Misplaced Pages

#530469

79-461: Muqaddar Ka Sikandar ( transl.  Conqueror of Destiny ) is a 1978 Indian action crime drama film produced and directed by Prakash Mehra , and written by Kader Khan , Vijay Kaul and Laxmikant Sharma . It stars Amitabh Bachchan , in his fifth of nine films with Prakash Mehra , along with Vinod Khanna , Raakhee , Rekha , Ranjeet , Amjad Khan in pivotal roles, while Nirupa Roy , Kader Khan gave special appearances. The film tells of

158-480: A Muslim woman named Fatima, portrayed by Nirupa Roy , who also works for Ramnath. She renames him Sikandar, meaning "Conqueror," and takes on the responsibility of raising him as her own son. However, things take a turn for the worse when Sikandar is accused of trying to rob Ramnath's house while attempting to deliver a birthday gift to Kaamna. Ramnath promptly banishes Sikandar and his mother from his home. Unfortunately, tragedy strikes again when Fatima dies, leaving

237-653: A parody of the legendary film which included look-alikes of Dev Anand and Amitabh Bachchan. He ventured into directing for a brief period in the 1980s, directing and starring in Chor Police (1983) and Ameer Aadmi Gareeb Aadmi (1985), both of the films did not do well at the box office. Amjad was the president of the Actors Guild Association. He was respected in the film industry, and would intervene and negotiate disputes between actors and directors/producers. One such dispute occurred when Meenakshi Seshadri

316-416: A Hollywood feature went from $ 20,000 in 1914 to $ 300,000 in 1924. Silver and Ursini stated that the earliest crime features were by Austrian émigré director Josef von Sternberg whose films like Underworld (1927) eliminated most of the causes for criminal behavior and focused on the criminal perpetrators themselves which would anticipate the popular gangster films of the 1930s. The groundwork for

395-570: A bomb blast. Vishal and his mother move into Sikandar's house. A criminal named Dilawar ( Amjad Khan ) is in love with Zohra, and learns about her love for Sikandar. Dilawar confronts Sikandar and in the ensuing fight is thrashed by him. He swears to kill Sikandar. At length Ramnath and Kaamna, who have been struggling financially, discover that Sikandar has been anonymously paying their bills. Ramnath goes to thank him. The two households become friendly, and Vishal begins to work with Ramnath. Encouraged, Sikandar tries to profess his love to Kaamna through

474-478: A broader category called "film type", mystery and suspense as "macro-genres", and film noir as a "screenwriter's pathway" explaining that these categories are additive rather than exclusionary. Chinatown would be an example of a film that is a drama (film type) crime film (super-genre) that is also a noir (pathway) mystery (macro-genre). The definition of what constitutes a crime film is not straightforward. Criminologist Nicole Hahn Rafter in her book Shots in

553-505: A change signaled by films like Chinatown (1974) and The Wild Bunch (1969) noting that older genres were being transformed through cultivation of nostalgia and a critique of the myths cultivated by their respective genres. Todd found that this found its way into crime films of the 1980s with films that could be labeled as post-modern , in which he felt that "genres blur, pastiche prevails, and once-fixed ideals, such as time and meaning, are subverted and destabilized". This would apply to

632-569: A conservative era. For crime films, this led to various reactions, including political films that critiqued official policies and citizen's political apathy. These included films like Missing (1982), Silkwood (1983), and No Way Out (1987). Prison films and courtroom dramas would also be politically charged with films like Kiss of the Spider Woman (1985) and Cry Freedom (1987). While films about serial killers existed in earlier films such as M (1931) and Peeping Tom (1960),

711-451: A crooked shell" and portrayed gangsters who showcased the "romantic mystique of the doomed criminal." The 1940s formed an ambivalence toward the criminal heroes. Leitch suggested that this shift was from the decline in high-profile organized crime, partly because of the repeal of Prohibition in 1933 and partly because of the well-publicized success of the FBI. Unlike the crime films of the 1930s,

