Deewaar: Difference between revisions

Deewaar
Deewaar
Soundtrack album to Deewaar by R. D. Burman
Released	1975
Genre	Feature film soundtrack
Language	Hindustani
Label	Universal
Producer	R. D. Burman

Deewaar
Deewaar
	Release poster
Directed by	Yash Chopra
Written by	Salim–Javed
Produced by	Gulshan Rai
Starring	Shashi Kapoor; Amitabh Bachchan; Nirupa Roy; Neetu Singh; Parveen Babi; Iftekhar; Madan Puri; Satyen Kappu; Manmohan Krishna;
Cinematography	Kay Gee Koregaonkar
Edited by	T. R. Mangeshkar; Pran Mehra
Music by	R. D. Burman
Production; company	Trimurti Films Pvt. Ltd
Release date	24 January 1975;
Running time	176 minutes
Country	India
Language	Hindi
Budget	₹1.3 crore (equivalent to ₹37 crore or US$4.6 million in 2023)
Box office	₹7.5 crore (equivalent to ₹211 crore or US$26 million in 2023)

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Deewaar (transl. Wall) is a 1975 Indian Hindi-language action crime film written by Salim–Javed and directed by Yash Chopra.^[4]^[5] The film stars Shashi Kapoor and Amitabh Bachchan, alongside an ensemble cast of Neetu Singh, Nirupa Roy, Parveen Babi, Iftekhar, Madan Puri, Satyen Kappu and Manmohan Krishna.^[6]^[7]^[8] The music was composed by R. D. Burman, while cinematography and editing were handled by Kay Gee Koregaonkar and T. R. Mangeshkar-Pran Mehra. In the film, two impoverished brothers struggle to survive in the slums of Mumbai and eventually find themselves on opposing sides of the law. The film's title signifies the wall that springs up between the two brothers, drawn apart by fate and circumstances in a time of socio-political turmoil.^[9]^[10]^[11]^[12]^[13]

Deewaar was released worldwide on 24 January 1975 to critical acclaim and praise for its story, script, music cast performances (especially Bachchan, Kapoor and Roy). The film was commercially successful and is considered a ground-breaking cinematic masterpiece, with India Times ranking Deewaar amongst the Top 25 Must See Bollywood Films. It is also one of three Hindi-language films to be included on the list of 1001 Movies You Must See Before You Die.^[14]

The film had a significant impact not only on Indian cinema but also on Indian society; its anti-establishment themes and Bachchan's anti-hero vigilante character resonated with audiences. The movie cemented Bachchan's popular image as the 'Angry young man' of Bollywood cinema.^[15]^[16]^[17] Forbes included Bachchan's performance in the film on its list of "25 Greatest Acting Performances of Indian Cinema".^[18] The film also cemented the success of Salim-Javed, who went on to write more blockbuster films, and their value skyrocketed and they were being paid as well as the leading actors of the time.^[19] Deewaar's influence also extends to world cinema, influencing films from Hong Kong^[20] and British cinema.^[12]^[21]

Plot

Anand Verma, a trade union leader working hard to better the lives of struggling labourers, lives with his wife Sumitra and their two sons Vijay and Ravi. Anand gets blackmailed by a corrupt businessman Badri Prasad, who threatens to kill his family if Anand does not stop his protest activities. Forced into compliance, Anand is almost beaten to death by angry labourers for his perceived betrayal. A humiliated Anand deserts his family and leaves town. The labourers persecute Anand's family, and tattoo Vijay's left arm with "मेरा बाप चोर है" (English: "My father is a thief"). A desperate Sumitra brings Vijay and Ravi to Mumbai, and resorts to low-wage manual labour to raise them. Their home is on the footpath under a huge bridge home to millions of homeless urban poor driven out by the state in its attempts at city development.

Growing up in the slums of Mumbai, Vijay is forever reminded by the tattoo of his past humiliation. He refuses to enter the temple, and vows to chart his own destiny. In the process of fighting for his rights, Vijay begins as a shoeshiner boy and growa up to become a dockyard labourer. Ravi is unwavering in his commitment to law and righteousness. When, after he obtains a degree, his attempts to find a job go in vain, DCP Narang, the father of his girlfriend Veera, sends him for police training.

When Vijay beats up several henchmen of crime lord Samant, Mulk Raj Daavar (Samant's rival) hires Vijay to steal back smuggled gold from Samant. When Vijay sells the information to Samant to help him hijack the gold, takes money from Samant and captures the gold back for Daavar, he is rewarded with a huge sum of money and purchases a palatial house.

Ravi earns the rank of Sub-Inspector and his first assignment is to arrest some hardcore criminals and smugglers of Mumbai. Ravi is shocked to find Vijay on the list and is faced with the hard choice of either apprehending his brother or quitting the police force. Initially reluctant, Ravi agrees to take up the case, when he mistakenly shoots at a poor boy stealing a loaf of bread, remorsefully visits the boy's family, and is forgiven by the boy's father who justifies the shooting since stealing anything is a crime. When Ravi discovers that wealth Vijay has acquired is based on crime, he leaves the palatial house for police quarters. Sumitra who disapproves of Vijay's activities as well, goes with him.

When Ravi arrests many gang members and theirs leaders a disgruntled Daavar causes a feud to develop between Vijay and Ravi. Vijay enters into an intimate relationship with Anita, whom he meets at a bar. Anand Verma's dead body is discovered inside a train, and Vijay performs his father's last rites. Anita reveals that she is pregnant but does not force Vijay to marry her. Not wishing anyone to tattoo on the arm of his own child that his father is a criminal, Vijay decides to abandon his life in the underworld so that he can marry Anita.

However, Samant and his henchmen thrash Anita, and she dies in Vijay's arms. An enraged Vijay retaliates by murdering them all. Ravi pleads with Vijay to surrender but he ends up shooting Vijay in the arm as he tries to escape. Vijay reaches the temple, where he reunites with his mother and pleads forgiveness. Just as Ravi arrives, Vijay dies in the arms of his mother. The film ends with Narang and the Maharashtra police presenting an award to Ravi or his successful pursuit of justice.

Cast

Shashi Kapoor as Sub-Inspector Ravi Verma
- - Raju Shrestha as young Ravi Verma
Amitabh Bachchan as Vijay Verma
- - Alankar Joshi as young Vijay Verma
Nirupa Roy as Sumitra Verma (mother of Vijay/Ravi)
Neetu Singh as Veera Narang
Parveen Babi as Anita
Iftekhar as Mulk Raj Daavar
Madan Puri as Samant
Satyen Kappu as Anand Verma,(father of Vijay/Ravi)
Manmohan Krishna as DCP Narang
A. K. Hangal as teacher
Kamal Kapoor
Sudhir as Jaichand (Vijay and Daavar's associate)
Jagdish Raj as Jaggi
Yunus Parvez as Rahim Chacha
D. K. Sapru as Mr. Agarwal (building owner)
Aruna Irani as item number in "Koi Mar Jaye" song (Cameo)

Production

Story and screenplay

The film's screenplay, story and dialogues were written by Salim–Javed (Salim Khan and Javed Akhtar). The main inspiration for the plot was the film Gunga Jumna (1961), starring Dilip Kumar, which had a similar premise of two brothers on opposing sides of the law, with the elder criminal brother as the main character.^[22]^[23] Deewaar is thus considered to be a spiritual successor to Gunga Jumna.^[24] Salim-Javed credited Gunga Jumna as well as Mehboob Khan's Mother India (1957) as the main inspirations for Deewaar, which they described as a "more urban, much more contemporary" take on their themes; while Mother India and Gunga Jumna took place in a rural context, Salim–Javed reinterpreted their themes in a contemporary urban context with Deewaar.^[25]

Amitabh Bachchan's character, Vijay, was loosely inspired by the real-life Mumbai underworld gangster Haji Mastan.^[12]^[13] Vijay's story arc in the film parallels that of Mastan's life, such as the rise from a humble dockyard porter to a powerful smuggler,^[13]^[26] and Mastan's rivalry with smuggler Sukkur Narayan Bakhia is similar to Vijay's rivalry with Samant (Madan Puri).^[13]

Salim–Javed's screenplay had dynamic dialogues and incorporated a number of symbolic motifs. For example, the scene where the two brothers meet as adults takes place under a bridge, symbolizing a bridge forming between the brothers.^[15] Set in the Dharavi slums of Mumbai, the film's story of gangsters in Dharavi was a critique of socio-political inequality and injustice in Mumbai.^[21] The characterisations of the two brothers are sociologically contextualised to represent a form of urban conflict and drama, aimed at presenting a causal explanation for the sequence of events and Vijay's social alienation, with the narrative explaining his every action and decision, grounded in his memories and experiences.^[11]

The script generally has an atmosphere of secularism, while incorporating subtle religious motifs.^[15] The mother Sumitra (Nirupa Roy) and police brother Ravi (Shashi Kapoor) are religious Hindus, whereas the criminal brother Vijay (Bachchan) is generally not religious and "upset with God", yet he carries a badge numbered 786 which his Muslim co-worker, Rahim Chacha (Yunus Parvez), points out to be a number of religious significance in Islam^[15] (representing Bismillah) and has its own subplot.^[20] The 786 badge plays a powerful and symbolic role in several scenes,^[15] saving Vijay at key moments^[27] and signifying something ominous when he loses it.^[15]

