Salim–Javed
Salim–Javed were an Indian screenwriting duo, composed of Salim Khan and Javed Akhtar, who worked primarily in Hindi cinema. They were among the first Indian screenwriters to achieve star status,[1][2] and are regarded as among "Hindi cinema's greatest screenwriters".[3] They worked together on 24 films between 1971 and 1987, of which 20 were commercially and critically successful.
Salim–Javed revolutionized
Before teaming up
Salim Khan
Salim Khan was born on 24 November 1935 at Indore. He debuted as an actor after director K. Amarnath saw him at a wedding and was impressed by his good looks. He asked him to come to Mumbai, where he hired him as an actor for Rs. 500 a month. Salim Khan was earlier a junior technician for various films had not made any considerable mark in the field. Khan acted in various movies, in large and small parts, for seven years. He was unable to capture the public's interest, and, as a result, his career had stalled. Khan appeared in such films as Teesri Manzil (1966), Sarhaadi Lootera (1966) and Diwaana (1967), in total he has acted in 14 films till 1970. But he did not achieve success as an actor.
After working in 25 films, despite his handsome looks, he eventually understood that he "was not cut out to be an actor because I lacked the art of projection. But by then it was too late — how could I have gone back to Indore?"[9] In the late 1960s, Salim Khan, who was struggling financially, decided to start shifting his focus away from acting and towards writing scripts, and continued to use the name Prince Salim. One of his more notable film scripts was Do Bhai (1969). He also began working with Abrar Alvi as a writing assistant.[10]
Javed Akhtar
Akhtar arrived in Mumbai on 4 October 1964. In his early years there, he wrote the dialogue for a minor film for Rs. 100. Occasionally, he worked as an assistant. He got a job as a dialogue-writer on Yakeen which flopped. He was unsuccessful in his individual ventures till 1971.
History
After teaming up
Salim met up with Javed Akhtar for first time during the making of the film Sarhadi Lootera. Salim was a small-time actor, and Sarhadi Lootera was one of the last films he acted in before he turned his attention to writing. Javed was a clapper boy for the film and was later made the dialogue writer as director S.M. Sagar was unable to find a dialogue writer. While working in this film their friendship began.
Salim Khan used to assist writer/director Abrar Alvi at first and Javed Akhtar used to assist Kaifi Azmi. Abrar Alvi and Kaifi Azmi were neighbours, from there on Salim Khan and Javed Akhtar became friends. Since their individual work was flopping both of them ventured into script writing and they decided to team up in 1971. Realizing the lack of writers in the movie making industry, Salim gradually learnt about story telling and writing techniques used in films, along with close friend Javed Akhtar and began writing short transcripts. The duo hit it off well and formed a script-writing team that came to be known as Salim–Javed. Salim used to form stories and plots whereas Javed used to help Salim with the dialogues for those films. They used to brainstorm and come to conclusions regarding the final draft of the film. Akhtar first joined Khan to develop the story for Adhikar and Andaz (both 1971).
Initially in the 1970s there was no concept of having the same writer for the screenplay, story and dialogue nor were the writers given any credits in the title. Rajesh Khanna is credited with giving Salim Khan and Javed Akhtar their first chance to become screenplay writers by offering them work in Haathi Mere Saathi (1971).[12] Javed Akhtar accepted in an interview that "One day, he went to Salimsaab and said that Mr. Devar had given him a huge signing amount with which he could complete the payment for his bungalow Aashirwad. But the film was a remake [of Deiva Cheyal] and the script of the original was far from being satisfactory. He told us that if we could set right the script, he would make sure we got both money and credit."[13] Salim–Javed were hired by G. P. Sippy's Sippy Films as resident screenwriters and produced the screenplays for successful films like Andaz, Seeta Aur Geeta, Sholay and Don. They have worked together in 24 films including two hit Kannada films (both starring Dr.Rajkumar) – Premada Kanike and Raja Nanna Raja. Though they split in 1982, due to ego issues, some of the scripts they wrote were made into hit films later like Zamana and Mr. India.