790-484: A film described as "crime/ action " or an "action/crime" or other hybrids was "only a semantic exercise" as both genres are important in the construction phase of the narrative. Mark Bould in A Companion to Film Noir stated that categorization of multiple generic genre labels was common in film reviews and rarely concerned with succinct descriptions that evoke elements of the film's form, content and make no claims beyond on how these elements combine. Leitch, stated that

869-477: A fortune by turning in smugglers and thieves to the police and receiving the reward payouts. With all his wealth, he has managed to build an impressive house for himself and Mehroo, along with setting up a profitable business. He still has not forgotten Kaamna ( Raakhee ). She and her father have fallen on hard times, but they snub all offers from Sikandar to become reacquainted. When Sikandar tries to speak to Kaamna she demands that he never speak to her again. Sikandar

SECTION 10

#1732872986531

948-481: A locker of the Hollywood Athletic Club. The Asphalt Jungle (1950) consolidated a tendency to define criminal subculture as a mirror of American culture. The cycle of caper films were foreshadowed by films like The Killers (1946) and Criss Cross (1949) to later examples like The Killing (1956) and Odds Against Tomorrow (1959). Leitch wrote that these films used the planning and action of

1027-524: A love letter. Because Sikandar himself is illiterate, Vishal transcribes the letter for him, but the plan backfires when Kaamna mistakes the letter as actually being from Vishal. Vishal is unaware that Kaamna is the girl Sikandar loves, and they begin to date. Sikandar, upon learning this, struggles with his emotions but decides he must sacrifice his love for the sake of his friendship with Vishal. He covers up any evidence of his feelings toward Kaamna, and at his urging, Vishal and Kaamna plan to marry. Meanwhile,

1106-672: A mobster known as The Snapper Kid. Regeneration (1915) was an early feature-length film about a gangster who saved from a life of crime by a social worker. These two early films and films like Tod Browning 's Outside the Law (1920) that deal with the world of criminal activity were described by Silver and Ursini as being gangsters "constrained by a strong moral code". Stuart Kaminsky in American Film Genres (1974) stated that prior to Little Caesar (1931), gangster characters were in films were essentially romances . European films of

1185-410: A nameless, young orphan boy who finds employment in the house of a wealthy man, Ramnath, played by Shriram Lagoo . Unfortunately, Ramnath harbors an intense dislike for the boy due to a tragic incident involving another orphan who had killed Ramnath's wife. Despite this, Ramnath's young daughter Kaamna empathizes with the boy, and they develop a strong bond of friendship. Later on, the boy is adopted by

1264-522: A psychopathic personality." Drew Todd in Shots in the Mirror: Crime Films and Society described the character as different than films featuring rebellious characters from the 1940s and 1950s, with a character whose anger is directed against the state, mixed with fantasies of vigilante justice. Films like Dirty Harry , The French Connection and Straw Dogs (1971) that presented a violent vigilante as

1343-470: A remake of The Defiant Ones (1958). The cycle generally slowed down by the mid 1970s. Prison films closely followed the formulas of films of the past while having an increased level of profanity, violence and sex. Cool Hand Luke (1967) inaugurated the revival and was followed into the 1970s with films like Papillon (1973), Midnight Express (1978) and Escape from Alcatraz (1979). When Ronald Reagan became president in 1980, he ushered in

1422-413: A robbery todramatize the "irreducible unreasonableness of life." The themes of existential despair made the these film popular with European filmmakers, who would make their own heist films like Rififi (1955) and Il bidone (1955). Filmmakers of the coming French New Wave movement would expand on these crime films into complex mixtures of nostalgia and critique with later pictures like Elevator to

1501-420: A savior. By the mid-1970s, a traditional lead with good looks, brawn and bravery was replaced with characters who Todd described as a "pathological outcast, embittered and impulsively violent." Hollywood productions began courting films produced and marketed by white Americans for the purpose of trying to attract a new audience with blaxploitation film. These films were almost exclusively crime films following