Salim-Javed initially showed the script to Bachchan, who they had in mind for Vijay's role after having worked with him on Zanjeer (1973). At the time, Bachchan was working on another film with Yash Chopra, and told him about the script. After some initial scepticism, Chopra was eventually convinced to direct the film after Salim-Javed narrated the storyline to him.^[15]

Casting and filming

Bachchan's "angry young man" performance as Vijay in the film was inspired by Dilip Kumar's intense performance as Gunga in Gunga Jumna, which Bachchan sharpened and reinterpreted in a contemporary urban context reflecting the changing socio-political climate of 1970s India.^[28]^[29]

Salim-Javed "felt only Bachchan could do justice to Vijay's role." According to Akhtar, they "saw his talent, which most makers didn't. He was exceptional, a genius actor who was in films that weren't good." At Salim-Javed's insistence, Bachchan was cast in the role.^[15] Director Yash Chopra's first choices for Vijay and Ravi's roles were Dev Anand and Rajesh Khanna respectively. After Anand rejected the script, casting plans changed and Khanna was to play Vijay and Navin Nischol was considered for Ravi. However, Salim-Javed had Amitabh Bachchan and Shatrughan Sinha in mind when they wrote the script; Sinha turned down the film when he heard Khanna was initially cast in the lead, due to a fallout between the two. Nirupa Roy's role as Sumitra Devi was also first offered to Vyjayanthimala; Nischol and Vyjayanthimala turned down the film after they found out Khanna would no longer be in the film. Shashi Kapoor was subsequently cast as Ravi, and Nirupa Roy as Sumitra Devi.^[30]

In 2014, Bachchan revealed that his iconic look in the film – a "denim blue shirt worn with khakee pants and a rope dangling over the shoulder" – was the result of a mistake by the tailor. He said, "The knotted shirt and rope on the shoulder in [Deewaar] was an adjustment for an error in stitching, shirt too long so knotted it".^[31] In certain scenes, Bachchan had some input on Chopra's direction, such as the father's funeral scene where Bachchan, instead of lighting the pyre with his right hand, suggests to use his left hand to show off the tattoo, "Mera baap chor hai" ("My father is a thief").^[15] The film was shot mostly at night because Bachchan was shooting for Ramesh Sippy's Sholay at that time.^[32]

The film contains a fight scene^[33] that involves Bachchan performing martial arts inspired by Hong Kong martial arts cinema, which Deewaar was one of the first to do in Indian cinema.^[34]^[35] Rather than following the Hollywood model, it follows the Hong Kong model, with an emphasis on acrobatics and stunts. The style of fighting seen in Deewaar combined kung fu (as it was perceived by Indians) with Indian martial arts (particularly Indian wrestling).^[36]

Soundtrack

The soundtrack of the movie was composed by R. D. Burman, and the lyrics were penned by Sahir Ludhianvi. The soundtrack received praise.

Track listing
No.	Title	Singer(s)	Length
1.	"Kehdoon Tumhe, Ya Chup Rahun"	Kishore Kumar, Asha Bhosle	4:09
2.	"Maine Tujhe Maanga, Tujhe Paaya Hai"	Kishore Kumar, Asha Bhosle	4:29
3.	"Koi Mar Jaaye"	Asha Bhosle, Usha Mangeshkar	5:37
4.	"Deewaron Ka Jungle"	Manna Dey	5:06
5.	"Idhar Ka Mal Udhar"	Bhupinder Singh	3:23
6.	"I Am Falling in Love with a Stranger"	Ursula Vaz	5:15
Total length:			27:19

Release and reception

Release and sales

At the Indian box office, the film grossed ₹75 million^[37] ($9 million).^[a] In Mumbai alone, the film grossed ₹10 million.^[39] In terms of footfalls, the film sold an estimated 31 million tickets at an average 1975 price of ₹2.40 per ticket.^[40] Adjusted for inflation, this is equivalent to an estimated ₹4.17 billion ($64 million) at an average 2017 price of ₹134.38 per ticket.^[41]

Numerous DVD editions, from companies such as Eros Entertainment, Shemaroo Entertainment and Eagle Home Video, entered the market. These were released as non-restored, non-remastered editions, void of supplementary features. Eagle Home Video came out with a restored edition of this movie, preserving the original aspect ratio in a 4:3 pillar box and a DTS Master Audio (HD) in 2.0. The restoration took place in Shemaroo studios.^{[citation needed]}

Critical response and international impact

The performances of Amitabh Bachchan (left), Shashi Kapoor (centre), and Nirupa Roy (far right) garnered critical acclaim; each received Filmfare Award nominations, with Kapoor winning.

Upon release, Deewaar was a major commercial success, ranking as the fourth-highest-grossing Bollywood film of 1975,^[42] and received critical acclaim, with critics praising the story, dialogue and screenplay, as well as the performances of the cast, particularly those of Bachchan, Kapoor and Roy. Indiatimes ranks Deewaar amongst the Top 25 Must See Bollywood Films.^[14] It is one of the three Hindi films featured in the 2017 edition of the book 1001 Movies You Must See Before You Die, the others being Mother India (1957) and Dilwale Dulhania Le Jayenge (1995).^[43]

It was perceived by audiences to be anti-establishment, while Amitabh Bachchan's character Vijay was seen as a vigilante angry hero, establishing Bachchan's image as the "angry young man" of Indian cinema.^[15] With the unprecedented growth of slums across India at the time, Vijay was seen as a new kind of hero, with his suppressed rage giving a voice to the angst of the urban poor.^[11]^[21] Deewaar is also remembered for its iconic dialogues written by Salim-Javed. The most famous is when Shashi Kapoor delivers the line, "Mere paas maa hai" ("I have mother"), a line that is widely known in India and has become part of Indian popular culture.^[44]^[45] The film Loins of Punjab Presents (2007) mocked how the line is sometimes wrongly attributed to Amitabh Bachchan.^[46] It also established Parveen Babi as the "new Bollywood woman".^[47]

The film cemented the success of the writing duo Salim-Javed, who went on to write many more blockbuster films. After the success of this film, the value of film writers skyrocketed thanks to Salim-Javed, and they soon were being paid as highly as some actors at the time.^[19] Amitabh Bachchan described Salim-Javed's screenplay for Deewaar as "the perfect script"^[15] and "the best screenplay ever" in Indian cinema.^[9] Deewaar, one of the first Indian films with an action sequence modelled after Hong Kong martial arts cinema, popularised the use of martial arts sequences in Bollywood films from the 1970s to the 1990s.^[34] The style of fighting popularised by Deewaar, with acrobatics and stunts, and combining Chinese kung fu (as it was perceived by Indians, based on 1970s Hong Kong films) with Indian pehlwani wrestling, became the standard model for Bollywood action scenes up until the 1990s.^[36]

The film was later remade in Telugu as Magaadu (1976), in Tamil as Thee (1981), in Malayalam as Nathi Muthal Nathi Vare (1983), in Persian as Koose-ye Jonoob (1978), and in Turkish as Acıların Çocuğu (1985). Another remake of Deewaar was the 1994 Bollywood film Aatish: Feel the Fire, starring Sanjay Dutt as the older criminal brother, Atul Agnihotri as the younger police brother, and Tanuja as the mother.^[48] Hong Kong's Shaw Brothers studio remade Deewaar as The Brothers (1979),^[20] which in turn inspired John Woo's internationally acclaimed breakthrough A Better Tomorrow (1986).^[49] The Brothers also starred a Hong Kong actor that would later be known for heroic bloodshed films, Danny Lee (playing Shashi Kapoor's character), with a police officer persona later seen in Hong Kong crime films such as Woo's The Killer (1989).^[20]

Deewaar had an influence on Hong Kong cinema and in turn Hollywood cinema, by playing a key role in the creation of the heroic bloodshed crime genre of 1980s Hong Kong action cinema.^[49] Deewaar, along with several later 1970s "angry young man" epics it inspired, such as Amar Akbar Anthony (1977), had similarities to elements later seen in 1980s Hong Kong heroic bloodshed films.^[50]

British director Danny Boyle described Deewaar as being "absolutely key to Indian cinema" and cited the film as an influence on his Academy Award winning film Slumdog Millionaire (2008).^[12] The film's co-director Loveleen Tandan noted that "Simon Beaufoy studied Salim-Javed's kind of cinema minutely."^[51] Actor Anil Kapoor noted that some scenes of Slumdog Millionaire "are like Deewaar, the story of two brothers of whom one is completely after money while the younger one is honest and not interested in money."^[52] Slumdog Millionaire, which pays homage to Amitabh Bachchan, has a similar narrative structure to Deewaar. Composer A. R. Rahman referenced the film in his Oscar acceptance speech.^[46]

Awards and nominations

Deewaar received the Filmfare Best Movie Award of 1976, and also won six more Filmfare Awards for Best Screenplay, Best Dialogue, Best Director, Best Sound, Best Story, and Best Supporting Actor (Kapoor), and received two other nominations for Best Actor (Bachchan) and Best Supporting Actress (Roy).^[53]

Year	Award	Category	Nominee	Result	Ref.
1976	Filmfare Awards	Best Film	Gulshan Rai	Won	^[54]
		Best Director	Yash Chopra	Won
		Best Actor	Amitabh Bachchan	Nominated
		Best Supporting Actor	Shashi Kapoor	Won
		Best Supporting Actress	Nirupa Roy	Nominated
		Best Story	Salim–Javed	Won
		Best Screenplay		Won
		Best Dialogue		Won
		Best Sound	M. A. Shaikh	Won