Salim–Javed (as they are famously called) have scripted many commercially and critically accepted movies for movie making giants like
(1981).After their split
Salim Khan after the split was not very active in films. Though he did write the scripts for about 10 films after his split with Javed Akhthar like
Their last unofficial partnership was for the film Baghban (2003). Amitabh Bachchan requested to Javed Akhtar to write his final speech. Salman Khan, for his speech prior to that, requested his father Salim Khan to write his speech. However, neither Salim Khan nor Javed Akhtar were credited.[16]
Style, themes and influence
Salim–Javed's films had a wider impact on Indian society, with themes relevant to the
According to Javed Akhtar, in their early periods, on the cinema posters, there were no names of script writer, story and screenplay. Realizing that the hard work is done by this duo, and not getting the appropriate recognition, Salim and Javed decided to paint their names on all the posters pasted in the city. They hired a rikshaw and put the paint bucket on that and did all the work themselves the entire night. After that, the directors also started to put their name on the posters.
While working together, Salim Khan was largely responsible for developing the stories and characters, which were considered unconventional at the time, while Javed Akhtar was largely responsible for writing the dialogues.
Bollywood cinema
Salim–Javed as writers revolutionized
Salim–Javed began the genre of gritty, violent,
They also pioneered the
Both of these trends, the violent crime film and the masala film, came together with the blockbuster
Salim Khan conceived the "angry young man" persona Amitabh Bachchan that he became famous for, and introduced him to directors Prakash Mehra and Manmohan Desai.[28] Salim–Javed often wrote their scripts with Bachchan in mind for the lead role, and insisted he be cast for their films early in his career, including Zanjeer, Deewaar, and Sholay, roles which established Bachchan as a superstar.[5][29]
South Indian cinema
Their work was also highly influential in
Much like their role in launching the career of Amitabh Bachchan, Salim–Javed also played an important role in launching the career of South Indian superstar Rajinikanth.[31] Several Tamil remakes of their films became breakthroughs for Rajinikanth, who was cast in Amitabh Bachchan's role.[5][32] The Tamil remake of Don (1978) in particular, Billa (1980), was a turning point in Rajinikanth's career, as his first blockbuster hit. He also starred in several other hit Salim–Javed adaptations in Bachchan's role, including Thee (1981), Mr. Bharath (1986),[31] and Naan Vazhavaippen (1979).[32] Of the four prominent south industries, their movies were remade the least in Kannada.
Screenwriter V. Vijayendra Prasad, responsible for a number of blockbusters in the early 21st century, including the South Indian franchise Baahubali and the 2015 Hindi film Bajrangi Bhaijaan (starring Salim's son Salman Khan), cited Salim–Javed as a major inspiration on his work, especially their screenplay for Sholay, among other films.[33]
Indian society
Salim–Javed's films had a wider impact on
Their films often dealt with themes relevant to Indian society at the time, such as urban poverty in slums, corruption in society, and the
Some of their films in the 1970s, especially Deewaar, were perceived by audiences to be
Their portrayal of female heroines was also
International cinema
Beyond their influence on
According to
Filmography
Hindi films
Year | Title | Director | Cast | Notes |
---|---|---|---|---|
1971 | Adhikar | S.M. Sagar | Ashok Kumar, Nanda, Deb Mukherjee | |
Andaz | Ramesh Sippy | Rajesh Khanna, Hema Malini, Shammi Kapoor, Simi Garewal | ||
Haathi Mere Saathi | M. A. Thirumugam | Rajesh Khanna, Tanuja | Based on 1967 Tamil movie Devar Films' with M. G. Ramachandran in the lead.
| |
1972 | Seeta Aur Geeta | Ramesh Sippy | Hema Malini, Dharmendra, Sanjeev Kumar | Remade in Telugu as Shobhan Babu and Krishna. .
Remade in Tamil as Vani Rani (1974) with Vanisri in the dual role alongside Sivaji Ganesan and R. Muthuraman |
1973 | Zanjeer | Prakash Mehra | Jaya Bhaduri, Pran |
Remade in Telugu as Latha Sethupathi and Kaikala Satyanarayana. .
Remade in Tamil as Sirithu Vazha Vendum (1974) with M. G. Ramachandran in dual role and Latha. Remade in Malayalam as Naayattu (1980) with Prem Nazir, Jayan and Sukumari. Further remade in 2013 into Hindi-Telugu bilingual Zanjeer in Hindi and Thoofan in Telugu starring Ram Charan and Priyanka Chopra |
Yaadon Ki Baaraat | Nasir Hussain | Dharmendra, Vijay Arora, Tariq Khan | Remade in Tamil as Shanavas .