1580-867: A song. In 1979, he portrayed Emperor Akbar in the film Meera . He played many positive roles such as in Yaarana (1981) and Laawaris (1981) as Amitabh's friend and father respectively, Rocky (1981) and Commander (1981). In the art film Utsav (1984), he portrayed Vatsayana , the author of the Kama Sutra . In 1988, he appeared in the Merchant Ivory English language film The Perfect Murder as an underworld don. He excelled at playing comical characters in films such as Qurbani (1980), Love Story and Chameli Ki Shaadi (1986). In 1991, he reprised his role as Gabbar Singh in Ramgarh Ke Sholay ,

1659-405: A theater artist and performed in his college with his brother. Before Amjad Khan came to films, he was a theatre actor. His first role was as a child actor at the age of 11 in the film Nazneen in 1951. His next role was at the age of 17 in the film Ab Dilli Dur Nahin (1957). He assisted K. Asif in the film Love And God in the late 1960s and had a brief appearance in the film. The film

SECTION 20

#1732872986531

1738-402: Is a style of crime film that originated from two cinematic precursors: the gangster film and the gentleman thief film. The essential element in these films is the plot concentration on the commission of a single crime of great monetary significance, at least on the surface level. The narratives in these films focus on the heist being wrapped up in the execution of the crime more or at as much as

1817-423: Is different just as crime are different than horror, science fiction and period drama films. Rafter also suggested that Westerns could be considered crime films, but that this perception would only be "muddying conceptual waters." The history of the crime film before 1940 follows reflected the changing social attitudes toward crime and criminals. In the first twenty years of the 20th Century, American society

1896-892: Is equivalent to $ 148 million ( ₹8.84 billion ) in 2017. In terms of footfalls, the film sold an estimated 67   million tickets in India, and 25.2   million tickets in the Soviet Union, for an estimated total of 92   million tickets sold worldwide. This article about a Hindi film of the 1970s is a stub . You can help Misplaced Pages by expanding it . Crime drama Screenwriter and scholar Eric R. Williams identified crime film as one of eleven super-genres in his Screenwriters Taxonomy , claiming that all feature-length narrative films can be classified by these super-genres.  The other ten super-genres are action, fantasy, horror, romance, science fiction, slice of life, sports, thriller, war and western. Williams identifies drama in

1975-548: Is unable to stop his entry, she kills herself by consuming poison hidden in her diamond ring, and dies in his arms. Dilawar in the meantime has formed an alliance with Sikandar's arch enemy, J. D. ( Ranjeet ), and upon learning of Zohra's death hatches a plan to destroy Sikandar and his family. Kaamna and Mehroo are both preparing for their weddings; J. D. and his henchmen kidnap Mehroo but Vishal follows them and rescues her. Dilawar kidnaps Kaamna, but Sikandar follows him. He rescues Kaamna and sends her home while he fights Dilawar. In

2054-399: Is upset by this and becomes a heavy drinker. He also begins to visit Zohra Begum's ( Rekha ) kotha (brothel) on a regular basis. Zohra falls into an unrequited love with Sikander and begins to refuse other clients. One night in a bar, Sikandar is introduced to Vishal Anand ( Vinod Khanna ), a down-on-his-luck lawyer. A friendship is formed when Vishal risks his own life to save Sikandar from

2133-522: Is your true love as it will take you along..." Sikandar's entire life flashes before him and he dies in Vishal's arms just as the song is completed. The film ends with the wedding having become a funeral. The Soundtrack was composed by the duo of the brothers Kalyanji–Anandji , with the lyrics by Anjaan and Prakash Mehra (Salaam-e-Ishq). Vocals for Bachchan were supplied by Kishore Kumar , and for Khanna by Mohammed Rafi and Mahendra Kapoor . Rafi's voice

2212-617: The British Board of Film Censors or conveyed mostly through narration. Box-office receipts began to grow stronger towards the late 1960s. Hollywood's demise of the Hays Code standards would allow for further violent, risqué and gory films. As college students at the University of Berkeley and University of Columbia demonstrated against racial injustice and the Vietnam, Hollywood generally ignored

2291-496: The Federal Bureau of Investigation (FBI) in 1935), promoted bigger budgets and wider press for his organization and himself through a well-publicized crusade against such real world gangsters as Machine Gun Kelly , Pretty Boy Floyd and John Dillinger . Hoover's fictionalized exploits were glorified in future films such as G Men (1935). Through the 1930s, American films view of criminals were predominantly glamorized, but as

