Salim–Javed were an Indianscreenwriting duo, composed ofSalim Khan andJaved Akhtar, who worked primarily inHindi 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 revolutionizedIndian cinema in the 1970s,[4] transforming and reinventing theBollywood formula, and pioneering the Bollywoodblockbuster format.[3] A significant departure from theromance films that had previously dominated Bollywood,[5] Salim–Javed were noted for the creation of the "angry young man" character archetype, personified by actorAmitabh Bachchan,[3] themasala film,[6] theDacoit Western genre,[7] andBombay underworld crime films.[8] Their association lasted until 1982, when both decided to split; after the separation, Javed Akhtar transitioned into a successful career as a lyricist, writing for over 80 films, while Salim Khan continued screenwriting independently until the mid-1990s. They were later credited together on two post-split releases —Zamana (1985) andMr. India (1987) — as these scripts had been completed prior to their separation. Many of their films were remade inSouth Indian languages, often under licenses directly held by Salim–Javed, who retained remake rights to their work.
In 2024,Amazon Prime Video released a three-part documentary series titledAngry Young Men, chronicling the creative partnership, cultural impact, and enduring legacy of the Salim–Javed duo.[9] During the series' promotional events, Javed Akhtar revealed that the duo are considering a reunion to co-write a new feature film together, marking a potential comeback more than four decades after their last collaboration. Akhtar stated that while discussions are at an early stage, both writers are enthusiastic about returning to their storytelling roots and exploring ideas that resonate with contemporary audiences.
Salim Khan was born on 24 November 1935 atIndore. He debuted as an actor after directorK. Amarnath saw him at a wedding and was impressed by his good looks. He asked him to come toMumbai, 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 asTeesri Manzil (1966),Sarhaadi Lootera (1966) andDiwaana (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 toIndore?"[10] 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 wasDo Bhai (1969). He also began working withAbrar Alvi as a writing assistant.[11]
Javed Akhtar was born on 17 January 1945. Early influences on Akhtar includedUrdu novels by Pakistani authorIbn-e-Safi, such as theJasoosi Dunya andImran series of detective novels, as well as films like theDilip Kumar starrersArzoo (1950) andAan (1952),Bimal Roy'sDo Bigha Zameen (1953),Shree 420 (1955) directed byRaj Kapoor and written byKhwaja Ahmad Abbas, and Mehboob Khan'sMother India (1957).[12]
Akhtar arrived inMumbai 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 onYakeen which flopped. He was unsuccessful in his individual ventures till 1971.
Salim met up with Javed Akhtar for first time during the making of the filmSarhadi Lootera. Salim was a small-time actor, andSarhadi 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 assistKaifi 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 friendJaved 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 forAdhikar andAndaz (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 inHaathi Mere Saathi (1971).[13] 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 [ofDeiva 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."[14] Salim–Javed were hired by G. P. Sippy's Sippy Films as resident screenwriters and produced the screenplays for successful films likeAndaz, Seeta Aur Geeta, Sholay andDon. They have worked together in 24 films including two hit Kannada films (both starringDr.Rajkumar) –Premada Kanike andRaja Nanna Raja. Though they split in 1982, due to unknown issues, some of the scripts they wrote were made into hit films later likeZamana andMr. India.
Salim–Javed (as they are famously called) have scripted many commercially and critically accepted movies for movie making giants likeNasir Hussain (Yaadon Ki Baaraat),Prakash Mehra (Zanjeer andHaath Ki Safai),Ravi Tandon (Majboor),Yash Chopra (Deewaar,Trishul andKaala Patthar),Yash Johar (Dostana),Ramesh Sippy (Seeta Aur Geeta andSholay),Ramesh Talwar (Zamana),Shekhar Kapoor (Mr. India) and with Chand Barot (Don). The duo split up in the early 1982 and ended their 12-year professional relationship because of unknown issues.[15] Of the 24 films they wrote the scripts for, the film which were not successful at box office includeAakhri Dao (1975),Immaan Dharam (1977),Kaala Patthar (1979) andShaan (1981).