| |
1974 | Majboor | Ravi Tandon | Amitabh Bachchan, Parveen Babi, Pran | Inspired by Sivaji Ganeshan, K. R. Vijaya and Rajinikanth. .Remade in Malayalam as Ee Kaikalil starring Mammootty and Seema Remade in Gujarati as Naseeb No Khel (1982). |
Haath Ki Safai | Prakash Mehra | Randhir Kapoor, Vinod Khanna, Hema Malini, Simi Garewal, Ranjeet | Remade in Telugu as Manushulu Chesina Dongalu (1976) with Krishna, Krishnam Raju, Manjula, Sangeetha and Mohan Babu. Remade in Tamil as Savaal (1981) with Kamal Haasan, Jaishankar, Sripriya, Lakshmi and Vijayakumar. | |
1975 | Deewaar | Yash Chopra | Amitabh Bachchan, Shashi Kapoor, Parveen Babi, Neetu Singh | Remade in Telugu as Magaadu (1976) with N. T. Rama Rao, Rama Krishna, Manjula and Latha. Remade in Cantonese as The Brothers (1979) by Shaw Brothers Studio.[44] Remade in Tamil as Thee (1981) with Rajinikanth, Suman, Shobha and Sripriya. Remade in Malayalam as Nathi Muthal Nathi Vare (1983) starring Mammootty. Partially remade in Hindi as Aatish: Feel the Fire (1994). |
Sholay | Ramesh Sippy | Jaya Bhaduri |
It was ranked first in the Ram Gopal Varma Ki Aag (2007)
| |
Aakhri Dao |
A. Salaam | Jeetendra, Saira Banu, Danny Denzongpa | The film is based on Vermaji's 1950 novel of the same name. | |
1977 | Immaan Dharam | Desh Mukherjee | Amitabh Bachchan, Shashi Kapoor, Sanjeev Kumar, Rekha | |
Chacha Bhatija | Manmohan Desai | Dharmendra, Randhir Kapoor, Hema Malini | ||
1978 | Trishul | Yash Chopra | Amitabh Bachchan, Sanjeev Kumar, Shashi Kapoor, Hema Malini | Malayalam movie Meen (1980) starring Jayan and its Tamil remake Kadal Meengal (1981) starring Kamal Haasan were partially inspired by this movie Remade in Tamil as Mr. Bharath (1986) starring Rajinikanth, Sathyaraj, S. Ve. Shekher and Ambika Remade in Telugu in 1986 as Mister Bharat starring Sobhan Babu and Suhasini Maniratnam |
Don | Chandra Barot | Amitabh Bachchan, Zeenat Aman, Helen | Remade in 1979 in Telugu as Yugandhar starring N. T. Rama Rao and in 1980 in Tamil as Billa starring Rajinikanth and in 1986 in Malayalam as Shobaraj starring Mohanlal. Subsequently, remade in Hindi in 2006 as Don starring Shah Rukh Khan; in Tamil in 2007 as Billa starring Ajith Kumar and in Telugu in 2009 as Billa starring Prabhas | |
1979 | Kaala Patthar | Yash Chopra | Amitabh Bachchan, Shashi Kapoor, Rakhee Gulzar, Shatrughan Sinha, Neetu Singh, Parveen Babi | |
1980 | Dostana | Raj Khosla | Amitabh Bachchan, Shatrughan Sinha, Zeenat Aman, Prem Chopra, Pran, Amrish Puri, Helen | Remade in 1983 in Tamil as Sattam starring Kamal Haasan |
Shaan | Ramesh Sippy | Sunil Dutt, Amitabh Bachchan, Shashi Kapoor, Shatrughan Sinha, Rakhee Gulzar, Parveen Babi | ||
1981 | Kranti | Manoj Kumar | Dilip Kumar, Manoj Kumar, Shashi Kapoor, Hema Malini, Shatrughan Sinha, Parveen Babi | |
1982 | Shakti | Ramesh Sippy | Raakhee, Anil Kapoor |
It was the only film to feature veteran actors Dilip Kumar and Amitabh Bachchan together on screen. The movie had a similar storyline as that of the 1974 Tamil movie Thanga Pathakkam starring Sivaji Ganesan which was already remade in 1982 in Hindi as Farz Aur Kanoon starring Jeetendra
|
1985 | Zamana | Ramesh Talwar | Rajesh Khanna, Rishi Kapoor, Poonam Dhillon, Ranjeeta Kaur | The film was successful at the box office with collection of 4.5 crores in 1985. |
