#Salim-Javed

[pariaritzia]

Queerness in Indian Media

↳Film: DON (1978, Hindi) dir. CHANDRA BAROT

Don follows two characters: Roma (Zeenat Aman), a woman who is out for revenge against the crime boss Don, who killed her brother and sister-in-law, and Vijay (Amitabh Bachchan), a street performer who looks exactly like Don and is recruited to help take down his gang.

In an era where women characters wore long hair and dresses and were often in the narrative simply to be romanced, Roma learns karate and judo, chops off her hair, dons a suit, and infiltrates Don's gang. While she does trade in these more masculine traits for feminine clothes and longer hair at later points in the movie, it is always with the intent of disguise--and in the climactic scene, she is back in her suit, punching and kicking the bad guys right alongside the men.

In contrast, Vijay is far more feminine than the average male action hero. However, he is never ridiculed by the narrative for these qualities--he is comic relief at times, but the joke is never his femininity. Furthermore, he is guardian to two children while their father, Jasjit (Pran), serves a prison sentence. Vijay is a caring substitute father who will do anything to ensure that the children are happy, healthy, safe, and educated--a delightful characterization given society's disinclination to allow gender non conforming people around children. While disguised as Don, Vijay adopts more masculine mannerisms (something he has to learn how to do since, as he says, 'Don shoots at the drop of a hat, while I don't even know how to play marbles!'), but he often reverts to his old style as well.

Most surprising, however, is the end of the movie, when Roma, Vijay, Jasjit, and the children all walk off into the sunset together--a family that would be considered extremely unusual in today's times, much less the 1970s.

[bollywoodirect]

46 Years of Trishul (05/05/1978).

Directed by the legendary Yash Chopra and written by the dynamic duo Salim-Javed, Trishul features an impressive cast of Amitabh Bachchan, Sanjeev Kumar, Shashi Kapoor, Raakhee, Hema Malini, Prem Chopra, Iftekhar, Poonam Dhillon, Sachin (in their acting debuts), Gita Siddharth, and Waheeda Rehman.

Trishul went on to become the second-highest-grossing Indian film of 1978, just behind the blockbuster Muqaddar Ka Sikandar, which also starred Amitabh Bachchan and Raakhee.

The songs for the movie were composed by Khayyam, and Sahir Ludhianvi wrote the lyrics. The soundtrack is famous for bringing together three legendary Indian film music singers, Kishore Kumar, Lata Mangeshkar, and K. J. Yesudas, in the song "Mohabbat Bade Kaam Ki Cheez Hai.

[bollywoodisforlovers]

Netflix and Dil: Angry Young Men, Angrier Young Viewers

We checked out the latest talking heads documentary about Bollywood cinema, Namrata Rao's Angry Young Men. Did we learn anything?

Show notes:

De Palma

Friedkin Uncut

Netflix and Dil: High and Low - Cinema Marte Dum Tak and The Romantics

Never Sleep Again: The Elm Street Legacy

Crystal Lake Memories: The Complete History of Friday the 13th

The Story of Film: An Odyssey

Woodlands Dark and Days Bewitched: A History of Folk Horror

Angry Young Men

NEXT TIME: Nineties Bachchan

Find us on Apple Podcasts! and Stitcher! and audioBoom! and iHeartRadio! and Spotify! and Google Podcasts! and Saavn! and Hubhopper!

Thank you to Becca Dalke for the artwork!

Follow us on Twitter! Like us on Facebook!

[anotherfanaccount]

Watching this Salim-Javed documentary and all the while I'm going The Romantics was made better.

And from the back of mind...you only like that one better because it had srk every few minutes talking. And this doesn't.

Well well well. It is what it is.

[sszeemedia]

Prime Video announces global premiere of Salim-Javed's docu-series "Angry Young Man"

The trailer launch event for docu-series “Angry Young Men,”—which documents the legendary partnership of screenwriters Salim Khan and Javed Akhtar—was an evening filled with nostalgia, humor, and heartwarming moments. The Tuesday event saw the duo joined by Salman Khan, Farhan Akhtar, and Zoya Akhtar on stage. In a light-hearted moment that set the tone for the evening, Salman Khan added his…

[cebozcom]

Javed Akhtar on Writing Partnerships and Cement Factories | CeBoz.com

Javed Akhtar discusses the challenges of writing partnerships and compares them to cement factories.

