Hindi cinema

=== Classic Hindi cinema (1970s–1980s) ===

=== Classic Hindi cinema (1970s–1980s) ===

{{Multiple image|image1=SalimKhan.jpg|width1=120|alt1=A bespectacled Salim Khan|image2=Akhtar for Talaash.jpg|width2=160|alt2=A serious-looking Javed Akhtar|footer=The [[Salim–Javed]] screenwriting duo, consisting of [[Salim Khan]] ''(left)'' and [[Javed Akhtar]] are considered Hindi cinema's greatest [[screenwriter]]s in 1970s–1980s.<ref name="Chaudhuri">{{Cite book|url=https://books.google.com/books?id=Cri9CgAAQBAJ|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|last=Chaudhuri|first=Diptakirti|date=1 October 2015|publisher=[[Penguin Books|Penguin UK]]|isbn=9789352140084}}</ref>}}

By 1970, Hindi cinema was thematically stagnant<ref name="raj">{{cite book|last=Raj|first=Ashok|title=Hero Vol.2|date=2009|publisher=[[Hay House]]|isbn=9789381398036|page=21|url=https://books.google.com/books?id=2wo9BAAAQBAJ&pg=PT21}}</ref> and dominated by musical [[romance film]]s.<ref name="indianexpress2" /> The arrival of screenwriting duo [[Salim–Javed]] ([[Salim Khan]] and [[Javed Akhtar]]) was a paradigm shift, revitalising the industry.<ref name="raj" /> They began the genre of gritty, violent, [[Mumbai underworld films|Bombay underworld crime films]] early in the decade with films such as ''[[Zanjeer (1973 film)|Zanjeer]]'' (1973) and ''[[Deewaar]]'' (1975).<ref name="ganti">{{cite book|last=Ganti|first=Tejaswini|title=Bollywood: A Guidebook to Popular Hindi Cinema|date=2004|publisher=[[Psychology Press]]|isbn=978-0-415-28854-5|page=153|url=https://books.google.com/books?id=GTEa93azj9EC&pg=PA153}}</ref><ref>{{cite book|last=Chaudhuri|first=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Books]]|isbn=9789352140084|page=72|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT72}}</ref> Salim-Javed reinterpreted the rural themes of [[Mehboob Khan]]'s ''[[Mother India]]'' (1957) and [[Dilip Kumar]]'s ''[[Gunga Jumna]]'' (1961) in a contemporary urban context, reflecting the [[socio-economic]] and [[socio-political]] climate of 1970s India<ref name="raj" /><ref name="legends">{{cite book|last=Kumar|first=Surendra|title=Legends of Indian cinema: pen portraits|date=2003|publisher=Har-Anand Publications|page=51|isbn=9788124108727|url=https://books.google.com/books?id=AfJkAAAAMAAJ}}</ref> and channeling mass discontent, disillusionment<ref name="raj" /> and the unprecedented growth of [[slum]]s<ref name="Mazumdar" /> with [[anti-establishment]] themes and those involving urban poverty, corruption and crime.<ref name="Penguin Group">{{cite book|last1=Chaudhuri|first1=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Group]]|isbn=9789352140084|page=74|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT74}}</ref><ref name="hindustantimes">{{cite news|title=Deewaar was the perfect script: Amitabh Bachchan on 42 years of the cult film|url=https://www.hindustantimes.com/bollywood/deewaar-was-the-perfect-script-amitabh-bachchan-on-42-years-of-the-cult-film/story-x2hy87zQ0ebVlsVMV59U2I.html|work=[[Hindustan Times]]|date=29 January 2017}}</ref> Their "angry young man", personified by [[Amitabh Bachchan]],<ref name="hindustantimes" /> reinterpreted Dilip Kumar's performance in ''Gunga Jumna'' in a contemporary urban context<ref name="raj" /><ref name="legends" /> and anguished urban poor.<ref name="Mazumdar">{{cite book|last=Mazumdar|first=Ranjani|title=Bombay Cinema: An Archive of the City|year=2007 |publisher=[[University of Minnesota Press]]|isbn=978-1-4529-1302-5|page=14|url=https://books.google.com/books?id=xenNBrRKOGoC&pg=PA14}}</ref>