2370-1031: The Western film as they lack both the instantly recognizable or the unique intent of other genres such as parody films. Leitch and Rafter both write that it would be impractical to call every film in which a crime produces the central dramatic situation a crime film. Leitch gave an example that most Westerns from The Great Train Robbery (1903) to Unforgiven (1992) often have narratives about crime and punishment, but are not generally described as crime films. Films with crime-and-punishment themes like Winchester 73 (1950) and Rancho Notorious (1952) are classified as Westerns rather than crime films because their setting takes precedence over their story. Alain Silver and James Ursini argued in A Companion to Crime Fiction (2020) that "unquestionably most Western films are crime films" but that that their overriding generic identification

2449-490: The gangster film as both a genre on its own terms and a subgenre of the crime film. In these films, the gangster and their values have been imbedded through decades of reiteration and revision, generally with a masculine style where an elaboration on a codes of behavior by acts of decisive violence are central concerns. The archetypal gangster film was the Hollywood production Little Caesar (1931). A moral panic followed

Muqaddar Ka Sikandar - Misplaced Pages Continue

2528-602: The 1940s films were based more on fictional tales with gangsters played by Paul Muni in Angel on My Shoulder (1946) and Cagney in White Heat (1949) were self-consciously anachronistic. Filmmakers from this period were fleeing Europe due to the rise of Nazism. These directors such as Fritz Lang , Robert Siodmak , and Billy Wilder would make crime films in the late 1930s and 1940s that were later described as film noir by French critics. Several films from 1944 like The Woman in

2607-516: The 1970s, 1980s and early 1990s – superseding, in terms of popularity and demand, the earlier Indian actor, Ajit . He often acted as villain opposite Amitabh Bachchan as the hero. His role in Inkaar was also presented in terrifying manner. He made his presence felt in Des Pardes , Nastik , Satte Pe Satta , Chambal Ki Kasam , Ganga Ki Saugandh , Hum Kisise Kum Nahin and Naseeb . Khan

2686-676: The 1980s had an emphasis on the serial nature of their crimes with a larger number of films focusing on the repetitive nature of some murders. While many of these films were teen-oriented pictures, they also included films like Dressed to Kill (1980) and Henry: Portrait of a Serial Killer (1986) and continued into the 2000s with films like Seven (1995), Kiss the Girls (1997), and American Psycho (2000). In an article by John G. Cawelti titled " Chinatown and Generic Transformations in Recent American Films" (1979), Cawleti noticed

2765-638: The 1990s with films like Wild at Heart (1990). Quentin Tarantino would continue this trend in the 1990s with films where violence and crime is treated lightly such as Reservoir Dogs (1992), Pulp Fiction (1994) and Natural Born Killers (1994) while Lynch and the Coens would continue with Fargo (1996) and Lost Highway (1997). Other directors such as Martin Scorsese and Sidney Lumet would continue to more traditional crime films Goodfellas , Prince of

2844-493: The American crime film which began rejecting linear storytelling and distinctions between right and wrong with works from directors like Brian de Palma with Dressed to Kill and Scarface and works from The Coen Brothers and David Lynch whose had Todd described as having "stylized yet gritty and dryly humorous pictures evoking dream states" with films like Blood Simple (1984) and Blue Velvet (1986) and would continue into

2923-518: The City (1980), Q & A (1990), and Casino (1995). Other trends of the 1990s extended boundaries of crime films, ranging from main characters who were female or minorities with films like Thelma and Louise (1991), Swoon (1991), Devil in a Blue Dress (1995), Bound (1996) and Dolores Claiborne (1996). Every genre is a subgenre of a wider genre from whose contexts its own conventions take their meaning, it makes sense to think of

3002-779: The Gallows (1958), Breathless (1960) and Shoot the Piano Player (1960). Following the classical noir period of 1940 to 1958, a return to the violence of the two previous decades. By 1960, film was losing popularity to television as the mass form of media entertainment. Despite To The crime film countered this by providing material no acceptable for television, first with a higher level of onscreen violence. Films like Psycho (1960) and Black Sunday (1960) marked an increase in onscreen violence in film. Prior to these films, violence and gorier scenes were cut in Hammer film productions by

