytelling.
