Shatarupa Ghoshal extricated a readable book from the mess of my awkward sentences and wonky grammar.
Udayan Mitra has to be thanked specifically for kicking off this book and generally for being that sort of guy who knows Salim-Javed’s only flop.
Udayan Chakrabarti was the first reader of the book, who then advised me to rewrite pretty much the whole thing.
Nimilita Chatterjee was a dream host, providing me a luxurious room (with free breakfast and Wi-Fi) during my research visits to Mumbai.
Debapriya Chaudhuri planted the seed of this book with a casual comment while Rita Chaudhuri ensured I never took my movie-watching casually.
Trishna Chaudhuri slept soundly through the nightly clacking of the keyboard and kept her sighs at inaudible levels when I replayed Trishul for the seventeenth time. It couldn’t have been easy.
And finally, this book is dedicated to the Dynamic Duo of my life—Dyujoy–Drishti—wishing that they write blockbuster lives for themselves.
Translations of Dialogues
i. ‘I still don’t pick up money thrown at me.’
ii. ‘These elephants shall be your companions.’
iii. ‘Come down from your perch, little one.’ ‘You join me here, fat one.’
iv. ‘We are your uncle and aunt.’ ‘Look more like hangers-on.’
v. ‘Where had you gone off, my girl?’ ‘Had zipped off to Mahabaleshwar, my pachyderm!’
vi. ‘I always look fetching in borrowed clothes.’
vii. ‘Till I wipe away your tears, till I make you happy, till I make this home peaceful again, I will not leave.’
viii. ‘The day this three-kilo beast of a hand knocks you, you’ll be as flat as a movie poster on a brick wall.’
ix. ‘Unless I tell you otherwise, keep bloody standing. This isn’t your bloody living room. It’s a bloody police station.’
x. ‘Sher Khan has met a lion for the first time in his life today.’
xi. ‘Kabir was just telling me that a police officer needs some money.’
xii. ‘Fifty thousand rupees to kill a mere inspector? Seems like a really honest guy.’
xiii. ‘We will put up some really nice curtains in our home and I will never even try to find out what’s going on beyond them.’
xiv. A typically hyperbolic line, characteristic of breathless radio promotions: ‘A glowing ember of revenge wrapped in the chains of memory.’
xv. ‘Boy, I was the headmaster of the school you are trying to graduate from.’
xvi. ‘I give lessons to the headmaster of the school where you are learning these tricks.’
xvii. ‘Well, what do you think?’
xviii. ‘Acting is in my blood. Several generations of my family have been at it.’
xix. ‘Whether it’s Chandramukhi or Paaro, what difference does it make, friends?’
xx. ‘I have always heard of honour among thieves.’ ‘You heard right . . . it is only thieves who have honour.’
xxi. ‘My father is a thief.’
xxii. ‘But I have Mother.’ Admittedly, this translation is somewhat futile because there is hardly anyone remotely interested in Indian cinema who doesn’t know the import of this line.
xxiii. ‘If my voice is reaching the owners of our mine . . .’ ‘What is Anand babu’s particular weakness?’ ‘One day this boy will become someone [important].’
xxiv. ‘May your hand remain steady when you fire.’
xxv. ‘You do not know this area.’ ‘You do not know me.’
xxvi. ‘If this is a coincidence, it is a very interesting coincidence.’
xxvii. ‘You’d do well to remember that I can be as hot-blooded as you are.’
xxviii. ‘I won’t let you rest till you become like steel in a furnace. You have to become your mother’s true son and earn the mother’s milk.’
xxix. ‘I will forget this gold, Raj Singh, but not you.’
xxx. ‘I don’t like his shoes.’
xxxi. ‘There are just two kinds of girls I don’t like. One, who take too long to be wooed. Two, who get wooed too easily.’
xxxii. ‘Sonia, Don is wanted in eleven countries but get this straight . . . it is not just difficult to catch Don, it is impossible.’
xxxiii. ‘It’s suffocating to pass through the terrible atmosphere of this area.’
xxxiv. ‘The men who die like flies in mines every day, their wives buy bangles only to take them off [when they become widows].’
xxxv. ‘This mine is like a hungry python which swallows hundreds of miners every day, sucks every drop of their life blood and then spits them out as the living dead.’
xxxvi. ‘There’s no place on earth which can hold Mangal back.’
xxxvii. ‘Oh my fifty-third card of the pack, I am the third ace of the flush.’
xxxviii. ‘People find me terribly attractive, especially my eyes.’
xxxix. ‘Anger has turned these lovely pink flowers red.’
xl. ‘Shaakaal has as many aces up his sleeve as he has in his hands.’