3081-649: The Mirror: Crime Films and Society (2006) found that film scholars had a traditional reluctance to examine the topic of crime films in their entirety due to complex nature of the topic. Carlos Clarens in his book Crime Movies (1980), described the crime film as a symbolic representation of criminals, law, and society. Clarens continued that they describe what is culturally and morally abnormal and differ from thriller films which he wrote as being more concerned with psychological and private situations. Thomas Schatz in Hollywood Genres: Formulas, Filmmaking, and

3160-509: The Studio System (1981) does not refer to the concept of crime film as a genre, and says that "such seemingly similar "urban crime" formulas" such as the gangster film and detective film were their own unique forms. Thomas Leitch, author of Crime Films (2004) stated that the crime film presents their defining subject as a crime culture that normalizes a place where crime is both shockingly disruptive and completely normal. Rafter suggested

3239-457: The Window , Laura , Murder, My Sweet and Double Indemnity ushered in this film cycle. These works continued into the mid-1950s. A reaction to film noir came with films with a more semi-documentary approach pioneered by the thriller The House on 92nd Street (1945). This led to crime films taking a more realistic approach like Kiss of Death (1947) and The Naked City (1948). By

Muqaddar Ka Sikandar - Misplaced Pages Continue

3318-486: The best way to skirt complexities of various films that may be defined as crime films as works that focus primarily on crime and its consequences, and that they should be viewed as a category that encompasses a number genres, ranging from caper films , detective films, gangster films, cop and prison films and courtroom dramas. She said that like drama and romance film, they are umbrella terms that cover several smaller more coherent groups. The criminal acts in every film in

3397-596: The box office. The success of the film and its sequel The Godfather Part II (1974) reinforced the stature of the gangster film genre, which continued into the 1990s with films Scarface (1983), Once Upon a Time in America (1984), The Untouchables (1987), Goodfellas (1990) and Donnie Brasco (1997). Dirty Harry (1971) create a new form of police film, where Clint Eastwood 's performance as Inspector Callahan which critic Pauline Kael described as an "emotionless hero, who lives and kills as affectlessly as

3476-431: The character of Jimmy "Popeye" Doyle who Leitch described as a "tireless, brutal, vicious and indifferent" in terms of constraints of the law and his commanding officers. The film won several Academy Awards and was successful in the box office. This was followed in critical and commercial success of The Godfather (1972) which also won a Best Picture Academy Award and performed even better than The French Connection in

3555-429: The continual breakdown and re-establishment of borders among criminals, crime solvers and victims, concluding that "this paradox is at the heart of all crime films." Rafter echoed these statements, saying crime films should be defined on the basis of their relationship with society. Leitch writes that crime films reinforce popular social beliefs of their audience, such as the road to hell is paved with good intentions ,

3634-412: The crime film was following changing attitudes towards the law and the social order that criminals metaphorically reflect while most film were also no more explicitly violent or explicitly sexual than those of 1934. White Heat (1949) inaugurated a cycle of crime films that would deal with the omnipresent danger of the nuclear bomb with its theme of when being threatened with technological nightmares,

3713-554: The criminal psychology and are characterized by and emphasis on the crime unfolding often though montage and extended sequences. The genre is sometimes used interchangeable with the term "caper". The term was used for the more dramatic films of the 1950s, while in the 1960s, it had stronger elements of romantic comedy with more playful elements as seen in films like The Thomas Crown Affair (1968) and Topkapi (1964). Leitch described combining genres as problematic. Screenwriter and academic Jule Selbo expanded on this, describing

3792-671: The decade ended, the attitudes Hollywood productions had towards fictional criminals grew less straightforward and more conflicted. In 1935, Humphrey Bogart played Duke Mantee in The Petrified Forest (1936), a role Leitch described as the "first of Hollywood's overtly metaphorical gangsters." Bogart would appear in films in the later thirties: Angels with Dirty Faces (1938) and The Roaring Twenties (1939). Unlike actor James Cagney , whose appeal as described by Leitch "direct, physical, and extroverted", Bogart characters and acting suggested "depths of worldly disillusionment beneath