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 likeNaam (1986),Kabzaa,Toofan (1989),Jurm (1990),Akayla,Patthar Ke Phool,Mast Kalandar (all in 1991),Aa Gale Lag Jaa (1994),Majhdhaar andDil Tera Diwana (both 1996). Of these scripts,Toofan, Akayla, Majhdaar, Aa Gale Lag Jaa andDil Tera Deewana failed at the box office. Salim Khan's eldest son,Salman Khan, made his film debut at the age of twenty two withBiwi Ho To Aisi in the year 1988 and eventually went on to become one of the most influential and successful actors in the history ofIndian Cinema. Salman Khan has collaborated with his father Salim Khan inPatthar Ke Phool andMajhdhaar, and withJaved Akhtar in only one film –Marigold (2007), in his three-decade long career. Javed Akhtar, on the other hand, has worked in all the films produced by his childrenFarhan Akhtar andZoya Akhtar'sExcel Entertainment. Javed Akhtar started writing lyrics for films beginning withSilsila in 1981 and since 1982 has written lyrics for around 80 films and scripts for over 20 films till the present times. Javed and Salim were not even on talking terms after their split till 2012, when their original scriptZanjeer was being remade into a2013 film of the same name by producer Sumeet Mehra. Salim and Javed had filed a suit in the Bombay High Court in July 2013 claiming they had copyrights over the script, story and dialogues of the original film, produced by Prakash Mehra and demanded compensation from the makers of the remake.[16] This court case brought them together again on talking terms.
Their last unofficial partnership was for the filmBaghban (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.[17]
Salim–Javed's films had a wider impact on Indian society, with themes relevant to thesocio-economic andsocio-political climate of 1970s India, especially duringThe Emergency period, such as urbanslum poverty,political corruption, andorganized crime, while presentingprogressive,feminist andanti-establishment themes, which resonated with Indian audiences in the 1970s and early 1980s. During their time working together, the duo won sixFilmfare Awards, out of ten nominations.[18]
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.[citation needed]
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.[19] Many of the dialogues they wrote for their films have become famous. Although the dialogues are often referred to asHindi, they are actually mostly inUrdu, aregister of theHindustani language. Coming from backgrounds inUrdu literature, they mostly included vocabulary from Urdu, and wrote their dialogues inUrdu script, which was then transcribed by an assistant intoDevanagari script so that Hindi readers could also read them.[20][21]The duo made the writer's role popular with their names appearing in the posters of the films, and in some films they shared up to 25% of the profit.[citation needed]
Salim–Javed as writers revolutionizedIndian cinema,[4] particularlyBollywood.[3] At the time,Hindi cinema was experiencing thematic stagnation,[22] dominated by family-friendlyromance films with "romantic hero" leads.[5] The arrival of the non-conformist screenwriter pair Salim–Javed marked a paradigm shift for the industry, with their creative innovations that proved to be a significant breakthrough for Hindi cinema, and resurrected Indian cinema.[22]
Salim–Javed began the genre of gritty, violent,Bombay underworld crime films, in the 1970s, with films such asZanjeer (1973) andDeewaar (1975).[23][8]Deewaar, which pitted "a policeman against his brother, a gang leader based on real-life smugglerHaji Mastan" portrayed by Bachchan, was described as being "absolutely key to Indian cinema" byDanny Boyle.[24]
They also pioneered themasala film format.[6]Yaadon Ki Baarat (1973), directed byNasir Hussain and written by Salim–Javed, has been identified as the first masala film and the "first" quintessentially "Bollywood" film.[25][6] Salim–Javed subsequently went on to write more successful masala films in the 1970s and 1980s.[3]
Both of these trends, the violent crime film and the masala film, came together with the blockbusterSholay (1975). It combined thedacoit film conventions ofMother India (1957) andGunga Jumna (1961) with that ofSpaghetti Westerns, spawning theDacoit Western genre (also known as the "Curry Western"), which was popular in the 1970s.[7]Sholay is considered to be one of thegreatest Indian films of all time.[26][27] It has been described as the "Star Wars of Bollywood", with its impact on Bollywood comparable to the impactStar Wars (1977) later had onHollywood, while the villainGabbar Singh (Amjad Khan) has been compared toDarth Vader.[28] Salim–Javed also created theDon franchise, one of the biggest Indian film franchises.