xli. ‘Our family tradition’
xlii. ‘My father has been married twice . . . I am his first wife’s son and his second wife’s son is the law he upholds, which is just like my stepbrother.’
xliii. ‘I have not become so weak that I cannot bear the weight of my husband’s honesty.’
xliv. ‘Please tell him to find witnesses and evidence against me.’
xlv. ‘Let this burden of principles be borne by the man who considers it to be his hobby.’
xlvi. ‘Mogambo is pleased.’
xlvii. ‘Where on earth are you floating around?’
xlviii. ‘A full fifty thousand.’
xlix. ‘The job has been given to someone else.’
l. ‘Teja, I have arrived.’
li. ‘The entire city knows me by the name of “Loin”.’
lii. ‘You son of a pig!’
liii. ‘How many men were there?’
liv. ‘Now what will happen to you, Kaalia?’
lv. ‘The way he riled me in the court . . .’
lvi. ‘Get this clear baby . . . if you play coy any longer, I will scrape this fair skin of yours right off your body.’
lvii. ‘You want me to run away as well?’
lviii. ‘When you see your mother die a little every single day for twenty-five years, you are no longer scared of death.’
lix. ‘Another daylight robbery? This government can’t go on.’
lx. ‘People who have nothing to do often perform miracles. I am a miracleworker these days.’
lxi. ‘Looking for a job itself is a very difficult job.’
lxii. ‘If a man doesn’t get his first job, how will he gain experience? Believe me, I can do this job.’
lxiii. ‘You don’t know [how tough] this task [is].’ ‘You don’t know me [how tough I am].’
lxiv. ‘Should the millions of starving Indians start stealing to feed themselves?’
lxv. ‘As the money in your [rich people’s] accounts grows, so does the hunger and helplessness among the common people of this country.’
lxvi. ‘I see that the greed in the hearts of the rich and the adulteration in the food of the poor is steadily increasing.’
lxvii. ‘Today’s India will no longer tolerate black maketeers, smugglers and hoarders.’
lxviii. ‘Friends, if my voice is reaching the owners of our mine, then I would like to assure them that we are not concerned about the overflowing flower vases in their drawing rooms. We are only concerned with the empty tins in our kitchens. We are not at all worried that these mines are giving them pots of gold. We are only worried about the ashes and dust that are coming our way.’
lxix. ‘Here to collect the ashes from our burnt homes, is it? And use it to shine your boss’ silverware?’
lxx. ‘Saxena, you seem to have no sense of simple arithmetic. Don’t you know four hundred is way lower than forty lakhs?’
lxxi. ‘A really useful miner is one
who is always half-dead and has just enough energy to keep his head down and dig.’
lxxii. ‘The dawn would have truly arrived when everyone will have an income and a home, not having to spend their lives on the pavement.’
lxxiii. ‘Unfortunately, small talk is completely beyond me.’
lxxiv. ‘Here, have some tea.’ ‘I will but you do know what kind of dirty thoughts come to my mind after I drink tea, don’t you?’ ‘Do you ever think of anything else?’
lxxv. ‘If Dhanno, a mare, can pull the tonga, why can’t Basanti the girl drive it?’
lxxvi. ‘Even women should take some responsibility. If you are in the streets wearing clothese like these, what do you expect? That these roadside Romeos will chant hymns instead of whistling?’ ‘What’s wrong with these clothes?’ ‘They’re barely there.’
lxxvii. ‘And, fortunately, she is my mother.’
lxxviii. ‘Whatever he did was to protect us, to let us live.’
lxxix. ‘A horse meant for long races’
lxxx. ‘I am a respectable, married man.’ ‘If you call the police, you’ll remain neither respectable nor married.’
lxxxi. ‘Apparently, lift walls don’t have ears.’
lxxxii. ‘If you are scared, you’re dead.’
lxxxiii. ‘Thakur sahib, I don’t know what use you have for these guys but I think they are completely useless.’ ‘Not really. Along with their faults, they also have some strengths.’ ‘But isn’t a bad apple all bad?’ ‘That’s how people are different . . . they are gangsters, but brave ones. Dangerous because they know how to fight. They are bad men but human beings, after all.’
lxxxiv. ‘Don’t know if I am more impressed by your dulcet voice or your deft fingers. Don’t know if your delightful victory impresses me more or your wonderful necklace.’ (The writers are punning on the word ‘haar’ that means both ‘necklace’ and ‘loss’.)
lxxxv. ‘If you file a suit, I’ll pack a suitcase . . .’ ‘I will retire your tensions with a pension.’
lxxxvi. ‘We can’t afford such a slow pace. You should consider putting a few more people on the job but we have to finish on time.’