By 1970, Hindi cinema was thematically stagnant<ref name="raj">{{cite book|last=Raj|first=Ashok|title=Hero Vol.2|date=2009|publisher=[[Hay House]]|isbn=9789381398036|page=21|url=https://books.google.com/books?id=2wo9BAAAQBAJ&pg=PT21}}</ref> and dominated by musical [[romance film]]s.<ref name="indianexpress2" /> The arrival of screenwriting duo [[Salim–Javed]] ([[Salim Khan]] and [[Javed Akhtar]]) was a paradigm shift, revitalising the industry.<ref name="raj" /> They began the genre of gritty, violent, [[Mumbai underworld films|Bombay underworld crime films]] early in the decade with films such as ''[[Zanjeer (1973 film)|Zanjeer]]'' (1973) and ''[[Deewaar]]'' (1975).<ref name="ganti">{{cite book|last=Ganti|first=Tejaswini|title=Bollywood: A Guidebook to Popular Hindi Cinema|date=2004|publisher=[[Psychology Press]]|isbn=978-0-415-28854-5|page=153|url=https://books.google.com/books?id=GTEa93azj9EC&pg=PA153}}</ref><ref>{{cite book|last=Chaudhuri|first=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Books]]|isbn=9789352140084|page=72|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT72}}</ref> Salim-Javed reinterpreted the rural themes of [[Mehboob Khan]]'s ''[[Mother India]]'' (1957) and [[Dilip Kumar]]'s ''[[Gunga Jumna]]'' (1961) in a contemporary urban context, reflecting the [[socio-economic]] and [[socio-political]] climate of 1970s India<ref name="raj" /><ref name="legends">{{cite book|last=Kumar|first=Surendra|title=Legends of Indian cinema: pen portraits|date=2003|publisher=Har-Anand Publications|page=51|isbn=9788124108727|url=https://books.google.com/books?id=AfJkAAAAMAAJ}}</ref> and channeling mass discontent, disillusionment<ref name="raj" /> and the unprecedented growth of [[slum]]s<ref name="Mazumdar" /> with [[anti-establishment]] themes and those involving urban poverty, corruption and crime.<ref name="Penguin Group">{{cite book|last1=Chaudhuri|first1=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Group]]|isbn=9789352140084|page=74|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT74}}</ref><ref name="hindustantimes">{{cite news|title=Deewaar was the perfect script: Amitabh Bachchan on 42 years of the cult film|url=https://www.hindustantimes.com/bollywood/deewaar-was-the-perfect-script-amitabh-bachchan-on-42-years-of-the-cult-film/story-x2hy87zQ0ebVlsVMV59U2I.html|work=[[Hindustan Times]]|date=29 January 2017}}</ref> Their "angry young man", personified by [[Amitabh Bachchan]],<ref name="hindustantimes" /> reinterpreted Dilip Kumar's performance in ''Gunga Jumna'' in a contemporary urban context<ref name="raj" /><ref name="legends" /> and anguished urban poor.<ref name="Mazumdar">{{cite book|last=Mazumdar|first=Ranjani|title=Bombay Cinema: An Archive of the City|year=2007 |publisher=[[University of Minnesota Press]]|isbn=978-1-4529-1302-5|page=14|url=https://books.google.com/books?id=xenNBrRKOGoC&pg=PA14}}</ref>

== Scripts, dialogues, and lyrics ==

== Scripts, dialogues, and lyrics ==

{{See also|Bombay Hindi|Tapori (word)|l2=''Tapori'' (word)}}

{{See also|Bombay Hindi|Tapori (word)|l2=''Tapori'' (word)}}

{{Multiple image|image1=SalimKhan.jpg|width1=120|alt1=A bespectacled Salim Khan|image2=Akhtar for Talaash.jpg|width2=160|alt2=A serious-looking Javed Akhtar|footer=The [[Salim–Javed]] screenwriting duo, consisting of [[Salim Khan]] ''(left)'' and [[Javed Akhtar]] are considered Hindi cinema's greatest [[screenwriter]]s in 1970s–1980s.<ref name="Chaudhuri">{{Cite book|url=https://books.google.com/books?id=Cri9CgAAQBAJ|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|last=Chaudhuri|first=Diptakirti|date=1 October 2015|publisher=[[Penguin Books|Penguin UK]]|isbn=9789352140084}}</ref>}}