Salim Khan conceived the "angry young man" persona thatAmitabh Bachchan that became famous for, and introduced him to directorsPrakash Mehra andManmohan Desai.[29] 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, includingZanjeer,Deewaar, andSholay, roles which established Bachchan as a superstar.[5][30]
Their work was also highly influential inSouth Indian cinema. In addition to writing twoKannada films – the highly successfulRajkumar and Arathi starrers of 1976 –Raja Nanna Raja andPremada Kanike, many of their Bollywood films had remakes produced in other South Indian film industries, includingTamil cinema,Telugu cinema andMalayalam cinema. While the Bollywood directors and producers held the rights to their films in Northern India, it was Salim–Javed who held the rights to their films inSouth India, where they sold the remake rights to various South Indian filmmakers, usually for around₹1lakh (equivalent to₹38 lakh or US$46,000 in 2023) each, for films such asZanjeer,Yaadon Ki Baarat, andDon.[31]
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 superstarRajinikanth.[32] Several Tamil remakes of their films became breakthroughs for Rajinikanth, who was cast in Amitabh Bachchan's role.[5][33] The Tamil remake ofDon (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, includingThee (1981),Mr. Bharath (1986),[32] andNaan Vazhavaippen (1979).[33] Of the four prominent south industries, their movies were remade the least in Kannada.
ScreenwriterV. Vijayendra Prasad, responsible for a number of blockbusters in the early 21st century, including the South Indian franchiseBaahubali and the 2015 Hindi filmBajrangi Bhaijaan (starring Salim's sonSalman Khan), cited Salim–Javed as a major inspiration on his work, especially their screenplay forSholay, among other films.[34]
Salim–Javed's films had a wider impact onIndian society. Their films reflected thesocio-economic andsocio-political realities of 1970s India, channeling the growing popular discontent and disillusionment among the masses, and the failure of the state in ensuring their welfare and well-being, in a time when prices were rapidly rising, commodities were becoming scarce, public institutions were losing legitimacy, and smugglers and gangsters were gathering political clout.[22] There was also an unprecedented growth ofslums across India in the 1970s,[35] particularly in Bombay, the most famous beingDharavi, which was represented inDeewaar (1975).[36]
Their films often dealt with themes relevant to Indian society at the time, such as urban poverty in slums, corruption in society, and theBombay underworld crime scene.[37] While inspired byMehboob Khan'sMother India (1957) andDilip Kumar'sGunga Jumna (1961), Salim–Javed reinterpreted their rural themes in a contemporary urban context reflecting the changing socio-political climate of 1970s India,[22][38] which resonated with Indian audiences in the 1970s.[22]
Some of their films in the 1970s, especiallyDeewaar, were perceived by audiences to beanti-establishment. This was represented by the "angry young man", conceived by Salim–Javed and portrayed by Amitabh Bachchan, often presented as avigilante oranti-hero, establishing Bachchan's image as the "angry young man" of Indian cinema.[30] The "angry young man" was seen as a new kind of hero, with his suppressed rage giving a voice to the angst of the urban poor.[35][36]