lxxxvii. ‘A jailor from the British era’
lxxxviii. Literally, ‘I have eaten your salt,’ but the idea is of being loyal to one’s employer.
lxxxix. ‘Shambhu’s mind is a double-edged sword.’
xc. ‘He turned out to be my big brother.’
xci. ‘Brother, I am keeping quiet because I am the younger one.’ ‘It is not only your wallet that has fallen out, sir. You yourself have fallen so much.’
xcii. ‘Do wash your hands off this, or people might think there is someone’s blood on your hands.’ ‘When I saw the blood on my hands—for a second—I thought it was my own blood. Then I realized it is you who is hurt.’
xciii. ‘How can I agree, Dinanathji?’
xciv. ‘Just before Kasara ghat, you will cross a narrow bridge . . . rough track on the right . . . a ramshackle cottage next to a river . . .’
xcv. ‘Excuse me, sir, I did not write this dialogue . . .’
Filmography of Salim–Javed
Andaz
Release Date: 30 April 30 1971
Director: Ramesh Sippy
Other writing credits: Sachin Bhowmick (Story & Screenplay), Gulzar (Dialogue), Satish Bhatnagar, Sippy Films Story Department (Additional Script Work)
Cast: Shammi Kapoor (Ravi), Hema Malini (Sheetal), Rajesh Khanna (Raj, in a guest appearance), Roopesh Kumar (Badal), Aruna Irani (Mahua), Achala Sachdev (Ravi’s mother), Simi Garewal (Mona, Ravi’s wife), Ajit (Raj’s father)
Music: Shankar–Jaikishan
Lyrics: Hasrat Jaipuri
Haathi Mere Saathi
Release Date: 15 May 1971
Director: M.A. Thirumugham
Other writing credits: M.M.A. Chinappa Thevar a.k.a Devar (Story), Inder Raj Anand (Dialogue)
Cast: Rajesh Khanna (Raju), Tanuja (Tanu), K.N. Singh (Saawan Kumar), Madan Puri (Seth Ratanlal, Tanuja’s father), Junior Mehmood (Chhote, Raju’s sidekick)
Music: Laxmikant–Pyarelal
Lyrics: Anand Bakshi
Seeta Aur Geeta
Release Date: 3 November 1972
Director: Ramesh Sippy
Other writing credits: Satish Bhatnagar (Story), Sippy Films Story Department (Screenplay)
Cast: Hema Malini (Seeta and Geeta), Dharmendra (Raaka), Sanjeev Kumar (Ravi), Manorama (Chachi), Satyendra Kappu (Chacha), Roopesh Kumar (Ranjeet), Honey Irani (Sheila)
Music: R.D. Burman
Lyrics: Anand Bakshi
Zanjeer
Release Date: 11 May 11 1973
Director: Prakash Mehra
Cast: Amitabh Bachchan (Ravi Khanna), Jaya Bhaduri (Mala), Pran (Sher Khan), Ajit (Dharam Dayal Teja), Bindu (Mona), Om Prakash (informant D’Silva)
Music: Kalyanji–Anandji
Lyrics: Gulshan Bawra
Yaadon Ki Baaraat
Release Date: 16 November 1973
Director: Nasir Husain
Other writing credits: Nasir Husain (Dialogue)
Cast: Dharmendra (Shankar), Vijay Arora (Vijay), Zeenat Aman (Sunita), Tariq (Ratan/Monto), Ajit (Shaakaal), Satyen Kappu (Jack), Imtiaz Khan (Roopesh)
Music: R.D. Burman
Lyrics: Majrooh Sultanpuri
Haath Ki Safai
Release Date: 30 August 1974
Director: Prakash Mehra
Cast: Vinod Khanna (Shankar), Randhir Kapoor (Raju Tardeo), Hema Malini (Kamini), Simi Garewal (Roma), Satyendra Kappu (Usmanbhai), Ranjeet (Ranjeet)
Music: Kalyanji–Anandji
Lyrics: Gulshan Bawra
Majboor
Release Date: 6 December 1974
Director: Ravi Tandon
Cast: Amitabh Bachchan (Ravi Khanna), Parveen Babi (Neelu), Pran (Michael D’Souza), Satyen Kappu (Narendra Sinha), Rehman (Surendra Sinha), Iftekhar (Inspector Khurana), Farida Jalal (Renu Khanna, Ravi’s sister), Madan Puri (Mahipat Rai)
Music: Laxmikant–Pyarelal