Film scripts (known as dialogues in [[Indian English]]) and their song lyrics are often written by different people. Earlier, scripts were usually written in an unadorned [[Hindustani language|Hindustani]], which would be understood by the largest possible audience.{{sfn|Gulzar|Nihalani|Chatterjee|2003|p=10–18}} Post-Independence, Hindi films tended to use a [[colloquial]] register of Hindustani, mutually intelligible by [[Hindi]] and [[Urdu]] speakers, but the use of the latter has declined over years.<ref name="lang"/><ref name="scienceandmediamuseum">{{cite web|title=Decoding the Bollywood poster|url=https://blog.scienceandmediamuseum.org.uk/decoding-the-bollywood-poster/|website=[[National Science and Media Museum]]|date=28 February 2013}}</ref> Some films have used [[Hindi dialects|regional dialects]] to evoke a village setting, or archaic Urdu in [[Medieval India|medieval]] [[historical films]]. A number of the dominant early scriptwriters of Hindi cinema primarily wrote in Urdu; Salim-Javed wrote in [[Urdu script]], which was then transcribed by an assistant into [[Devanagari]] script so Hindi readers could read them.<ref name="Akhtar">{{cite book|last1=Aḵẖtar|first1=Jāvīd|author-link1=Javed Akhtar|last2=Kabir|first2=Nasreen Munni|title=Talking Films: Conversations on Hindi Cinema with Javed Akhtar|date=2002|publisher=[[Oxford University Press]]|isbn=978-0-19-566462-1|page=49|url=https://books.google.com/books?id=_JILAQAAMAAJ|quote=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 [[Wajahat Mirza|Vahajat Mirza]], who wrote dialogue for films like ''[[Mughal-e-Azam]]'' and ''[[Gunga Jumna]]'' and ''[[Mother India]]''. So most dialogue-writers and most song-writers are from the Urdu discipline, even today.}}</ref> During the 1970s, Urdu writers [[Krishan Chander]] and [[Ismat Chughtai]] said that "more than seventy-five per cent of films are made in Urdu" but were categorised as Hindi films by the government.<ref name="film-world">{{cite journal|title=Film World|journal=Film World|year=1974|volume=10|page=65|url=https://books.google.com/books?id=sHlTAAAAYAAJ|quote=I feel that the Government should eradicate the age-old evil of certifying Urdu films as Hindi ones. It is a known fact that Urdu has been willingly accepted and used by the film industry. Two Urdu writers [[Krishan Chander]] and [[Ismat Chughtai]] have said that "more than seventy-five per cent of films are made in Urdu." It is a pity that although Urdu is freely used in films, the producers in general mention the language of the film as "Hindi" in the application forms supplied by the Censor Board. It is a gross misrepresentation and unjust to the people who love Urdu.}}</ref> ''Encyclopedia of Hindi Cinema'' noted a number of top Urdu writers for preserving the language through film.{{sfn|Gulzar|Nihalani|Chatterjee|2003|p=65}} [[Urdu poetry]] has strongly influenced [[Hindi film music|Hindi film songs]], whose lyrics also draw from the [[ghazal]] tradition ([[filmi-ghazal]]).<ref name="Dwyer" /> According to Javed Akhtar in 1996, despite the loss of Urdu in Indian society, Urdu [[diction]] dominated Hindi film dialogue and lyrics.<ref>{{cite news |last1=Bhaumik |first1=Saba Naqvi |title=From nonsensical to sublime, Majrooh Sultanpuri still defines Bollywood frontiers |url=https://www.indiatoday.in/magazine/profile/story/19960930-from-nonsensical-to-sublime-majrooh-sultanpuri-still-defines-bollywood-frontiers-833834-1996-09-30 |access-date=7 June 2013 |work=[[India Today]] |date=30 September 1996 |language=en}}</ref>