1987 | Mr. India | Shekhar Kapur | Anil Kapoor, Sridevi, Amrish Puri | The film was the second biggest hit of 1987, and remains a cult classic in India. Remade in Tamil as En Rathathin Rathame (1989) with K. Bhagyaraj and Meenakshi Seshadri. Remade in Kannada as Jai Karnataka (1989) with Ambareesh and Rajani. |
2003 | Baghban | Ravi Chopra | Amitabh Bachchan, Salman Khan, Hema Malini, Aman Verma, Samir Soni, Mahima Chaudhry, Rimi Sen | Uncredited.[16] |
Kannada films
Year | Title | Director | Cast | Notes |
---|---|---|---|---|
1976 | Premada Kanike[45] | V. Somashekhar | Rajkumar, Aarathi | Based on 1969 Hindi film Do Bhai by Salim Khan (credited as Prince Salim), which was also remade in Tamil as Justice Viswanathan and in Telugu as Nenu Manishine. Premada Kanike was later remade in Tamil as Polladhavan and in Hindi as Raaz |
Raja Nanna Raja[46] | A. V. Seshagiri Rao | Inspiration for Magadheera |
Awards and nominations
Filmfare Awards
Year | Category | Film | Result[17] |
---|---|---|---|
1974 | Best Screenplay | Zanjeer (1973)[47] | Won |
Best Story | |||
1976 | Best Story | Deewaar (1975) | Won |
Best Screenplay | |||
Best Dialogue | |||
Best Story | Sholay (1975) | Nominated | |
1979 | Trishul (1978) | Nominated | |
1980 | Kaala Patthar (1979) | Nominated | |
1983 | Shakti (1982) | Nominated | |
Best Screenplay | Won |
Films with Salim–Javed writing credits that were nominated for or won the Filmfare Award for Best Film:[17]
- Zanjeer (1973) – Nominated
- Deewaar (1975) – Won
- Sholay (1975) – Nominated
- Trishul (1978) – Nominated
- Kaala Patthar (1979) – Nominated
- Shakti (1982) – Won
- Baghban (2003) – Nominated
- Don: The Chase Begins Again (2006) – Nominated
Sholay received a special award at the 50th Filmfare Awards in 2005:
British Film Institute
Sholay (1975) was ranked first in the British Film Institute's 2002 poll of "Top 10 Indian Films" of all time.[26]
Box office performance
The following table lists the
The gross revenue figures in the table do not take inflation into account. The gross revenue numbers given below are
Year | Film | Box office gross revenue (est.) | Footfalls (est. ticket sales) | |||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|
India | Overseas | Worldwide | India[49] | Overseas | Worldwide | |||||||
INR | USD[50] | USD | INR[51] | INR | USD | |||||||
1971 | Andaz | ₹40,000,000[52] | $5,300,000 | — | — | ₹40,000,000 | $5,300,000 | 21,000,000 | — | 21,000,000 | ||
Haathi Mere Saathi | ₹70,000,000[52] | $9,300,000 | $11,920,000[a] | ₹97,000,000 | ₹167,000,000 | $17,220,000 | 37,000,000 | 34,800,000[a] | 71,800,000 | |||
1972 | Seeta Aur Geeta | ₹65,000,000[56] | $8,600,000 | $18,600,000[b] | ₹167,000,000 | ₹232,000,000 | $27,200,000 | 20,000,000 | 55,200,000[b] | 75,200,000 | ||
1973 | Zanjeer | ₹60,000,000[58] | $7,800,000 | $14,600,000[c] | ₹115,000,000 | ₹175,000,000 | $22,440,000 | 29,000,000 | 37,300,000[c] | 66,300,000 | ||
Yaadon Ki Baaraat | ₹55,000,000[58] | $7,100,000 | — | — | ₹55,000,000 | $7,100,000 | 27,000,000 | — | 27,000,000 | |||
1974 | Haath Ki Safai | ₹30,000,000[60] | $3,800,000 | — | — | ₹30,000,000 | $3,800,000 | 13,000,000 | — | 13,000,000 | ||
Majboor | ₹26,000,000[60] | $3,300,000 | — | — | ₹26,000,000 | $3,300,000 | 11,000,000 | — | 11,000,000 | |||
1975 | Deewaar | ₹75,000,000[61] | $9,500,000 | — | — | ₹75,000,000 | $9,500,000 | 31,000,000 | — | 31,000,000 | ||
Sholay | ₹350,000,000[62] | $45,000,000 | $23,500,000[d] | ₹267,000,000 | ₹617,000,000 | $68,500,000 | 150,000,000+[64] | 60,000,000+[d] | 250,000,000[65] | |||