3871-629: The decade, after Sholay and Bobby . Muqaddar Ka Sikandar was also an overseas blockbuster in the Soviet Union . At the 26th Filmfare Awards , it was nominated for nine Filmfare Awards , including Best Film , but did not win in any category. It was remade into the Telugu film Prema Tarangalu (1980), and in Tamil as Amara Kaaviyam (1981). The movie was the last one where Amitabh Bachchan and Vinod Khanna appeared together. The story revolves around

3950-401: The end of the decade, American critics such as Parker Tyler and Robert Warshow regarded Hollywood itself as a stage for repressed American cultural anxieties following World War II. This can be seen in films such as Brute Force , a prison film where the prison is an existential social metaphor for a what Leitch described as a "meaningless, tragically unjust round of activities." By 1950,

4029-417: The final battle, both Dilawar and Sikandar are mortally wounded and Dilawar is surprised to learn that Sikandar never loved Zohra. A dying Sikandar reaches the wedding of Kaamna and Vishal. Just as the wedding ceremony is completed, Sikandar collapses. His dying words inadvertently reveal his love for Kaamna, and Vishal sings him a reprise from the movie's theme song: "Life is going to betray you someday... Death

SECTION 50

#1732872986531

4108-536: The gangster films of the early 1930s were influenced by the early 1920s when cheap wood-pulp paper stocks led to an explosion in mass-market publishing. Newspapers would make folk heroes of bootleggers like Al Capone , while pulp magazines like Black Mask (1920) helped support more highbrow magazines such as The Smart Set which published stories of hard-edged detetives like Carroll John Daly 's Race Williams. The early wave of gangster films borrowed liberally from stories for early Hollywood productions that defined

4187-456: The genre has been popular since the dawn of the sound era of film. Ursini and Silver said that unlike the Western, the horror film, or the war film, the popularity of crime cinema has never waned. Amjad Khan (actor) Amjad Khan (12 November 1940 – 27 July 1992) was an Indian renowned actor and film director. He worked in over 132 films in a career spanning nearly twenty years. He

4266-412: The genre represents a larger critique of either social or institutional order from the perspective of a character or from the film's narrative at large. The films also depend on the audience ambivalence towards crime. Master criminals are portrayed as immoral but glamourous while maverick police officers break the law to capture criminals. Leitch defined this as a critical to the film as the films are about

4345-566: The genre with films like Little Caesar (1931), The Public Enemy (1931), and Scarface (1932). In comparison to much earlier films of the silent era, Leitch described the 1930s cycle as turning "the bighearted crook silent films had considered ripe for redemption into a remorseless killer." Hollywood Studio heads were under such constant pressure from public-interest groups to tone down their portrayal of professional criminals that as early as 1931. Jack L. Warner announced that Warner Bros. would stop producing such films. Scarface itself

4424-518: The growing rage against the establishment spilled into portrayal police themselves with films like Bullitt (1968) about a police officer caught between mob killers and ruthless politicians while In the Heat of the Night (1967) which called for racial equality and became the first crime film to win an Academy Award for Best Picture . The French Connection (1971) dispensed Bullitt ' s noble hero for

4503-445: The law is above individuals, and that crime does not pay. The genre also generally has endings that confirm the moral absolutes that an innocent victim, a menacing criminal, and detective and their own morals that inspire them by questioning their heroic or pathetic status, their moral authority of the justice system, or by presenting innocent characters who seem guilty and vice-versa. Crime films includes all films that focus on any of

4582-498: The main gangster Jody Jarrett fights fire with fire. These themes extended into two other major crime films by bring the issues down from global to the subcultural level: The Big Heat (1953) and Kiss Me Deadly (1955) which use apocalyptical imagery to indicate danger with the first film which the film persistently links to images of catastrophically uncontrolled power and the "traumatic consequences" of nuclear holocaust and Kiss Me Deadly literally features an atom bomb waiting in