Notes

^ 8.3759 Indian rupees per US dollar in 1975^[38]

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External links

Deewaar at IMDb

[Exchange75-39] 8.3759 Indian rupees per US dollar in 1975^[38]

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@@ Line 13: / Line 13: @@
 *[[Shashi Kapoor]]
 *[[Amitabh Bachchan]]
-*[[Neetu Singh]]
 *[[Nirupa Roy]]
+*[[Neetu Singh]]
 *[[Parveen Babi]]
 * [[Iftekhar]]
@@ Line 23: / Line 23: @@
 | narrator       =
 | music          = [[R. D. Burman]]
-| cinematography = Kay Gee
+| cinematography = Kay Gee Koregaonkar
 | editing        = T. R. Mangeshkar<br />Pran Mehra
 | studio         = Trimurti Films Pvt. Ltd
@@ Line 29: / Line 29: @@
 | runtime        = 176 minutes
 | country        = India
-| language       = [[Hindi]]<ref>{{Cite book |last1=Lal |first1=Vinay |url=https://books.google.com/books?id=0iwa6CavnecC |title=Fingerprinting Popular Culture: The Mythic and the Iconic in Indian Cinema |last2=Nandy |first2=Ashis |date=2006 |publisher=[[Oxford University Press]] |isbn=0-19-567918-0 |page=77}}</ref><ref>{{Cite book |last1=Aḵẖtar |first1=Jāvīd |url=https://books.google.com/books?id=_JILAQAAMAAJ |title=Talking Films: Conversations on Hindi Cinema with Javed Akhtar |last2=Kabir |first2=Nasreen Munni |date=2002 |publisher=[[Oxford University Press]] |isbn=978-0-19-566462-1 |pages=49 |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. |author-link=Javed Akhtar |access-date=18 April 2019 |archive-url=https://web.archive.org/web/20230222062332/https://books.google.com/books?id=_JILAQAAMAAJ |archive-date=22 February 2023 |url-status=live}}</ref>
+| language       = [[Hindi]]<ref>{{cite book |last1=Lal |first1=Vinay |last2=Nandy |first2=Ashis |url=https://books.google.com/books?id=0iwa6CavnecC |title=Fingerprinting Popular Culture: The Mythic and the Iconic in Indian Cinema |date=2006 |publisher=[[Oxford University Press]] |isbn=0-19-567918-0 |page=77}}</ref><ref>{{cite book |last1=Aḵẖtar |first1=Jāvīd |author1-link=Javed Akhtar |last2=Kabir |first2=Nasreen Munni |url=https://books.google.com/books?id=_JILAQAAMAAJ |title=Talking Films: Conversations on Hindi Cinema with Javed Akhtar |date=2002 |publisher=Oxford University Press |isbn=978-0-19-566462-1 |pages=49 |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. |access-date=18 April 2019 |archive-url=https://web.archive.org/web/20230222062332/https://books.google.com/books?id=_JILAQAAMAAJ |archive-date=22 February 2023 |url-status=live}}</ref>
-| budget         = [[Indian rupee|₹]]1.3 [[crore]] (equivalent to ₹37 crore or US$4.6 [[million]] in 2023)<ref name="auto"/<ref>{{Cite web |date=8 July 2021 |title=Deewaar 1975 Movie Box Office Collection, Budget and Unknown Facts 1990's Box Office Collection |url=https://ksboxoffice.com/deewaar-1975-movie-box-office-collection-budget-and-unknown-facts/movies-facts/ |access-date=18 December 2021 |website=KS Box Office |language=en-US |archive-date=23 February 2023 |archive-url=https://web.archive.org/web/20230223040727/https://ksboxoffice.com/deewaar-1975-movie-box-office-collection-budget-and-unknown-facts/movies-facts/ |url-status=live}}</ref>
+| budget         = [[Indian rupee|₹]]1.3 [[crore]] (equivalent to ₹37 crore or US$4.6 [[million]] in 2023)<ref name="auto"/<ref>{{cite web |date=8 July 2021 |title=Deewaar 1975 Movie Box Office Collection, Budget and Unknown Facts 1990's Box Office Collection |url=https://ksboxoffice.com/deewaar-1975-movie-box-office-collection-budget-and-unknown-facts/movies-facts/ |access-date=18 December 2021 |website=KS Box Office |language=en-US |archive-date=23 February 2023 |archive-url=https://web.archive.org/web/20230223040727/https://ksboxoffice.com/deewaar-1975-movie-box-office-collection-budget-and-unknown-facts/movies-facts/ |url-status=live}}</ref>
 | gross          = ₹7.5 crore (equivalent to ₹211 crore or US$26 million in 2023)<ref name="auto"/<ref/>
 }}
-'''''Deewaar''''' ({{translation}} ''Wall'') is a [[List of Hindi films of 1975|1975]] Indian [[Hindi]]-language [[action crime film]] written by [[Salim–Javed]] and directed by [[Yash Chopra]].<ref>{{Cite web |title=Deewaar (1975) – Yash Chopra |url=https://www.allmovie.com/movie/deewaar-v145093 |url-status=live |archive-url=https://web.archive.org/web/20190715135239/https://www.allmovie.com/movie/deewaar-v145093 |archive-date=15 July 2019 |access-date=15 July 2019 |publisher=[[AllMovie]]}}</ref><ref>{{Cite web |title=Obituary: Yash Chopra redefined romance, drama on screen |url=https://www.indiatoday.in/movies/celebrities/story/yash-chopra-redefined-romance-and-drama-on-screen-119299-2012-10-22 |url-status=live |archive-url=https://web.archive.org/web/20190715135240/https://www.indiatoday.in/movies/celebrities/story/yash-chopra-redefined-romance-and-drama-on-screen-119299-2012-10-22 |archive-date=15 July 2019 |access-date=15 July 2019 |website=[[India Today]]|date=22 October 2012 }}</ref> The film stars an [[ensemble cast]] of [[Shashi Kapoor]], [[Amitabh Bachchan]], [[Neetu Singh]], [[Nirupa Roy]], [[Parveen Babi]], [[Iftekhar]], [[Madan Puri]], [[Satyen Kappu]] and [[Manmohan Krishna]].<ref>{{Cite web |date=29 January 2017 |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 |url-status=live |archive-url=https://web.archive.org/web/20180705181552/https://www.hindustantimes.com/bollywood/deewaar-was-the-perfect-script-amitabh-bachchan-on-42-years-of-the-cult-film/story-x2hy87zQ0ebVlsVMV59U2I.html |archive-date=5 July 2018 |access-date=15 July 2019 |website=[[Hindustan Times]]}}</ref><ref>{{Cite book |last=Rao |first=Sri |url=https://books.google.com/books?id=_WM6DwAAQBAJ&pg=PA207 |title=Bollywood Kitchen: Home-cooked Indian Meals Paired with Unforgettable Bollywood Films |date=2017 |publisher=[[Houghton Mifflin Harcourt]] |isbn=978-0-544-97125-7 |page=207 |access-date=25 May 2020 |archive-url=https://web.archive.org/web/20230222062339/https://books.google.com/books?id=_WM6DwAAQBAJ&pg=PA207 |archive-date=22 February 2023 |url-status=live}}</ref><ref>{{Cite news |title=Deewaar |work=[[Radio Times]] |publisher=[[Immediate Media Company]] |url=https://www.radiotimes.com/film/rp56h/deewaar/ |url-status=live |access-date=25 May 2020 |archive-url=https://web.archive.org/web/20210416002839/https://www.radiotimes.com/film/rp56h/deewaar/ |archive-date=16 April 2021}}</ref> The music was composed by [[R. D. Burman]]. The film tells the story of a pair of impoverished brothers who struggle to survive in the [[slum]]s of [[Mumbai]], and eventually find themselves on opposing sides of the law. The title ''Deewaar'' ("wall") signifies the wall that has sprung up between the two brothers, drawn apart by fate and circumstances in a time of [[Political sociology|socio-political turmoil]].<ref name="indianexpress">{{Cite news |date=23 January 2017 |title=Deewar had the best screenplay ever, says Amitabh Bachchan |work=[[The Indian Express]] |url=https://indianexpress.com/article/entertainment/bollywood/deewar-had-the-best-screenplay-ever-says-amitabh-bachchan-4488228/ |url-status=live |access-date=25 May 2020 |archive-url=https://web.archive.org/web/20210413210846/https://indianexpress.com/article/entertainment/bollywood/deewar-had-the-best-screenplay-ever-says-amitabh-bachchan-4488228/ |archive-date=13 April 2021}}</ref><ref>{{Cite web |title=Deewar: the fiction of film and the fact of politics |url=http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html |url-status=live |archive-url=https://web.archive.org/web/20181012201503/http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html |archive-date=12 October 2018 |access-date=22 June 2011 |publisher=Ejumpcut.org}}</ref><ref name="Mazumdar">{{Cite book |last=Mazumdar |first=Ranjani |url=https://books.google.com/books?id=xenNBrRKOGoC&pg=PA14 |title=Bombay Cinema: An Archive of the City |publisher=[[University of Minnesota Press]] |year=2007 |isbn=978-1-4529-1302-5 |page=14 |access-date=23 November 2017 |archive-url=https://web.archive.org/web/20230222062359/https://books.google.com/books?id=xenNBrRKOGoC&pg=PA14 |archive-date=22 February 2023 |url-status=live}}</ref><ref name="Kumar">{{Cite magazine |last=Amitava Kumar |date=23 December 2008 |title=Slumdog Millionaire's Bollywood Ancestors |url=http://www.vanityfair.com/online/oscars/2008/12/slumdog-millionaires-bollywood-ancestors.html |url-status=live |magazine=[[Vanity Fair (magazine)|Vanity Fair]] |archive-url=https://web.archive.org/web/20120529011746/http://www.vanityfair.com/online/oscars/2008/12/slumdog-millionaires-bollywood-ancestors |archive-date=29 May 2012 |access-date=4 January 2008}}</ref><ref name="ejumpcut">Virdi, Jyotika. "[http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html Deewaar: the fiction of film and the fact of politics.] {{webarchive |url=https://web.archive.org/web/20181012201503/http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html |date=12 October 2018}}" ''Jump Cut'', No. 38, June 1993:26–32.</ref>
