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Kader Khan played one of his earliest roles in the Dilip Kumar starrer Sagina (1974). They were written by Wajahat Mirzra, and form an exception to the rule for a leading character. Kumar’s dialogue in Ganga Jumna (1961), which are now iconic, lean towards the Awadhi. Khan himself was the discovery of Dilip Kumar, who could deliver lines acutely without having to rely on bombast. Unlike other writers, he was a prolific actor himself and knew how words sounded on the screen. This can also be attributed to Kader Khan as an actor. His dialogue, particularly in his early films are nuanced, rather than grandiose. Kader Khan excelled at writing speech as the language experienced and spoken in everyday life, fully recognising the context of his characters, their location, social setting and upbringing. Bachchan, with his iconic one-liners and excellent comic timing (“Jindagi mein aadmi doich time inta jaldi bhagta hai – Olumpic ka race ho ya polis ka case ho”) elevated streetspeak, so that it was no longer infra dig. Kader Khan, with his paradigm-shifting dialogue for Amitabh Bachchan in Amar Akbar Anthony (1977) brought the colloquial into the mainstream.Īnthony, as a Bombay lowlife, spoke the Bambaiya gutter lingo that had, up until this point, been used only to bring out an otherness from the main hero (who inevitably represented everyman/the nation). From street to screenĮarlier, in Raj Kapoor’s films, there was a Mrs D’Sa as the Anglo-Indian landlady in Anari (1959) or Gangamai as the Marathi-accented banana vendor in Shree 420 (1955) that brought location specificity to cosmopolitan Bombay. Leading actors always spoke a relatively unaccented Hindustani. Sholay (1975) is a good example of this: notice the different ways in which Jagdeep, as Soorma Bhopali, and Asrani, as the “Angrez ke zamaane ke jailor” speak. When a different manner of speaking was needed, it was inevitably for comic relief. These tended to the purist rather than the patois. Local colour has always preoccupied post-independence Hindi films, but both its literary and theatrical underpinnings have set traditions that ensured certain correctness to the dialogue, especially when mouthed by leading characters, like the written word being recited aloud. From the mid-1970s until the turn of the century, Kader Khan toiled to bring an authenticity to the spoken word in films. Salim-Javed as writers come to mind instantly, but lesser known, but equally influential for writing for some the greatest Hindi film characters is Kader Khan.Īs a dialogue writer, his reach has been long, but relatively unsung, more than Salim Khan, Javed Akhtar or Rahi Masoom Raza. Some can do that for Amar Akbar Anthony too. “Itna sannata kyon hai bhai?” Most of us of a particular vintage can, even today, recite the whole of Sholay verbatim. They have had a lasting influence as their words, or “dailocks”, as we called them as children, stay with us long after the film has gone, even making inroads in our own lives.
#Bollywood movies amjad khan and dada kondke full#
In the constantly evolving ecosystem of the Hindi film, the dialogue writer has perhaps never got full credit. Day after Elon Musk put Twitter deal on hold, its CEO says need to be prepared for all scenarios.‘Modern Love Mumbai’ review: Look for the cycling woman and the Indian-Chinese dragon mom.
#Bollywood movies amjad khan and dada kondke drivers#
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