4661-462: The marriage of Mehroo is at risk of being cancelled; her fiancé's family have learned about Sikandar's frequent visits to Zohra, and they object to the union on these grounds. Vishal, knowing Sikandar won't change, visits Zohra and offers to pay her if she agrees to abandon Sikandar. Zohra, upon learning the reason, refuses the money but promises Vishal that she would rather die than let Sikandar visit her again. Later, Sikandar arrives at Zohra's. When she

4740-527: The movie. His mannerisms and dialogues have become an integral part of the Bollywood lexicon and spawned numerous parodies and spoofs [Specially "Soja Nahi to Gabbar Aajayega"]. Sholay went on to become a blockbuster. Although it boasted an ensemble cast of superstars including Dharmendra , Amitabh Bachchan and Sanjeev Kumar , who was nominated that year for the Filmfare award for Best Actor category, Amjad stole

4819-405: The only or first gangster film following the fall of the production code, The Godfather (1972) was the most popular and launched a major revival of the style. The film followed the themes of the genres past while adding new emphasis on the intricate world of the mafia and its scale and seriousness that established new parameters for the genre. The heist film, also known as the "big caper" film

SECTION 60

#1732872986531

4898-434: The release of the early gangster films following Little Caesar , which led to the 1935 Production Code Administration in 1935 ending its first major cycle. As early as 1939, the traditional gangster was already a nostalgic figure as seen in films like The Roaring Twenties (1939). American productions about career criminals became possible through the relaxation of the code in the 1950s and its abolition in 1966. While not

4977-439: The show with his unorthodox and eerie dialogue delivery. Even to this day people fondly remember his dialogues and mannerisms. He later appeared in advertisements as Gabbar Singh endorsing Britannia Glucose Biscuits (popularly known as Gabbar Ki Asli Pasand ), the first incidence of a villain being used to sell a popular product. After the success of Sholay , Khan continued to play negative roles in many subsequent Hindi films in

5056-532: The silent era differed radically from the Hollywood productions, reflecting the post-World War I continental culture. Drew Todd wrote that with this, Europeans tended to create darker stories and the audiences of these films were readier to accept these narratives. Several European silent films go much further in exploring the mystique of the criminal figures. These followed the success in France of Louis Feuillade 's film serial Fantômas (1913). The average budget for

5135-497: The story of Sikandar (played by Amitabh Bachchan ), an orphan raised in the slums of Bombay . The film's plot is loosely inspired by the Bengali novel Devdas (1917). and the French play Cyrano de Bergerac . Muqaddar Ka Sikandar was the highest-grossing Bollywood film of 1978, and the biggest Diwali blockbuster of all time. It was also the third highest-grossing Indian film of

5214-410: The success of Shaft (1971) which led to studios rushing to follow it's popularity with films like Super Fly (1972), Black Caesar (1973), Coffy (1973) and The Black Godfather (1974) The films were often derivations of earlier films such as Cool Breeze (1972), a remake of The Asphalt Jungle , Hit Man (1972) a remake of Get Carter (1971), and Black Mama, White Mama (1973)

5293-407: The three parties to a crime: criminal, victims, and avengers and explores what one party's relation to the other two. This allows the crime film to encompass films as wide as Wall Street (1987); caper films like The Asphalt Jungle (1950); and prison films ranging from Brute Force (1947) to The Shawshank Redemption (1994). Crime films are not definable by their mise-en-scene such as

5372-450: The war in narratives, with exceptions of film like The Green Berets (1968). The crime film Bonnie and Clyde (1967) revived the gangster film genre and captured the antiestablishment tone and set new standards for onscreen violence in film with its themes of demonizing American institution to attack the moral injustice of draft. This increase of violence was reflected in other crime films such as Point Blank (1967). Leitch found

5451-415: The young Sikandar to look after her daughter, Mehroo. In the midst of his grief and despair, Sikandar seeks guidance from a fakir named Darvesh Baba, played by Kader Khan . The wise Darvesh Baba advises Sikandar to find happiness in sadness and embrace the challenges of life. By doing so, he will become the conqueror of fate. The film cuts to grown up Sikandar ( Amitabh Bachchan ), revealing he has amassed