+'''''Deewaar''''' ({{translation}} ''Wall'') is a 1975 Indian [[Hindi|Hindi-language]] [[action crime film]] written by [[Salim–Javed]] and directed by [[Yash Chopra]].<ref>{{cite web |title=Deewaar (1975) – Yash Chopra |url=https://www.allmovie.com/movie/deewaar-v145093 |url-status=live |archive-url=https://web.archive.org/web/20190715135239/https://www.allmovie.com/movie/deewaar-v145093 |archive-date=15 July 2019 |access-date=15 July 2019 |publisher=[[AllMovie]]}}</ref><ref>{{cite web |title=Obituary: Yash Chopra redefined romance, drama on screen |url=https://www.indiatoday.in/movies/celebrities/story/yash-chopra-redefined-romance-and-drama-on-screen-119299-2012-10-22 |url-status=live |archive-url=https://web.archive.org/web/20190715135240/https://www.indiatoday.in/movies/celebrities/story/yash-chopra-redefined-romance-and-drama-on-screen-119299-2012-10-22 |archive-date=15 July 2019 |access-date=15 July 2019 |website=[[India Today]] |date=22 October 2012}}</ref> The film stars [[Shashi Kapoor]] and [[Amitabh Bachchan]], alongside an [[ensemble cast]] of [[Neetu Singh]], [[Nirupa Roy]], [[Parveen Babi]], [[Iftekhar]], [[Madan Puri]], [[Satyen Kappu]] and [[Manmohan Krishna]].<ref>{{cite web |date=29 January 2017 |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 |url-status=live |archive-url=https://web.archive.org/web/20180705181552/https://www.hindustantimes.com/bollywood/deewaar-was-the-perfect-script-amitabh-bachchan-on-42-years-of-the-cult-film/story-x2hy87zQ0ebVlsVMV59U2I.html |archive-date=5 July 2018 |access-date=15 July 2019 |website=[[Hindustan Times]]}}</ref><ref>{{Cite book |last=Rao |first=Sri |url=https://books.google.com/books?id=_WM6DwAAQBAJ&pg=PA207 |title=Bollywood Kitchen: Home-cooked Indian Meals Paired with Unforgettable Bollywood Films |date=2017 |publisher=[[Houghton Mifflin Harcourt]] |isbn=978-0-544-97125-7 |page=207 |access-date=25 May 2020 |archive-url=https://web.archive.org/web/20230222062339/https://books.google.com/books?id=_WM6DwAAQBAJ&pg=PA207 |archive-date=22 February 2023 |url-status=live}}</ref><ref>{{Cite news |title=Deewaar |work=[[Radio Times]] |publisher=[[Immediate Media Company]] |url=https://www.radiotimes.com/film/rp56h/deewaar/ |url-status=live |access-date=25 May 2020 |archive-url=https://web.archive.org/web/20210416002839/https://www.radiotimes.com/film/rp56h/deewaar/ |archive-date=16 April 2021}}</ref> The music was composed by [[R. D. Burman]], while cinematography and editing were handled by Kay Gee Koregaonkar and T. R. Mangeshkar-Pran Mehra. In the film, two impoverished brothers struggle to survive in the [[slum]]s of [[Mumbai]] and eventually find themselves on opposing sides of the law. The film's title signifies the wall that springs up between the two brothers, drawn apart by fate and circumstances in a time of [[Political sociology|socio-political]] turmoil.<ref name="indianexpress">{{Cite news |date=23 January 2017 |title=Deewar had the best screenplay ever, says Amitabh Bachchan |work=[[The Indian Express]] |url=https://indianexpress.com/article/entertainment/bollywood/deewar-had-the-best-screenplay-ever-says-amitabh-bachchan-4488228/ |url-status=live |access-date=25 May 2020 |archive-url=https://web.archive.org/web/20210413210846/https://indianexpress.com/article/entertainment/bollywood/deewar-had-the-best-screenplay-ever-says-amitabh-bachchan-4488228/ |archive-date=13 April 2021}}</ref><ref>{{Cite web |title=Deewar: the fiction of film and the fact of politics |url=http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html |url-status=live |archive-url=https://web.archive.org/web/20181012201503/http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html |archive-date=12 October 2018 |access-date=22 June 2011 |publisher=Ejumpcut.org}}</ref><ref name="Mazumdar">{{Cite book |last=Mazumdar |first=Ranjani |url=https://books.google.com/books?id=xenNBrRKOGoC&pg=PA14 |title=Bombay Cinema: An Archive of the City |publisher=[[University of Minnesota Press]] |year=2007 |isbn=978-1-4529-1302-5 |page=14 |access-date=23 November 2017 |archive-url=https://web.archive.org/web/20230222062359/https://books.google.com/books?id=xenNBrRKOGoC&pg=PA14 |archive-date=22 February 2023 |url-status=live}}</ref><ref name="Kumar">{{Cite magazine |last=Amitava Kumar |date=23 December 2008 |title=Slumdog Millionaire's Bollywood Ancestors |url=http://www.vanityfair.com/online/oscars/2008/12/slumdog-millionaires-bollywood-ancestors.html |url-status=live |magazine=[[Vanity Fair (magazine)|Vanity Fair]] |archive-url=https://web.archive.org/web/20120529011746/http://www.vanityfair.com/online/oscars/2008/12/slumdog-millionaires-bollywood-ancestors |archive-date=29 May 2012 |access-date=4 January 2008}}</ref><ref name="ejumpcut">Virdi, Jyotika. "[http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html Deewaar: the fiction of film and the fact of politics.] {{webarchive |url=https://web.archive.org/web/20181012201503/http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html |date=12 October 2018}}" ''Jump Cut'', No. 38, June 1993:26–32.</ref>
-''Deewaar'' was released worldwide on 24 January 1975 to critical acclaim from critics with praise for its story, script, music and cast performances (especially Bachchan, Kapoor and Roy) and became critically and commercially successful. The film became commercially successful and is considered a ground-breaking cinematic masterpiece, with ''[[India Times]]'' ranking ''Deewaar'' amongst the ''Top 25 Must See Bollywood Films'' as well as being one of three Hindi-language films to be included on the list of ''[[1001 Movies You Must See Before You Die]]''.<ref name="Movies.indiatimes.com">{{Cite web |title=25 Must See Bollywood Movies&nbsp;– Special Features-Indiatimes&nbsp;– Movies |url=http://movies.indiatimes.com/Special_Features/25_Must_See_Bollywood_Movies/articleshow/msid-1250837,curpg-9.cms |url-status=dead |archive-url=https://web.archive.org/web/20090227170938/http://movies.indiatimes.com/Special_Features/25_Must_See_Bollywood_Movies/articleshow/msid-1250837,curpg-9.cms |archive-date=27 February 2009 |access-date=22 June 2011 |website=The Times of India}}</ref>
+''Deewaar'' was released worldwide on 24 January 1975 to critical acclaim and praise for its story, script, music cast performances (especially Bachchan, Kapoor and Roy). The film was commercially successful and is considered a ground-breaking cinematic masterpiece, with ''[[India Times]]'' ranking ''Deewaar'' amongst the ''Top 25 Must See Bollywood Films''. It is also one of three Hindi-language films to be included on the list of ''[[1001 Movies You Must See Before You Die]]''.<ref name="Movies.indiatimes.com">{{Cite web |title=25 Must See Bollywood Movies&nbsp;– Special Features-Indiatimes&nbsp;– Movies |url=http://movies.indiatimes.com/Special_Features/25_Must_See_Bollywood_Movies/articleshow/msid-1250837,curpg-9.cms |url-status=dead |archive-url=https://web.archive.org/web/20090227170938/http://movies.indiatimes.com/Special_Features/25_Must_See_Bollywood_Movies/articleshow/msid-1250837,curpg-9.cms |archive-date=27 February 2009 |access-date=22 June 2011 |website=The Times of India}}</ref>
-The film had a significant impact on Indian cinema, as well as wider [[Culture of India|Indian society]], with the film's [[anti-establishment]] themes and Bachchan's criminal [[anti-hero]] [[vigilante]] character resonating with audiences, cementing Bachchan's popular image as the "angry young man" of [[Bollywood|Bollywood cinema]].<ref name="hindustantimes" /><ref>{{Cite news |date=23 April 2002 |title=Film legend promotes Bollywood |work=BBC News |url=http://news.bbc.co.uk/2/hi/entertainment/1945451.stm |url-status=live |access-date=22 June 2011 |archive-url=https://web.archive.org/web/20180722043521/http://news.bbc.co.uk/2/hi/entertainment/1945451.stm |archive-date=22 July 2018}}</ref><ref>{{Cite book |last=Mazumdar |first=Ranjani |url=https://books.google.com/books?id=xenNBrRKOGoC&q=%22Deewar%22+1975&pg=PA11 |title=Bombay Cinema |date=23 April 2007 |publisher=U of Minnesota Press |isbn=978-1-4529-1302-5 |access-date=22 June 2011 |archive-url=https://web.archive.org/web/20230222062340/https://books.google.com/books?id=xenNBrRKOGoC&q=%22Deewar%22+1975&pg=PA11 |archive-date=22 February 2023 |url-status=live}}</ref> ''[[Forbes (India)|Forbes]]'' included Bachchan's performance in the film on its list, "25 Greatest Acting Performances of Indian Cinema".<ref>{{Cite web |last1=Prasad |first1=Shishir |last2=Ramnath |first2=N. S. |last3=Mitter |first3=Sohini |date=27 April 2013 |title=25 Greatest Acting Performances of Indian Cinema |url=http://forbesindia.com/article/100-years-of-indian-cinema/25-greatest-acting-performances-of-indian-cinema/35125/0 |url-status=live |archive-url=https://web.archive.org/web/20160112014841/http://forbesindia.com/article/100-years-of-indian-cinema/25-greatest-acting-performances-of-indian-cinema/35125/0 |archive-date=12 January 2016 |access-date=23 June 2021 |magazine=[[Forbes (India)|Forbes]]}}</ref> The film also cemented the success of Salim-Javed, who went on to write more blockbuster films, and the value of film writers skyrocketed thanks to Salim-Javed, who were paid as highly as leading actors at the time.<ref name="topmoviestowatch">{{Cite web |date=2 December 2012 |title=Topmoviestowatch.info |url=http://topmoviestowatch.info/Movies/Drama/Deewaar.html |url-status=dead |archive-url=https://archive.today/20121202223220/http://topmoviestowatch.info/Movies/Drama/Deewaar.html |archive-date=2 December 2012}}</ref> ''Deewaar''{{'}}s influence also extends to [[world cinema]], influencing films from [[Hong Kong cinema|Hong Kong]]<ref name="scroll">{{Cite web |last=Mondal |first=Sayantan |title=Amitabh Bachchan starrer 'Deewar' was remade in Telugu, Tamil, Malayalam&nbsp;– and Cantonese |url=https://thereel.scroll.in/828031/amitabh-bachchan-starrer-deewar-was-remade-in-telugu-tamil-malayalam-and-cantonese |url-status=dead |archive-url=https://web.archive.org/web/20170130121319/https://thereel.scroll.in/828031/amitabh-bachchan-starrer-deewar-was-remade-in-telugu-tamil-malayalam-and-cantonese |archive-date=30 January 2017 |access-date=30 January 2017 |website=Scroll.in}}</ref> and [[British cinema]].<ref name="Kumar" /><ref name="Lee">{{Cite book |last1=Lee |first1=Joseph Tse-Hei |url=https://books.google.com/books?id=pu0mDQAAQBAJ&pg=PA173 |title=Hong Kong and Bollywood: Globalization of Asian Cinemas |last2=Kolluri |first2=Satish |date=2016 |publisher=[[Springer Science+Business Media]] |isbn=978-1-349-94932-8 |page=173}}</ref>