Their portrayal of female heroines was alsoprogressive andfeminist for Indian society the time. For example,Seeta Aur Geeta (1972) subverted the formula of Dilip Kumar starrerRam Aur Shyam (1972), replacing twin brothers with twin sisters, and having the heroineHema Malini eventually become the "hero" while male leadDharmendra is in a mostly supporting role.[19]Parveen Babi's character inDeewaar is portrayed as "a modern woman who felt no guilt or shame in having pre-marital sex, drinking or smoking," which was "novel and revolutionary" at the time,[30] and she became seen as the "new Bollywood woman".[10] Similar feminist undertones appear inSholay (1975), where Basanti (Hema Malini) is a "straight-talking, earthy and independent young woman doing a man’s job".[28]
Beyond their influence onIndian films, their work has also influenced international films. Their 1975 filmDeewaar had an influence onHong Kong cinema and in turnHollywood cinema, by playing a key role in the creation of theheroic bloodshed crime genre of 1980sHong Kong action cinema.[39]Deewaar, along with several later 1970s "angry young man" epics it inspired, such asAmar Akbar Anthony (1977), had similarities to elements later seen in 1980s Hong Kong heroic bloodshed films.[40] Hong Kong'sShaw Brothers studio remadeDeewaar asThe Brothers (1979),[19] which in turn inspiredJohn Woo's internationally acclaimed breakthroughA Better Tomorrow (1986).[39]A Better Tomorrow set the template for heroic bloodshed films, a genre that went on to have a significant influence on Hong Kong films in the 1980s and later Hollywood movies in the 1990s, inspiring filmmakers such asQuentin Tarantino along with John Woo's entry into Hollywood.[39]
According toLoveleen Tandan, the screenwriterSimon Beaufoy, who wrote the screenplay for theAcademy Award winningSlumdog Millionaire (2008), "studied Salim-Javed's kind of cinema minutely."[41] In particular,Deewaar was praised byDanny Boyle and influenced the making ofSlumdog Millionaire.[24] ActorAnil Kapoor (who stars in the film) noted that some scenes ofSlumdog Millionaire "are likeDeewaar, the story of two brothers of whom one is completely after money while the younger one is honest and not interested in money."[42] One of the techniques often used by Salim–Javed was their use of amontage sequence to represent a child growing into an adult, a technique that dates back toAwaara (1951), directed byRaj Kapoor and written byKhwaja Ahmad Abbas. For example,Deewaar showed a character entering a temple as a child and then leaving the temple as an adult.Slumdog Millionaire paid homage to Salim–Javed by showing a montage sequence where two "brothers jump off a train and suddenly they are seven years older".[43] InSlumdog Millionaire, two characters have names referencing the duo: Salim K. Malik (brother of protagonistJamal Malik) and Javed Khan (played byMahesh Manjrekar).
| Year | Title | Director | Cast | Notes |
|---|---|---|---|---|
| 1976 | Premada Kanike[46] | V. Somashekhar | Rajkumar,Aarathi | Based on 1969 Hindi filmDo Bhai bySalim Khan (credited as Prince Salim), which was also remade in Tamil asJustice Viswanathan and in Telugu asNenu Manishine.Premada Kanike was later remade in Tamil asPolladhavan and in Hindi asRaaz |
| Raja Nanna Raja[47] | A. V. Seshagiri Rao | Inspiration forMagadheera |
| Year | Category | Film | Result[18] |
|---|---|---|---|
| 1974 | Best Screenplay | Zanjeer (1973)[48] | 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 theFilmfare Award for Best Film:[18]
Sholay received a special award at the 50th Filmfare Awards in 2005:Best Film of 50 Years.[49]
Sholay (1975) was ranked first in theBritish Film Institute's 2002 poll of "Top 10 Indian Films" of all time.[27]
The following table lists thebox office performance ofBollywood films written by Salim–Javed. The table covers the domestic box office in India, in addition to the overseas box office. The vast majority of the overseas box office for their films up until the 1980s came from theSoviet Union, which was the largestoverseas market for Indian films up until then.