1977 | Chacha Bhatija | ₹70,000,000[66] | $8,900,000 | — | — | ₹70,000,000 | $8,900,000 | 28,000,000 | — | 28,000,000 | ||
Immaan Dharam | ₹26,000,000[66] | $3,300,000 | — | — | ₹26,000,000 | $3,300,000 | 10,000,000 | — | 10,000,000 | |||
1978 | Trishul | ₹110,000,000[67] | $14,000,000 | $11,700,000[e] | ₹92,000,000 | ₹202,000,000 | $25,700,000 | 43,000,000 | 29,700,000[e] | 72,700,000 | ||
Don | ₹70,000,000[67] | $8,900,000 | — | — | ₹70,000,000 | $8,900,000 | 27,000,000 | — | 27,000,000 | |||
1979 | Kaala Patthar | ₹60,000,000[69] | $7,600,000 | — | — | ₹60,000,000 | $7,600,000 | 25,000,000 | — | 25,000,000 | ||
1980 | Dostana | ₹90,000,000[70] | $11,500,000 | — | — | ₹90,000,000 | $11,500,000 | 31,000,000 | — | 31,000,000 | ||
Shaan | ₹120,000,000[71] | $15,300,000 | — | — | ₹120,000,000 | $15,300,000 | 41,000,000 | — | 41,000,000 | |||
1981 | Kranti | ₹200,000,000[72] | $23,100,000 | — | — | ₹200,000,000 | $23,100,000 | 60,000,000 | — | 60,000,000 | ||
1982 | Shakti | ₹80,000,000[73] | $8,500,000 | — | — | ₹80,000,000 | $8,500,000 | 19,000,000 | — | 19,000,000 | ||
1987 | Mr. India | ₹100,000,000[74] | $7,720,000 | Unknown | Unknown | ₹100,000,000+ | $7,720,000+ | 24,000,000 | Unknown | 24,000,000+ | ||
1994 | Aatish: Feel the Fire | ₹117,500,000[75] | $3,700,000 | $165,000[75] | ₹5,197,500[75] | ₹122,697,500[75] | $3,865,000 | 11,728,000[75] | 39,500[76] | 11,767,473 | ||
2003 | Baghban | ₹405,000,000[77] | $8,700,000 | $2,670,000[78] | ₹124,400,000 | ₹529,400,000 | $11,370,000 | 7,973,000[79] | 331,841[80] | 8,304,841 | ||
2006 | Don: The Chase Begins Again
|
₹775,000,000[81] | $17,100,000 | $7,880,000[82] | ₹358,540,000[82] | ₹1,133,540,000 | $24,980,000 | 12,487,000[83] | 634,226[84] | 13,121,226 | ||
Total box office | ₹2,994,500,000 | $238,000,000 | $91,075,000+ | ₹1,226,137,500+ | ₹4,220,637,500+ | $325,095,000+ | 679,188,000+ | 218,005,541+ | 913,193,540+ |
See also
Notes
- ^ US$ in 1974.[55]
- ^ a b 55,200,000 Soviet ticket sales in 1976,[57] average 0.25 руб per ticket,[54] 0.742 руб per US$ in 1976.[55]
- ^ a b 37,300,000 Soviet ticket sales in 1980,[59] average 0.25 руб per ticket,[54] 0.637 руб per US$ in 1980.[55]
- ^ a b 60,000,000 ticket sales in the Soviet Union (including re-runs after 1979 release),[63] average 0.25 руб per ticket,[54] 0.637 руб per US$ in 1980.[55]
- ^ a b 29,700,000 Soviet ticket sales in 1980,[68] average 0.25 руб per ticket,[54] 0.637 руб per US$ in 1980.[55]
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Salim had decided to cut down on his acting assignments in order to concentrate on writing and though money was hard to come by, he had not lost his flamboyance. In Do Bhai, he was credited as Prince Salim. During this period, he joined Abrar Alvi as a writing assistant.
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JA: I write dialogue in Urdu, but the action and descriptions are in English. Then an assistant transcribes the Urdu dialogue into Devnagari because most people read Hindi. But I write in Urdu. Not only me, I think most of the writers working in this so-called Hindi cinema write in Urdu: Gulzar, or Rajinder Singh Bedi or Inder Raj Anand or Rahi Masoom Raza or Vahajat Mirza, who wrote dialogue for films like Mughal-e-Azam and Gunga Jumna and Mother India
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External links
- Salim Khan at IMDb
- Javed Akhtar at IMDb