+The film had a significant impact not only on Indian cinema but also on [[Culture of India|Indian society]]; its [[anti-establishment]] themes and Bachchan's [[anti-hero]] [[vigilante]] character resonated with audiences. The movie cemented Bachchan's popular image as the 'Angry young man' of [[Bollywood|Bollywood cinema]].<ref name="hindustantimes" /><ref>{{Cite news |date=23 April 2002 |title=Film legend promotes Bollywood |publisher=BBC News |url=http://news.bbc.co.uk/2/hi/entertainment/1945451.stm |url-status=live |access-date=22 June 2011 |archive-url=https://web.archive.org/web/20180722043521/http://news.bbc.co.uk/2/hi/entertainment/1945451.stm |archive-date=22 July 2018}}</ref><ref>{{Cite book |last=Mazumdar |first=Ranjani |url=https://books.google.com/books?id=xenNBrRKOGoC&q=%22Deewar%22+1975&pg=PA11 |title=Bombay Cinema |date=23 April 2007 |publisher=University of Minnesota Press |isbn=978-1-4529-1302-5 |access-date=22 June 2011 |archive-url=https://web.archive.org/web/20230222062340/https://books.google.com/books?id=xenNBrRKOGoC&q=%22Deewar%22+1975&pg=PA11 |archive-date=22 February 2023 |url-status=live}}</ref> ''[[Forbes (India)|Forbes]]'' included Bachchan's performance in the film on its list of "25 Greatest Acting Performances of Indian Cinema".<ref>{{Cite web |last1=Prasad |first1=Shishir |last2=Ramnath |first2=N. S. |last3=Mitter |first3=Sohini |date=27 April 2013 |title=25 Greatest Acting Performances of Indian Cinema |url=http://forbesindia.com/article/100-years-of-indian-cinema/25-greatest-acting-performances-of-indian-cinema/35125/0 |url-status=live |archive-url=https://web.archive.org/web/20160112014841/http://forbesindia.com/article/100-years-of-indian-cinema/25-greatest-acting-performances-of-indian-cinema/35125/0 |archive-date=12 January 2016 |access-date=23 June 2021 |magazine=[[Forbes (India)|Forbes]]}}</ref> The film also cemented the success of Salim-Javed, who went on to write more blockbuster films, and their value skyrocketed and they were being paid as well as the leading actors of the time.<ref name="topmoviestowatch">{{Cite web |date=2 December 2012 |title=Topmoviestowatch.info |url=http://topmoviestowatch.info/Movies/Drama/Deewaar.html |url-status=dead |archive-url=https://archive.today/20121202223220/http://topmoviestowatch.info/Movies/Drama/Deewaar.html |archive-date=2 December 2012}}</ref> ''Deewaar''{{'}}s influence also extends to [[world cinema]], influencing films from [[Hong Kong cinema|Hong Kong]]<ref name="scroll">{{Cite web |last=Mondal |first=Sayantan |title=Amitabh Bachchan starrer 'Deewar' was remade in Telugu, Tamil, Malayalam&nbsp;– and Cantonese |url=https://thereel.scroll.in/828031/amitabh-bachchan-starrer-deewar-was-remade-in-telugu-tamil-malayalam-and-cantonese |url-status=dead |archive-url=https://web.archive.org/web/20170130121319/https://thereel.scroll.in/828031/amitabh-bachchan-starrer-deewar-was-remade-in-telugu-tamil-malayalam-and-cantonese |archive-date=30 January 2017 |access-date=30 January 2017 |website=Scroll.in}}</ref> and [[British cinema]].<ref name="Kumar" /><ref name="Lee">{{Cite book |last1=Lee |first1=Joseph Tse-Hei |url=https://books.google.com/books?id=pu0mDQAAQBAJ&pg=PA173 |title=Hong Kong and Bollywood: Globalization of Asian Cinemas |last2=Kolluri |first2=Satish |date=2016 |publisher=[[Springer Science+Business Media]] |isbn=978-1-349-94932-8 |page=173}}</ref>
 == Plot ==
+{{Cleanup section |date=April 2024 |reason=Per [[MOS:FILMPLOT]]: Plot summaries for feature films should be between 400 and 700 words. This plot is almost 1,200 words long.}}
-Anand Verma ([[Satyen Kappu]]) is a [[trade union]] leader who works hard to better the lives of struggling labourers and lives in a modest home with his wife, Sumitra ([[Nirupa Roy]]), and their two young sons, Vijay and Ravi. Anand is [[blackmail]]ed by his corrupt employer, Badri Prasad ([[Kamal Kapoor]]), who threatens to kill his family if Anand does not cease his protest activities. Forced into compliance, Anand is despised and thrashed nearly to death for his betrayal by the furious labourers, who are unaware that he was blackmailed to do so. Unable to bear the humiliation, Anand escapes from the town and decides to spend his remaining life aimlessly travelling in [[train]]s, deserting his family for whom he had abandoned his principles and ideals. Meanwhile, the labourers also persecute Anand's family and some of them drunkenly kidnap Vijay and [[tattoo]] his left [[arm]] with the [[Hindi]] words "{{lang|hi|मेरा बाप चोर है}}" ([[English]]: "My father is a thief"). Alone and helpless with her sons, Sumitra brings Vijay and Ravi to [[Mumbai]] and resorts to low-wage [[manual labour]] to raise them. Their home is on the [[footpath]] under a huge [[bridge]] that is home to millions of [[Homelessness|homeless]] urban poor.
+Anand Verma, a trade union leader working hard to better the lives of struggling labourers, lives with his wife Sumitra and their two sons Vijay and Ravi. Anand gets [[blackmail]]ed by a corrupt businessman Badri Prasad, who threatens to kill his family if Anand does not stop his protest activities. Forced into compliance, Anand is almost beaten to death by angry labourers for his perceived betrayal. A humiliated Anand deserts his family and leaves town. The labourers persecute Anand's family, and tattoo Vijay's left arm with "{{lang|hi|मेरा बाप चोर है}}" (English: "My father is a thief"). A desperate Sumitra brings Vijay and Ravi to [[Mumbai]], and resorts to low-wage manual labour to raise them. Their home is on the footpath under a huge bridge home to millions of homeless urban poor driven out by the state in its attempts at city development.
-As the Vijay and Ravi grow up to be young men in the [[slum]]s of Mumbai, Vijay ([[Amitabh Bachchan]]) has an acute awareness of his father's humiliation, for he has been victimized for his father's supposed misdeeds and is reminded of his past by the ever-present tattoo on his arm. He even refuses to enter a [[temple]], for he wishes to chart his own destiny and not beg for it from the deity. In the process of fighting for his [[rights]], Vijay begins out as a [[shoeshiner]] and becomes a [[shipyard]] labourer in his youth, sacrificing his own education to enable Ravi ([[Shashi Kapoor]]) to study. On the other hand, Ravi is a perfect citizen and is unwavering in his commitment to [[law]] and [[righteousness]]. All his attempts at obtaining a job are in vain but he romances Veera ([[Neetu Singh]]), the daughter of [[Deputy commissioner of police|DCP]] Narang ([[Manmohan Krishna]]), by whom Ravi is sent for [[Police training|police training]] and soon earns the rank of [[Sub-Inspector]].  Meanwhile, Vijay thrashes the several [[Henchman|henchmen]] of a merciless [[crime lord]], Samant ([[Madan Puri]]), who has been forcing the shipyard labourers to give half of their [[salary]] to him. As a result, one of Samant's [[Rivalry|rivals]], Mulk Raj Daavar ([[Iftekhar]]), is influenced to hire Vijay to protect his [[Smuggling|smuggled]] gold that has been hijacked by Samant three times. Vijay sells the information to Samant to help him hijack the gold, takes the money from Samant, then captures the gold from his [[warehouse]] and hands it over to Daavar. An impressed Daavar rewards Vijay with a huge sum of money, allowing him to purchase a palatial home for his family.
+Growing up in the slums of Mumbai, Vijay is forever reminded by the tattoo of his past humiliation. He refuses to enter the temple, and vows to chart his own destiny. In the process of fighting for his rights, Vijay begins as a [[shoeshiner|shoeshiner boy]] and growa up to become a dockyard labourer. Ravi is unwavering in his commitment to law and [[righteousness]]. When, after he obtains a degree, his attempts to find a job go in vain, [[Deputy commissioner of police|DCP]] Narang, the father of his girlfriend Veera, sends him for police training.
+When Vijay beats up several henchmen of [[crime lord]] Samant, Mulk Raj Daavar (Samant's rival) hires Vijay to steal back smuggled gold from Samant. When Vijay sells the information to Samant to help him hijack the gold, takes money from Samant and captures the gold back for Daavar, he is rewarded with a huge sum of money and purchases a palatial house.
-Meanwhile, Ravi is provided with his first assignment by Veera's father to apprehend and [[arrest]] some of the hardcore criminals and smugglers in Mumbai, which also shockingly include his brother, Vijay. Ravi is shocked for having never associated his own brother with criminal activities and must now decide between apprehending Vijay and quitting the police force. Although initially reluctant to act against his own brother, Ravi is later moved when he non-fatally [[Shooting|shoots]] in the [[leg]] a poor boy having stolen some [[bread]] for his family, in an attempt to capture the boy. When a remorseful Ravi visits the boy's family at their home, offering them some [[roti]]s and confessing his action, the boy's furious mother berates Ravi and accuses him of [[Collusion|colluding]] with the state in protecting those who store goods in warehouses, and hunting down petty thieves trying to feed their starving families. However, the boy's father ([[A. K. Hangal]]), who is a retired [[schoolteacher]], forgives Ravi and justifies the shooting by stating that the stealing no matter of a "[[lakh]]" or of food is a crime, and that all criminals should be treated equally and it would lead to [[anarchy]] if all the poor and needy resort to the same life, which finally motivates Ravi to agree to take the case from Veera's father. When Ravi discovers that Vijay has accquired wealth by crime, he decides to leave the house purchased by the latter and go to live in his [[Residential community|police quarters]] along with Sumitra, who too is disgusted with her son and even refuses to accept his gift of the high-rise [[apartment]] where she had once worked as a manual labourer.