Film scripts (known as dialogues in [[Indian English]]) and their song lyrics are often written by different people. Earlier, scripts were usually written in an unadorned [[Hindustani language|Hindustani]], which would be understood by the largest possible audience.{{sfn|Gulzar|Nihalani|Chatterjee|2003|p=10–18}} Post-Independence, Hindi films tended to use a [[colloquial]] register of Hindustani, mutually intelligible by [[Hindi]] and [[Urdu]] speakers, but the use of the latter has declined over years.<ref name="lang"/><ref name="scienceandmediamuseum">{{cite web|title=Decoding the Bollywood poster|url=https://blog.scienceandmediamuseum.org.uk/decoding-the-bollywood-poster/|website=[[National Science and Media Museum]]|date=28 February 2013}}</ref> Some films have used [[Hindi dialects|regional dialects]] to evoke a village setting, or archaic Urdu in [[Medieval India|medieval]] [[historical films]]. A number of the dominant early scriptwriters of Hindi cinema primarily wrote in Urdu; Salim-Javed wrote in [[Urdu script]], which was then transcribed by an assistant into [[Devanagari]] script so Hindi readers could read them.<ref name="Akhtar">{{cite book|last1=Aḵẖtar|first1=Jāvīd|author-link1=Javed Akhtar|last2=Kabir|first2=Nasreen Munni|title=Talking Films: Conversations on Hindi Cinema with Javed Akhtar|date=2002|publisher=[[Oxford University Press]]|isbn=978-0-19-566462-1|page=49|url=https://books.google.com/books?id=_JILAQAAMAAJ|quote=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 [[Wajahat Mirza|Vahajat Mirza]], who wrote dialogue for films like ''[[Mughal-e-Azam]]'' and ''[[Gunga Jumna]]'' and ''[[Mother India]]''. So most dialogue-writers and most song-writers are from the Urdu discipline, even today.}}</ref> During the 1970s, Urdu writers [[Krishan Chander]] and [[Ismat Chughtai]] said that "more than seventy-five per cent of films are made in Urdu" but were categorised as Hindi films by the government.<ref name="film-world">{{cite journal|title=Film World|journal=Film World|year=1974|volume=10|page=65|url=https://books.google.com/books?id=sHlTAAAAYAAJ|quote=I feel that the Government should eradicate the age-old evil of certifying Urdu films as Hindi ones. It is a known fact that Urdu has been willingly accepted and used by the film industry. Two Urdu writers [[Krishan Chander]] and [[Ismat Chughtai]] have said that "more than seventy-five per cent of films are made in Urdu." It is a pity that although Urdu is freely used in films, the producers in general mention the language of the film as "Hindi" in the application forms supplied by the Censor Board. It is a gross misrepresentation and unjust to the people who love Urdu.}}</ref> ''Encyclopedia of Hindi Cinema'' noted a number of top Urdu writers for preserving the language through film.{{sfn|Gulzar|Nihalani|Chatterjee|2003|p=65}} [[Urdu poetry]] has strongly influenced [[Hindi film music|Hindi film songs]], whose lyrics also draw from the [[ghazal]] tradition ([[filmi-ghazal]]).<ref name="Dwyer" /> According to Javed Akhtar in 1996, despite the loss of Urdu in Indian society, Urdu [[diction]] dominated Hindi film dialogue and lyrics.<ref>{{cite news |last1=Bhaumik |first1=Saba Naqvi |title=From nonsensical to sublime, Majrooh Sultanpuri still defines Bollywood frontiers |url=https://www.indiatoday.in/magazine/profile/story/19960930-from-nonsensical-to-sublime-majrooh-sultanpuri-still-defines-bollywood-frontiers-833834-1996-09-30 |access-date=7 June 2013 |work=[[India Today]] |date=30 September 1996 |language=en}}</ref>