The gross revenue figures in the table do not take inflation into account. The gross revenue numbers given below arenominal figures, notinflation-adjusted figures. In terms offootfalls (ticket sales), the 22 films listed below are estimated to have sold a total of over900 million tickets worldwide, averaging more than40 million ticket sales per film.
| Year | Film | Box office gross revenue (est.) | Footfalls (est. ticket sales) | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| India | Overseas | Worldwide | India[50] | Overseas | Worldwide | |||||||
| INR | USD[51] | USD | INR[52] | INR | USD | |||||||
| 1971 | Andaz | ₹40,000,000[53] | $5,300,000 | — | — | ₹40,000,000 | $5,300,000 | 21,000,000 | — | 21,000,000 | ||
| Haathi Mere Saathi | ₹70,000,000[53] | $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[57] | $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[59] | $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[59] | $7,100,000 | — | — | ₹55,000,000 | $7,100,000 | 27,000,000 | — | 27,000,000 | |||
| 1974 | Haath Ki Safai | ₹30,000,000[61] | $3,800,000 | — | — | ₹30,000,000 | $3,800,000 | 13,000,000 | — | 13,000,000 | ||
| Majboor | ₹26,000,000[61] | $3,300,000 | — | — | ₹26,000,000 | $3,300,000 | 11,000,000 | — | 11,000,000 | |||
| 1975 | Deewaar | ₹75,000,000[62] | $9,500,000 | — | — | ₹75,000,000 | $9,500,000 | 31,000,000 | — | 31,000,000 | ||
| Sholay | ₹350,000,000[63] | $45,000,000 | $23,500,000[d] | ₹267,000,000 | ₹617,000,000 | $68,500,000 | 150,000,000+[65] | 60,000,000+[d] | 250,000,000[66] | |||
| 1977 | Chacha Bhatija | ₹70,000,000[67] | $8,900,000 | — | — | ₹70,000,000 | $8,900,000 | 28,000,000 | — | 28,000,000 | ||
| Immaan Dharam | ₹26,000,000[67] | $3,300,000 | — | — | ₹26,000,000 | $3,300,000 | 10,000,000 | — | 10,000,000 | |||
| 1978 | Trishul | ₹110,000,000[68] | $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[68] | $8,900,000 | — | — | ₹70,000,000 | $8,900,000 | 27,000,000 | — | 27,000,000 | |||
| 1979 | Kaala Patthar | ₹60,000,000[70] | $7,600,000 | — | — | ₹60,000,000 | $7,600,000 | 25,000,000 | — | 25,000,000 | ||
| 1980 | Dostana | ₹90,000,000[71] | $11,500,000 | — | — | ₹90,000,000 | $11,500,000 | 31,000,000 | — | 31,000,000 | ||
| Shaan | ₹120,000,000[72] | $15,300,000 | — | — | ₹120,000,000 | $15,300,000 | 41,000,000 | — | 41,000,000 | |||
| 1981 | Kranti | ₹200,000,000[73] | $23,100,000 | — | — | ₹200,000,000 | $23,100,000 | 60,000,000 | — | 60,000,000 | ||
| 1982 | Shakti | ₹80,000,000[74] | $8,500,000 | — | — | ₹80,000,000 | $8,500,000 | 19,000,000 | — | 19,000,000 | ||
| 1987 | Mr. India | ₹100,000,000[75] | $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[76] | $3,700,000 | $165,000[76] | ₹5,197,500[76] | ₹122,697,500[76] | $3,865,000 | 11,728,000[76] | 39,500[77] | 11,767,473 | ||
| 2003 | Baghban | ₹405,000,000[78] | $8,700,000 | $2,670,000[79] | ₹124,400,000 | ₹529,400,000 | $11,370,000 | 7,973,000[80] | 331,841[81] | 8,304,841 | ||
| 2006 | Don: The Chase Begins Again | ₹775,000,000[82] | $17,100,000 | $7,880,000[83] | ₹358,540,000[83] | ₹1,133,540,000 | $24,980,000 | 12,487,000[84] | 634,226[85] | 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+ | |||
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. InDo Bhai, he was credited as Prince Salim. During this period, he joined Abrar Alvi as a writing assistant.
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, orRajinder Singh Bedi orInder Raj Anand orRahi Masoom Raza orVahajat Mirza, who wrote dialogue for films likeMughal-e-Azam andGunga Jumna andMother India. So most dialogue-writers and most song-writers are from the Urdu discipline, even today.
an average price (itself an estimate) of0.25 Rbl per ticket
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