+Ravi earns the rank of [[Sub-Inspector]] and his first assignment is to arrest some hardcore criminals and smugglers of Mumbai. Ravi is shocked to find Vijay on the list and is faced with the hard choice of either apprehending his brother or quitting the police force. Initially reluctant, Ravi agrees to take up the case, when he mistakenly shoots at a poor boy stealing a loaf of bread, remorsefully visits the boy's family, and is forgiven by the boy's father who justifies the shooting since stealing anything is a crime. When Ravi discovers that wealth Vijay has acquired is based on crime, he leaves the palatial house for police quarters. Sumitra who disapproves of Vijay's activities as well, goes with him.
-Ravi completes his assigned task by arresting many associates of Daavar's gang, and even Daavar himself is arrested by the latter, causing a [[feud]] to develop between Vijay and Ravi. Fuming over the loss of his mother and brother and many of his associates, Vijay enters into an [[intimate relationship]] with a young girl named Anita ([[Parveen Babi]]), whom he meets at a [[Bar (establishment)|bar]]. Around the same time, Anand's [[Cadaver|dead body]] is discovered inside a train and his [[last rites]] are performed by Vijay. Anita advises Vijay to erase the tattoo on his arm through [[plastic surgery]], but Vijay refuses, stating that any surgery would not erase his fate in the past. Later, Anita reveals to Vijay that she is [[Pregnancy|pregnant]] with his child, but she would not force him to marry her and would raise the child by herself. However, Vijay decides to abandon his life in the [[Organised crime in India|underworld]] so that he can marry Anita, surrender himself to the police and seek forgiveness from Sumitra and Ravi.
+When Ravi arrests many gang members and theirs leaders a disgruntled Daavar causes a feud to develop between Vijay and Ravi. Vijay enters into an [[intimate relationship]] with Anita, whom he meets at a bar. Anand Verma's dead body is discovered inside a train, and Vijay performs his father's last rites. Anita reveals that she is pregnant but does not force Vijay to marry her. Not wishing anyone to tattoo on the arm of his own child that his father is a criminal, Vijay decides to abandon his life in the [[Organised crime in India|underworld]] so that he can marry Anita.
-However, things take a drastic turn when Samant and his henchmen arrive and murder Anita in revenge. Anita dies in the arms of Vijay, who retaliates by brutally murdering Samant and his henchmen, thus branding himself a criminal forever. Sumitra, who had always sided with Ravi despite the fact that Vijay was her favourite, is tormented by Vijay's decisions and rejects him. When the two brothers meet in a final clash, Ravi pleads with Vijay to stop running and surrender himself, and ends up shooting him in the arm and heart fatally. However, the gravely injured and dying Vijay uses a [[car]] to escape from Ravi and has it crashed into the wall of a temple, where he reunites with Sumitra and pleads forgiveness. Vijay then dies in Sumitra's arms, leaving her extremely shattered, just as Ravi arrives at the temple and is completely distraught over his action towards Vijay. The film ends with Veera's father and the police presenting an award to Ravi along with Veera and Sumitra for his successful pursuit of justice, though Ravi is still filled with remorse for killing Vijay.
+However, Samant and his henchmen thrash Anita, and she dies in Vijay's arms. An enraged Vijay retaliates by murdering them all. Ravi pleads with Vijay to surrender but he ends up shooting Vijay in the arm as he tries to escape. Vijay reaches the temple, where he reunites with his mother and pleads forgiveness. Just as Ravi arrives, Vijay dies in the arms of his mother. The film ends with Narang and the [[Maharashtra]] police presenting an award to Ravi or his successful pursuit of justice.
 == Cast ==
 {{div col|colwidth=25em}}
 * [[Shashi Kapoor]] as [[Sub-Inspector]] Ravi Verma
-** [[Raju Shrestha]] as Young Ravi Verma
+*** [[Raju Shrestha]] as young Ravi Verma
 * [[Amitabh Bachchan]] as Vijay Verma
-** Alankar Joshi as Young Vijay Verma
+*** Alankar Joshi as young Vijay Verma
-* [[Nirupa Roy]] as Sumitra Verma
+* [[Nirupa Roy]] as Sumitra Verma (mother of Vijay/Ravi)
-* [[Parveen Babi]] as Anita
 * [[Neetu Singh]] as Veera Narang
+* [[Parveen Babi]] as Anita
 * [[Iftekhar]] as Mulk Raj Daavar
 * [[Madan Puri]] as Samant
-* [[Satyen Kappu]] as Anand Verma
+* [[Satyen Kappu]] as Anand Verma,(father of Vijay/Ravi)
-* [[Manmohan Krishna]] as [[Deputy commissioner of police|DCP]] Narang
+* [[Manmohan Krishna]] as [[Deputy Commissioner of police|DCP]] Narang
-* [[A. K. Hangal]] as the poor boy's father
+* [[A. K. Hangal]] as teacher
-* [[Kamal Kapoor]] as Badri Prasad
+* [[Kamal Kapoor]]
 * [[Sudhir (Hindi actor)|Sudhir]] as Jaichand (Vijay and Daavar's associate)
-* [[Jagdish Raj]] as Jaggi (Samant's associate)
+* [[Jagdish Raj]] as Jaggi
-* [[Yunus Parvez]] as Rahim Chacha (Vijay's dockyard co-worker)
+* [[Yunus Parvez]] as Rahim Chacha
 * [[D. K. Sapru]] as Mr. Agarwal (building owner)
-* [[Aruna Irani]] as [[item number]] in "Koi Mar Jaye" song (cameo)
+* [[Aruna Irani]] as [[item number]] in "Koi Mar Jaye" song (Cameo)
 {{div col end}}
@@ Line 82: / Line 85: @@
 [[Salim–Javed]]'s screenplay had dynamic dialogues and incorporated a number of symbolic [[Motif (narrative)|motifs]]. For example, the scene where the two brothers meet as adults takes place under a bridge, symbolizing a bridge forming between the brothers.<ref name="hindustantimes">{{Cite news |date=29 January 2017 |title=Deewaar was the perfect script: Amitabh Bachchan on 42 years of the cult film |work=[[Hindustan Times]] |url=http://www.hindustantimes.com/bollywood/deewaar-was-the-perfect-script-amitabh-bachchan-on-42-years-of-the-cult-film/story-x2hy87zQ0ebVlsVMV59U2I.html |url-status=live |access-date=22 November 2017 |archive-url=https://web.archive.org/web/20171201030549/http://www.hindustantimes.com/bollywood/deewaar-was-the-perfect-script-amitabh-bachchan-on-42-years-of-the-cult-film/story-x2hy87zQ0ebVlsVMV59U2I.html |archive-date=1 December 2017}}</ref> Set in the [[Dharavi]] [[slum]]s of [[Mumbai]], the film's story of [[gangster]]s in Dharavi was a critique of [[Political sociology|socio-political]] inequality and [[injustice]] in Mumbai.<ref name="Lee" /> The characterisations of the two brothers are [[sociological]]ly contextualised to represent a form of urban conflict and drama, aimed at presenting a causal explanation for the sequence of events and Vijay's [[social alienation]], with the narrative explaining his every action and decision, grounded in his memories and experiences.<ref name="Mazumdar" />
-The script generally has an atmosphere of [[secularism]], while incorporating subtle religious motifs.<ref name="hindustantimes" /> The mother Sumitra ([[Nirupa Roy]]) and police brother Ravi ([[Shashi Kapoor]]) are religious [[Hindu]]s, whereas the criminal brother Vijay (Bachchan) is generally [[Irreligion|not religious]] and "upset with God", yet he carries a badge numbered [[786 (number)|786]] which his [[Muslim]] [[Coworking|co-worker]], Rahim Chacha ([[Yunus Parvez]]), points out to be a number of religious significance in [[Islam]]<ref name="hindustantimes" /> (representing ''[[Basmalla|Bismillah]]'') and has its own [[subplot]].<ref name="scroll" /> The 786 badge plays a powerful and symbolic role in several scenes,<ref name="hindustantimes" /> saving Vijay at key moments<ref>{{Cite book |last=Prasad |first=M. Madhava |url=https://books.google.com/books?id=OJUiAQAAMAAJ |title=Ideology of the Hindi Film: A Historical Construction |date=2000 |publisher=[[Oxford University Press]] |isbn=978-0-19-565295-6 |page=152}}</ref> and signifying something [[Omen|ominous]] when he loses it.<ref name="hindustantimes" />
+The script generally has an atmosphere of [[secularism]], while incorporating subtle religious motifs.<ref name="hindustantimes" /> The mother Sumitra ([[Nirupa Roy]]) and police brother Ravi ([[Shashi Kapoor]]) are religious [[Hindu]]s, whereas the criminal brother Vijay (Bachchan) is generally [[Irreligion|not religious]] and "upset with God", yet he carries a badge numbered [[786 (number)|786]] which his [[Muslim]] [[Coworking|co-worker]], Rahim Chacha ([[Yunus Parvez]]), points out to be a number of religious significance in [[Islam]]<ref name="hindustantimes" /> (representing ''[[Basmalla|Bismillah]]'') and has its own [[subplot]].<ref name="scroll" /> The 786 badge plays a powerful and symbolic role in several scenes,<ref name="hindustantimes" /> saving Vijay at key moments<ref>{{Cite book |last=Prasad |first=M. Madhava |url=https://books.google.com/books?id=OJUiAQAAMAAJ |title=Ideology of the Hindi Film: A Historical Construction |date=2000 |publisher=Oxford University Press |isbn=978-0-19-565295-6 |page=152}}</ref> and signifying something [[Omen|ominous]] when he loses it.<ref name="hindustantimes" />
 Salim-Javed initially showed the script to Bachchan, who they had in mind for Vijay's role after having worked with him on ''[[Zanjeer (1973 film)|Zanjeer]]'' (1973). At the time, Bachchan was working on another film with [[Yash Chopra]], and told him about the script. After some initial scepticism, Chopra was eventually convinced to direct the film after Salim-Javed narrated the storyline to him.<ref name="hindustantimes" />
@@ Line 100: / Line 103: @@
 | type         = Soundtrack
 | longtype     = to ''Deewaar''
-| artist       = [[R.D. Burman]]
+| artist       = [[R. D. Burman]]
 | cover        =
 | border       = yes
@@ Line 112: / Line 115: @@
 | language     = [[Hindustani language|Hindustani]]
 | label        = [[Universal Music Group|Universal]]
-| producer     = R.D. Burman
+| producer     = R. D. Burman
 | prev_title   =
 | prev_year    =
@@ Line 194: / Line 197: @@
 | width3            = 400
 | height3           = 400
-| footer            = The performances of [[Amitabh Bachchan]] (left), [[Shashi Kapoor]] (not pictured), and [[Nirupa Roy]] (right) garnered critical acclaim; each received [[Filmfare Award]] nominations, with Kapoor winning.