[suchananewsblog]

Amitabh Bachchan was planning to quit films after 11 flops, Jaya Bachchan did Zanjeer for him: Salim Khan - Times of India

Veteran screenwriter Salim Khan recently revealed that Amitabh Bachchan was on the verge of quitting the film industry after he had endured around 11 flops in a row. However, Zanjeer became the turning point of his life and revived his acting career. He also revealed that they had to get Jaya Bachchan, who was the top star then, on board to increase the saleability of the film. Talking to his son…

[filmystream]

Jee Le Zaraa: Why Katrina, Priyanka, and Alia's Film is Delayed

Jee Le Zaraa Delay Priyanka’s Rumoured Exit and Farhan’s “Don 3”Javed Akhtar Praises Alia Bhatt“Angry Young Men” Docu-Series: A Look at Salim-Javed’s Legacy Jee Le Zaraa Delay Fans have been eagerly awaiting the collaboration of Katrina Kaif, Priyanka Chopra Jonas, and Alia Bhatt in a film directed by Farhan Akhtar. Announced in 2021, the project has encountered several delays due to scheduling…

[eileenguy]

indian sam is so special to me. he oils his hair w heated coconut oil. he henna-s it when he can. he has an insane encyclopaedic knowledge of all the different monsters and folklore in all different south asian cultures. he loves sambhar. he pretends to hate it when dean and him watch Andaz Apna Apna or Sholay or any other such movie but he enjoys them so much and he has all the dialogues memorised. he's coded like the younger brother in Salim-Javed movies. this mustn't even make sense to most people but GOD.

[pariaritzia]

Queerness in Indian Media

↳Film: RRR (2022, Telugu), dir. S.S. RAJAMOULI

RRR is a historical fantasy action drama that follows Bheem (NTR Jr), a Gond warrior who is in search of a Gond girl who was taken away from their home, and Ram (Ram Charan), the British Army officer assigned to catch him. Ram and Bheem meet under false identities and quickly grow closer, but everything is thrown into chaos once the truth is revealed and Ram is forced to choose between his ambitions and his attachment to Bheem.

Long before any white person had ever heard of RRR, queer Indians were cautiously optimistic that there would be something for us in this movie. There was the song Dosti, which felt more romantic than the average song about friendship; Bheem's intense declaration toward Ram in the trailer; Rajamouli explaining that there is no boy-girl romantic song (a staple of masala Indian cinema in any language) because "the romance angle is between these two guys only...bromance...they are the heroes, they are the hero and heroine, and they are the hero and villain"; the lead actors repeatedly questioning interviewers who referred to Jenny and Seetha as Bheem and Ram's love interests; and the writer, V. Vijayendra Prasad, being a huge fan of Salim-Javed movies, particularly Sholay, whose homosocial pairing has been read as queer by queer Indians for decades.

The movie itself gave us more than we could have hoped for from a project made on such a huge scale. Ram and Bheem mimic many of the "hero and heroine" pairings in so many masala movies, doing everything from the "slow-mo staring" for the first meeting, to getting a whole montage song for the progression of their bond, to dressing each other up, to dancing together at a party, to carrying each other, to rescuing each other.

The final rescue scene is perhaps the most telling, as it twists a well-known myth from the Ramayana by putting Ram and Bheem in the position of heroine and hero. It is not Hanuman who tells Rama where to find Sita in Lanka, but instead Seetha who tells Bheem where to find Ram. Bheem, upon finding him, promises to get him out 'even if [he has] to burn this Lanka down to do it'--then promptly carries him on his shoulders the way Hanuman carried Rama, to do away with any suspicions from homophobic audiences.

Those homophobic audiences still made their complaints--a glance at the oldest comments on any clip or behind the scenes video for RRR will make that clear--but they were drowned out by the many fans of the movie. Ultimately, like with any coded movie, the interpretation is up to the individual, but it is undeniable that a number of queer Indians felt that there was a romantic bond between Ram and Bheem. To dismiss that would do a disservice to the many queer people who have, are, and always will work quietly behind the scenes to write our stories, even if they can never say so directly.

[bollywoodirect]

Celebrating 49 years of #Deewaar (24/01/1975).