Lyrics: Anand Bakshi
Deewaar
Release Date: 24 January 1975
Director: Yash Chopra
Cast: Amitabh Bachchan (Vijay Verma), Shashi Kapoor (Ravi Verma), Nirupa Roy (Sumitra Verma, Vijay and Ravi’s mother), Parveen Babi (Anita), Neetu Singh (Veera), Davar (Iftekhar), Satyen Kappu (Anand Verma, Vijay and Ravi’s father), Manmohan Krishna, A.K. Hangal
Music: R.D. Burman
Lyrics: Sahir Ludhianvi
Aakhri Daao
Release Date: 8 August 1975
Director: A. Salam
Cast: Jeetendra (Ravi), Saira Banu (Reena), Danny Denzongpa (Saawan), Padma Khanna (Julie), Satyen Kappu (Kaul sahib), Iftekhar (Inspector Khurana), Ramesh Deo (Inspector Verma)
Music: Laxmikant–Pyarelal
Lyrics: Hasrat Jaipuri
Sholay
Release Date: 15 August 1975
Director: Ramesh Sippy
Cast: Sanjeev Kumar (Thakur Baldev Singh), Dharmendra (Viru), Amitabh Bachchan (Jai), Hema Malini (Basanti), Jaya Bhaduri (Radha), Amjad Khan (Gabbar Singh), Satyen Kappu (Ramlal), A.K. Hangal (Imam sahib), Sachin (Ahmed), Jagdeep (Soorma Bhopali), Asrani (Jailor), Leela Mishra (Basanti’s Mausi), Kaalia (Viju Khote), Sambha (Macmohan)
Music: R.D. Burman
Lyrics: Anand Bakshi
Immaan Dharam
Release Date: 14 January 1977
Director: Desh Mukherji
Cast: Amitabh Bachchan (Ahmed), Shashi Kapoor (Mohan), Sanjeev Kumar (Kabir), Rekha (Durga), Aparna Sen (Shyamlee), Helen (Jenny), Prem Chopra (Ranjeet), Om Shivpuri (Seth Jamuna Das, Kabir’s father), Utpal Dutt (Balbir Singh), A.K. Hangal (Masterji, Shyamlee’s father)
Music: Laxmikant–Pyarelal
Lyrics: Anand Bakshi
Chacha Bhatija
Release Date: 1 April 1977
Director: Manmohan Desai
Cast: Dharmendra (Shankar), Hema Malini (Mala), Randhir Kapoor (Su
nder), Yogita Bali (Pinky), Rehman (Teja Seth), Jeevan (Lakshmidas), Roopesh Kumar (Kiran), Indrani Mukherjee (Sita), Sonia Sahni (Sonia)
Music: Laxmikant–Pyarelal
Lyrics: Anand Bakshi
Trishul
Release Date: 5 May 1978
Director: Yash Chopra
Cast: Amitabh Bachchan (Vijay Kumar), Shashi Kapoor (Shekhar Gupta), Sanjeev Kumar (R.K. Gupta), Hema Malini (Sheetal Verma), Rakhee (Geeta), Waheeda Rehman (Shanti), Prem Chopra (Balwant Rai), Yunus Parvez (Bhandari), Poonam Dhillon (Babli), Sachin (Ravi), Shetty (Madho Singh)
Music: Khayyam
Lyrics: Sahir Ludhianvi
Don
Release Date: 12 May 1978
Director: Chandra Barot
Cast: Amitabh Bachchan (Don/Vijay), Zeenat Aman (Roma), Pran (Jasjit), DSP De Silva (Iftekhar), Om Shivpuri (Interpol officer Malik/Vardhan), Kamal Kapoor (Narang), Satyen Kappu (Inspector Verma), Shetty (Shaakaal), Helen (Kamini)
Music: Kalyanji–Anandji
Lyrics: Anjaan, Indivar
Kaala Patthar
Release Date: 1 August 1979
Director: Yash Chopra
Cast: Amitabh Bachchan (Vijay Pal Singh), Shashi Kapoor (Ravi Malhotra), Shatrughan Sinha (Mangal), Rakhee (Dr Sudha), Parveen Babi (Anita), Neetu Singh (Channo), Prem Chopra (Dhanraj Puri), Manmohan Krishna (Dhaba owner), Parikshit Sahni (Jagga), Macmohan (Rana the card shark)
Music: Rajesh Roshan
Lyrics: Sahir Ludhianvi
Dostana
Release Date: 17 October 1980
Director: Raj Khosla
Cast: Amitabh Bachchan (Vijay Verma), Shatrughan Sinha (Ravi Kapoor), Zeenat Aman (Sheetal Sahni), Pran (Tony), Prem Chopra (Daaga), Amrish Puri (Balwant), Helen (Sylvia),
Music: Laxmikant–Pyarelal
Written by Salim-Javed: The Story of Hindi Cinema’s Greatest Screenwriters Page 29