+| footer            = The performances of [[Amitabh Bachchan]] (left), [[Shashi Kapoor]] (centre), and [[Nirupa Roy]] (far right) garnered critical acclaim; each received [[Filmfare Award]] nominations, with Kapoor winning.
 | direction         = horizontal
 | alt1              =
@@ Line 203: / Line 206: @@
 Upon release, ''Deewaar'' was a major commercial success, ranking as the fourth-highest-grossing [[List of Bollywood films of 1975|Bollywood film of 1975]],<ref>{{Cite web |title=BoxOffice India.com |url=http://www.boxofficeindia.com/showProd.php?itemCat=181&catName=MTk3NQ== |url-status=dead |archive-url=https://web.archive.org/web/20131016163451/http://www.boxofficeindia.com/showProd.php?itemCat=181&catName=MTk3NQ== |archive-date=16 October 2013 |access-date=22 June 2011 |publisher=BoxOffice India.com |df=dmy-all}}</ref> and received critical acclaim, with critics praising the story, dialogue and screenplay, as well as the performances of the cast, particularly those of Bachchan, Kapoor and Roy. ''[[Indiatimes]]'' ranks ''Deewaar'' amongst the ''Top 25 Must See Bollywood Films''.<ref name="Movies.indiatimes.com" /> It is one of the three [[Hindi films]] featured in the 2017 edition of the book ''[[1001 Movies You Must See Before You Die]]'', the others being ''[[Mother India]]'' (1957) and ''[[Dilwale Dulhania Le Jayenge]]'' (1995).<ref>{{Cite book |url=http://archive.org/details/1001moviesyoumus0000unse_b2p4 |title=1001 movies you must see before you die |date=2017 |page=591|location=Hauppage, New York |publisher= Barron's Educational Series Inc. |isbn=978-1-4380-5006-5}}</ref>
-It was perceived by audiences to be [[anti-establishment]], while Amitabh Bachchan's character Vijay was seen as a [[vigilante]] angry hero, establishing Bachchan's image as the "angry young man" of Indian cinema.<ref name="hindustantimes" /> With the unprecedented growth of [[slum]]s across India at the time, Vijay was seen as a new kind of hero, with his suppressed rage giving a voice to the angst of the urban poor.<ref name="Mazumdar" /><ref name="Lee" /> ''Deewaar'' is also remembered for its iconic dialogues written by Salim-Javed. The most famous is when Shashi Kapoor delivers the line, "Mere paas maa hai" ("I have mother"), a line that is widely known in India and has become part of Indian popular culture.<ref>{{cite news |last=Nandi |first=Swagota  |date=12 October 2022 |title=34 Famous bollywood dialogues of all time |url=https://www.pinkvilla.com/entertainment/news/famous-bollywood-dialogues-1155410 |work=[[Pinkvilla]] |access-date=20 July 2023 |url-status=live |archive-url=https://web.archive.org/web/20230720000654/https://www.pinkvilla.com/entertainment/news/famous-bollywood-dialogues-1155410 |archive-date=20 July 2023}}</ref><ref>{{Cite news |date=4 December 2017 |title='Mere Paas Maa Hai': The iconic Deewar dialogue that makes Shashi Kapoor immortal |work=[[Deccan Chronicle]] |url=https://www.deccanchronicle.com/entertainment/bollywood/041217/mere-paas-maa-hai-the-iconic-deewar-dialogue-that-makes-shashi-kapoor-immortal.html |url-status=live |access-date=5 December 2017 |archive-url=https://web.archive.org/web/20171206011027/https://www.deccanchronicle.com/entertainment/bollywood/041217/mere-paas-maa-hai-the-iconic-deewar-dialogue-that-makes-shashi-kapoor-immortal.html |archive-date=6 December 2017}}</ref> The film ''[[Loins of Punjab Presents]]'' (2007) mocked how the line is sometimes wrongly attributed to Amitabh Bachchan.<ref name="Lal">{{Cite book |last=Lal |first=Vinay |url=https://books.google.com/books?id=3a9PyOmuWFcC&pg=PT5 |title=Deewar |date=2012 |publisher=[[HarperCollins]] |isbn=9789350292464 |page=5}}</ref> It also established Parveen Babi as the "new Bollywood woman".<ref name="telegraphindia">{{Cite web |last1=Amitabh Bachchan |last2=Parveen Babi in Deewar |date=23 January 2005 |title=As in life, so in death: lonely and lovelorn |url=http://www.telegraphindia.com/1050123/asp/nation/story_4287764.asp |url-status=dead |archive-url=https://web.archive.org/web/20050124013015/http://www.telegraphindia.com/1050123/asp/nation/story_4287764.asp |archive-date=24 January 2005 |access-date=22 June 2011 |website=The Telegraph (India)}}</ref>
+It was perceived by audiences to be [[anti-establishment]], while Amitabh Bachchan's character Vijay was seen as a [[vigilante]] angry hero, establishing Bachchan's image as the "angry young man" of Indian cinema.<ref name="hindustantimes" /> With the unprecedented growth of [[slum]]s across India at the time, Vijay was seen as a new kind of hero, with his suppressed rage giving a voice to the angst of the urban poor.<ref name="Mazumdar" /><ref name="Lee" /> ''Deewaar'' is also remembered for its iconic dialogues written by Salim-Javed. The most famous is when Shashi Kapoor delivers the line, "Mere paas maa hai" ("I have mother"), a line that is widely known in India and has become part of Indian popular culture.<ref>{{cite news |last=Nandi |first=Swagota |date=12 October 2022 |title=34 Famous bollywood dialogues of all time |url=https://www.pinkvilla.com/entertainment/news/famous-bollywood-dialogues-1155410 |work=[[Pinkvilla]] |access-date=20 July 2023 |url-status=live |archive-url=https://web.archive.org/web/20230720000654/https://www.pinkvilla.com/entertainment/news/famous-bollywood-dialogues-1155410 |archive-date=20 July 2023}}</ref><ref>{{cite news |date=4 December 2017 |title='Mere Paas Maa Hai': The iconic Deewar dialogue that makes Shashi Kapoor immortal |work=[[Deccan Chronicle]] |url=https://www.deccanchronicle.com/entertainment/bollywood/041217/mere-paas-maa-hai-the-iconic-deewar-dialogue-that-makes-shashi-kapoor-immortal.html |url-status=live |access-date=5 December 2017 |archive-url=https://web.archive.org/web/20171206011027/https://www.deccanchronicle.com/entertainment/bollywood/041217/mere-paas-maa-hai-the-iconic-deewar-dialogue-that-makes-shashi-kapoor-immortal.html |archive-date=6 December 2017}}</ref> The film ''[[Loins of Punjab Presents]]'' (2007) mocked how the line is sometimes wrongly attributed to Amitabh Bachchan.<ref name="Lal">{{Cite book |last=Lal |first=Vinay |url=https://books.google.com/books?id=3a9PyOmuWFcC&pg=PT5 |title=Deewar |date=2012 |publisher=[[HarperCollins]] |isbn=9789350292464 |page=5}}</ref> It also established Parveen Babi as the "new Bollywood woman".<ref name="telegraphindia">{{Cite web |last1=Amitabh Bachchan |last2=Parveen Babi in Deewar |date=23 January 2005 |title=As in life, so in death: lonely and lovelorn |url=http://www.telegraphindia.com/1050123/asp/nation/story_4287764.asp |url-status=dead |archive-url=https://web.archive.org/web/20050124013015/http://www.telegraphindia.com/1050123/asp/nation/story_4287764.asp |archive-date=24 January 2005 |access-date=22 June 2011 |website=The Telegraph (India)}}</ref>
 The film cemented the success of the writing duo Salim-Javed, who went on to write many more blockbuster films. After the success of this film, the value of film writers skyrocketed thanks to Salim-Javed, and they soon were being paid as highly as some actors at the time.<ref name="topmoviestowatch" /> Amitabh Bachchan described Salim-Javed's screenplay for ''Deewaar'' as "the perfect script"<ref name="hindustantimes" /> and "the best screenplay ever" in Indian cinema.<ref name="indianexpress" /> ''Deewaar'', one of the first Indian films with an [[Martial arts film|action sequence]] modelled after [[Hong Kong action cinema|Hong Kong martial arts cinema]], popularised the use of martial arts sequences in Bollywood films from the 1970s to the 1990s.<ref name="Heide" /> The style of fighting popularised by ''Deewaar'', with acrobatics and [[Stunt performer|stunts]], and combining Chinese [[kung fu]] (as it was perceived by Indians, based on 1970s Hong Kong films) with Indian [[pehlwani]] wrestling, became the standard model for Bollywood action scenes up until the 1990s.<ref name="Morris" />
@@ Line 226: / Line 229: @@
 !{{Abbr|Ref.|References}}
 |-
-! style="text-align:center;"  rowspan="9" |[[23rd Filmfare Awards|1976]]
+! style="text-align:center;" rowspan="9" |[[23rd Filmfare Awards|1976]]
 | style="text-align:center;" rowspan="9" | [[Filmfare Awards]]
 | [[Filmfare Award for Best Film|Best Film]]
@@ Line 267: / Line 270: @@
 == Further reading ==
 * Dwyer, Rachel. "[https://web.archive.org/web/20090505061752/http://www.bafta.org/learning/amitabh-bachchan-a-bollywood-life,172,BA.html Amitabh Bachchan: the Angry Young Man]". [[British Academy of Film and Television Arts]], 16 November 2007.
-* Lal, Vinay. "[https://web.archive.org/web/20021225231158/http://www.sscnet.ucla.edu/southasia/Culture/Cinema/deewar.html Deewaar (The Wall)]."  Revised excerpt from ''The Secret Politics of Our Desires: Innocence, Culpability, and Indian Popular Cinema'', ed. Ashish Nandy. London: Zed Press / Delhi: Oxford University Press, 1998, pp.&nbsp;228–259
+* Lal, Vinay. "[https://web.archive.org/web/20021225231158/http://www.sscnet.ucla.edu/southasia/Culture/Cinema/deewar.html Deewaar (The Wall)]." Revised excerpt from ''The Secret Politics of Our Desires: Innocence, Culpability, and Indian Popular Cinema'', ed. Ashish Nandy. London: Zed Press / Delhi: [[Oxford University Press]], 1998, pp.&nbsp;228–259
-* Mazumdar, Ranjani. ''Bombay Cinema: An Archive of the City''. Minneapolis, MN: University of Minnesota Press, 2007.
+* Mazumdar, Ranjani. ''Bombay Cinema: An Archive of the City''. Minneapolis, MN: [[University of Minnesota Press]], 2007.
-* Virdi, Jyotika. "[http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html Deewaar: the fiction of film and the fact of politics.]" ''Jump Cut'', No. 38, June 1993:26–32.
+* Virdi, Jyotika. "[http://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html Deewaar: the fiction of film and the fact of politics.]" ''Jump Cut'', No. 38, June 1993: 26–32.
 == Notes ==
-{{Notelist}}
+{{notelist}}
 == References ==
-{{Reflist}}
+{{reflist}}
 == External links ==