Deewaar, one of the greatest Indian films of all time, was directed by the legendary Yash Chopra. It continues to captivate audiences with its powerful performances, compelling storytelling, and timeless themes. A major critical and commercial success upon its release, Deewar features #AmitabhBachchan in an iconic role as Vijay Verma, a dock worker who becomes a powerful underworld figure. His performance is celebrated for its raw emotion and intensity.

The film’s memorable soundtrack, composed by R.D. Burman, includes classics like "Kehdoon Tumhe, Ya Chup Rahun" and "Maine Tujhe Maanga, Tujhe Paaya Hai", which have become synonymous with the film. The entire cast, particularly Amitabh Bachchan and Shashi Kapoor, deliver outstanding performances that capture the complexities of their characters. The film also stars Neetu Singh, Nirupa Roy, Parveen Babi, Iftekhar, Madan Puri, Satyen Kappu, and Manmohan Krishna.

Deewar's groundbreaking portrayal of poverty and crime in India remains powerful and relevant, exploring themes of brotherhood, corruption, and betrayal. The moral dilemmas faced by those living in poverty are highlighted through its screenplay, written by Salim–Javed, and the brilliant direction of Yash Chopra.

Nearly five decades later, Deewar continues to resonate with audiences, cementing its place in Indian cinematic history. Its impact on Indian cinema and global audiences is undeniable. For anyone who hasn’t seen Deewar, it’s a must-watch. The powerful performances, unforgettable dialogues, and timeless songs make it an essential experience for any fan of Indian cinema.

As we celebrate 49 years of this cinematic masterpiece, let's acknowledge the talents behind it: Cinematography by Kay Gee; Editing by T. R. Mangeshkar & Pran Mehra; salim Music by R. D. Burman; Lyrics by Sahir Ludhianvi; Screenplay by Salim–Javed; Production by Gulshan Rai. Let's raise a glass to Deewar, a film that will forever be remembered as a true classic in Indian cinema.

[bollywoodisforlovers]

Episode 148 - Two wives, or two brothers? Daag and Deewaar

We return to the career of Yash Chopra with two iconic mid-70s blockbusters: one, the first film to carry the YRF name and the other, maybe the most influential Bollywood film ever made.

Show notes:

Past Yash Chopra films we have discussed: Netflix and Dil: High and Low - Cinema Marte Dum Tak and The Romantics and Yaasssh Chopra: Lamhe & Veer-Zaara with Manish Mathur

Zanjeer and the Angry Young Man

Yash Chopra

Rajesh Khanna

Thomas Hardy and the cad awareness book

"Ab Chahe Maa Roothe"

Comparisons to Douglas Sirk

INTERVAL ("Ni Main Yaar Manana Ni" from Daag)

Deewaar

Gunga Jumna and Mother India

Matt is the evil brother

Influences on Hong Kong cinema and Slumdog Millionaire

What can we bring to a conversation about this film?

Bachchan: Back to the Beginning

NEXT TIME: Hindi Horror Halloween

Find us on Apple Podcasts! and Stitcher! and audioBoom! and iHeartRadio! and Spotify! and Google Podcasts!

Thank you to Becca Dalke for the artwork!

Follow us on Twitter! Like us on Facebook!

[starbiopic]

Naseeruddin Shah on ‘Sholay’: 'Every Scene is Copied, You Have Taken from Clint Eastwood and Charlie Chaplin'

Veteran actor Naseeruddin Shah recently made a bold statement about the iconic Bollywood film Sholay during the IFP Season 14 event. He claimed that the film, written by Javed Akhtar and Salim Khan, had several elements that were “copied” from Charlie Chaplin and Clint Eastwood’s works. Shah, known for his outspoken nature, highlighted how Sholay—a film often hailed as one of India’s…

[thezeusos]

Salim-Javed are copy-writers, not writers’ says FIR writer Amit Aaryan

FIR writer Amit Aaryan recently claimed that Salim-Javed, credited for writing some of the most iconic 70s films like Sholay, never wrote original stories. The 70s was one of the most iconic decades in the history of Bollywood, and the writing duo Salim-Javed is credited for creating those epic stories. Recently, Amit Aaryan, who wrote the TV show FIR, claimed that Salim Khan and Javed Akhtar…