Memorable Dialogues Of Bollywood Movies : Don't Miss
Kitne admi the – Sholay (1975)
In her well researched and immensely readable book on Sholay,
Anupama Chopra says that the popularity of a movie can be
assessed by the ad spoofs it inspires. From the time of its
release in 1975, kitney aadmi the has churned out innumerable
ads. So is Gabbar's kitne admi the Hindi movie's most memorable
dialogue ever? Sholay was the first movie to bring out an audio
of the film's dialogues and the experiment was a raging success.
The dialogues sold more than R D Burman's compositions! From
jo dar gaya samjho mar gaya to < karta drama ghari>and tumhara
naam kya hai Basanti anyone who has seen the movie, has his
own favourite dialogue.
Yeh bacchhon ke khelne ki cheez nahi, haath kat jaaye toh khoon nikal aata hai' – Waqt (1965)
Directed by Yash Chopra and produced by B R Chopra, this multi-starer
blockbuster established some of Hindi movies most recurrent and popular
themes: brothers separated at birth, who keep meeting each other without
realizing their kinship; one brother grows up virtuous, the other is on the
wrong side of the law; rich girl falling in love with an idealistic poor man.
Waqt also set the trend for all future Yash Chopra movies, with opulent
houses, lush manicured lawns, ladies dressed prettily in chiffon and designer
churidars, flashy big cars and song sequences in the verdant valleys of Kashmir
(which later shifted to Switzerland)
Babumoshai…! – Anand (1970)
Rajesh Khanna was already a superstar when he co-starred with the gangly
Amitabh who looked quite uncharismatic next to the effervescent charmer.
Rajesh Khanna's babumoshai was replete with affection, warmth and had a
teasing note to it. It wasn't an artificially contrived Bengali mannerism like
Bhansali's bondhu or shotti from Devdas. The same playfully affectionate
address takes on profoundly tragic overtones when Rajesh Khanna's recorded
message tries to comfort his friend Amitabh, as Amitabh weeps over the
death of his patient (Rajesh Khanna), who had also become his closest friend
Aap ke paon dekhe, bahut haseen hai. Inhe zameen par mat utariyega
— maile ho jayenge – Pakeezah (1972)
Raj Kumar's gravelly rendition of this immortal sentence has become synonymous
with classic romance and chivalry. It was delivered as a 'voice over' through
a letter that Meena Kumari discovers left on her train berth. The irony is of
course that the courtesan Sahibjaan (Meena Kumari) earns her living through
mujras, where she has to get her feet dirty, enticing men with her dance.
The train's piercing whistle recurs as a leitmotif throughout the movie,
reminding her of her secret admirer and holds out the promise of a better
life, away from men who purchase her beauty at the kotha.
Mujhse dosti karoge? Bobby (1973)
Dimple puts out her hand and asks Rishi mujhse dosti karoge? Seems like a
simple request but it created cinematic history of sorts. Never before had
a girl been so forward as to make the first move. That too with a handshake.
It was unheard of, since Hindi film heroines normally simpered and shied
away from any bodily contact until the man had wooed her. In a short
skirt and with a wide-eyed quizzical _expression, Bobby (Dimple), is
unabashed youthfulness and sexiness personified. The line also became
the most hackneyed ice-breaker in college campuses all over the country.
Mere pas ma hai – Deewar (1975)
Nirupama Roy, the quintessential long suffering, patient and gentle 'ma'
in innumerable Hindi movies, became immortalized as the 'ma' whom
Amitabh could not win over with his gari, bari and bungalow. That single
stark sentence was brilliantly juxtaposed against Amitabh's rantings about
his material possessions. Mere pas ma hai summed up the entire gamut of
moral issues that were at stake in the movie. Ponderous generalizations
such as 'crime does not pay', 'money cannot buy love' and 'the end does
not justify the means' were put across succinctly and simply through this
single sentence. Another classic quote from the Salim – Javed duo.
Mogambo khush hua – Mr. India (1987)
Amrish Puri could never live down his Mogambo image (his evil priest role
in Indiana Jones and the Temple of Doom was simply another exaggerated
and more grotesque Mogambo). Mogambo khush hua was eccentric evil
incarnate, in colourful Bollywood hyperbole. He wore outlandish clothes,
made his eyes as big as saucers, threatened hapless victims into submission
and then chortled out loud Mogambo khush hua.
Children loved him because he seemed a caricature straight out of a comic strip.
Dosti mein no sorry, no thank you – Maine Pyar Kiya (1988)
Saccharine…but teenagers loved this new definition of friendship. Friendship
badges and stickers became a rage in schools, which was in itself, a completely
new phenomenon in India (to be revived as friendship bands after Kuch Kuch
Hota Hai hit the screen in 2003). "Love means never having to say you are
sorry", from Love Story was the inspiration for this dialogue. The theme of
friendship between a girl and a boy is juxtaposed against the cynical view
ek ladka aur ek ladki kabhi dost nahin ban sakte, questioning the innocence
and purity of their relationship.
Mein chota sa, pyara sa, nanha sa, baccha hoon – Chaalbaaz (1989)
One of Shakti Kapoor's first comic roles in striped knee length drawers
with the drawer string hanging out, which went on to become a staple
character in David Dhawan movies. By this time Shakti Kapoor had
exhausted his range of villainous expressions. He tried his hand at
comedy and proved to be a huge success. Ever since then, he has
been repeating this dialogue in umpteen shows and TV interviews.
And why did he say he was a baccha? Because he thought Sridevi
wanted to seduce him, when in reality, she wanted to beat the
living daylights out of him!
Bade bade deshon mein, aisi choti choti baatein hoti rahti hain
- Dilwale Dulhaniya Le Jayenge (1995)
Youngsters picked this line up and used it whenever they had to
justify a meaningless, random act. It was thought to be 'cool'
and witty. Shah Rukh Khan of course epitomized the cool dude.
That he was a second generation Indian, settled abroad increased
his appeal to all aspiring yuppies back in India! The comment was
quintessential Raj – the carefree, rich, mischievous, but
of girls in India and abroad with his mandolin in tujhe dekha to yeh jana sanam.
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