v t e Filmfare Award for Best Film
1954–1975	Do Bigha Zamin (1954) Boot Polish (1955) Jagriti (1956) Jhanak Jhanak Payal Baaje (1957) Mother India (1958) Madhumati (1959) Sujata (1960) Mughal-e-Azam (1961) Jis Desh Mein Ganga Behti Hai (1962) Sahib Bibi Aur Ghulam (1963) Bandini (1964) Dosti (1965) Himalay Ki God Mein (1966) Guide (1967) Upkar (1968) Brahmachari (1969) Aradhana (1970) Khilona (1971) Anand (1972) Be-Imaan (1973) Anuraag (1974) Rajnigandha (1975)
1976–2000	Deewaar (1976) Mausam (1977) Bhumika (1978) Main Tulsi Tere Aangan Ki (1979) Junoon (1980) Khubsoorat (1981) Kalyug (1982) Shakti (1983) Ardh Satya (1984) Sparsh (1985) Ram Teri Ganga Maili (1986) Qayamat Se Qayamat Tak (1989) Maine Pyar Kiya (1990) Ghayal (1991) Lamhe (1992) Jo Jeeta Wohi Sikandar (1993) Hum Hain Rahi Pyar Ke (1994) Hum Aapke Hain Koun..! (1995) Dilwale Dulhania Le Jayenge (1996) Raja Hindustani (1997) Dil To Pagal Hai (1998) Kuch Kuch Hota Hai (1999) Hum Dil De Chuke Sanam (2000)
2001–present	Kaho Naa... Pyaar Hai (2001) Lagaan (2002) Devdas (2003) Koi... Mil Gaya (2004) Veer-Zaara (2005) Black (2006) Rang De Basanti (2007) Taare Zameen Par (2008) Jodhaa Akbar (2009) 3 Idiots (2010) Dabangg (2011) Zindagi Na Milegi Dobara (2012) Barfi! (2013) Bhaag Milkha Bhaag (2014) Queen (2015) Bajirao Mastani (2016) Dangal (2017) Hindi Medium (2018) Raazi (2019) Gully Boy (2020) Thappad (2021) Shershaah (2022) Gangubai Kathiawadi (2023) 12th Fail (2024)