5530-427: Was a blockbuster, according to Box Office India . The film was such a huge hit, that people used to stand in queues, waiting endlessly, to buy the film's tickets. Sometimes the crowds slept in front of the cinema halls overnight in their wait for the tickets. Its Indian gross is equivalent to $ 20.76 million in 1978. Adjusted for inflation, its Indian gross is equivalent to ₹5.5 billion ( $ 74.22 million ) in 2017. It

5609-491: Was also acclaimed for playing many unconventional roles. In the critically acclaimed film Shatranj Ke Khiladi (1977) (based on the novel of the same title), by Munshi Premchand and directed by Satyajit Ray , Khan played the helpless and deluded monarch Wajid Ali Shah , whose kingdom, Avadh , is being targeted by British colonialists from the British East India Company . It is the only movie in which he dubbed

5688-439: Was also an overseas blockbuster in the Soviet Union , where the film grossed 6.3   million rubles (25.2   million ticket sales, at average 25   kopecks ticket price), which was $ 7.96 million ( ₹98.9 million ) in 1984. Adjusted for inflation, its overseas gross is equivalent to $ 23 million ( ₹1.407 billion ) in 2017. Worldwide, the film grossed ₹269 million ( $ 31.75 million ). Adjusted for inflation, this

5767-518: Was delayed for over a year as its director Howard Hughes talked with the Motion Picture Producers and Distributors of America 's Production Code Office over the films violence and overtones of incest. A new wave of crime films that began in 1934 were made that had law enforcers as glamourous and as charismatic as the criminals. J. Edgar Hoover , director the Bureau of Investigation (renamed

5846-521: Was forced to drop out of Damini (1993) by Raj Kumar Santoshi because she rejected his proposal. Amjad Khan sorted out the matter and made Raj Santoshi take back his harsh decision. In 1972, he married Shaila Khan daughter of Akhtar ul Iman screenwriter and in the following year, she gave birth to their first child, Shadaab Khan . He also had a daughter, Ahlam Khan, and another son, Seemaab Khan. Ahlam married popular theatre actor Zafar Karachiwala in 2011. On 15 October 1976, Amjad Khan met with

5925-524: Was left incomplete after Asif's death in 1971, and it was finally released in 1986. In 1973, he appeared in Hindustan Ki Kasam in a small role. In 1975, he was offered the role of dacoit Gabbar Singh for the film Sholay by Salim Khan , who was one of its writers. In preparation for the role, Amjad read Abhishapth Chambal , a book on Chambal dacoits written by Taroon Kumar Bhaduri (actress Jaya Bhaduri 's father). Amjad shot to stardom with

6004-448: Was originally from Peshawar , North-West Frontier Province . His younger brother Imtiaz Khan was also an actor. Amjad Khan was educated at St. Andrew's High School in Bandra . He attended Rishi Dayaram and Seth Hassaram National College and Seth Wassiamull Assomull Science College where he held the position of general secretary. During his college and school days, he worked as

6083-531: Was the son of the actor Jayant . He gained popularity for villainous roles in mostly Hindi films, the most famous among his enacted roles being Gabbar Singh in the 1975 cult classic film Sholay and of Dilawar in Muqaddar Ka Sikandar (1978). Amjad Khan was born in Bombay , Bombay State , British India on 12 November 1940 into a Sunni Muslim family of Khalil Pashtun descent to actor Jayant ; who

6162-400: Was under intense social reform with cities rapidly expanding and leading to social unrest and street crime rising and some people forming criminal gangs. In this early silent film period, criminals were more prominent on film screens than enforcers of the law. Among these early films from the period is D.W. Griffith 's The Musketeers of Pig Alley (1912) involving a young woman hounded by

6241-422: Was used for the sad version of the title track. Rafi wanted Kumar to sing the sad version, but agreed to sing it himself upon music directors Kalyanji–Anandji's insistence. Produced on a budget of ₹ 10 million , the film grossed ₹170 million in India. It was the highest-grossing film of the year, as well as the third highest-grossing film of the decade, after Sholay (1975) and Bobby (1973). The film

#530469