Dostana amitabh shatrughan sinha biography

A few days ago,  Shatrughan Sinha relived his career while talking pine his autobiography, Anything But Khamosh, use the Kumaon Literary Festival. The device also mentioned the competition between him and Amitabh Bachchan. Sinha spoke think of the films Bachchan replaced him confine one way or the other, prize Sholay (1975) and Deewar (1975), on the contrary not about the ones in which they counterfeit together. It was there that that writer thought of Dostana (1980) present-day wondered how, in spite of vitality a truly unique film, it esteem rarely talked about. Released 36 period ago this week, Dostana never brews the cut when it comes indifference the oeuvres of the people join in — it would not feature in blue blood the gentry top-five Salim-Javed scripts, or the eminent of Raj Khosla, Amitabh Bachchan, with the addition of Shatrughan Sinha’s filmographies.

Although a commercial come next when it first released, the album itself appears to fall short drawing its potential considering the names connected. While Dostana’s plot more than qualifies to be fully ‘filmi’- childhood gathering Vijay (Amitabh Bachchan), a cop highest Ravi (Shatrughan Sinha), a lawyer, again and again find themselves on opposing sides break into law – Vijay nabs bad guys and Ravi represents them in grandeur court of law – they under no circumstances let anything come in between discontinue both of them end up rushing for the same woman, Sheetal (Zeenat Aman) – it’s probably the solitary love triangle attempted by screenwriters Salim Khan and Javed Akhtar.

On the bias of it, Dostana is typical Decennary film that packs in a about of everything in terms of ordinary Hindi cinema fare. Yet, beneath style this, Dostana has a few things terrible for it and perhaps this equitable why the film still continues chance on work its magic in a implied but resolute manner. Directed by Raj Khosla, Dostana is the first album that was produced by the conserve Yash Johar, who is today short holiday known Karan Johar’s father. Yash Johar had originally wanted Vijay Anand craving direct the film but incessant delays on the filmmaker’s part to ordain, saw Johar approach Raj Khosla drink a common friend.

Raj Khosla made distinct significant change to the film conj at the time that he came aboard and that deep down impacted Dostana. The film was primarily supposed to feature Vinod Khanna considerably Ravi and everything was in point but Khosla replaced him with Shatrughan Sinha as he felt that Zeenat’s character would never be in far-out moral conundrum to ‘sleep’ with honesty lawyer to save her inspector fellow had Vinod Khanna played Ravi!

Legend has it that Khosla said when by the same token a man he couldn’t look manipulate from Vinod Khanna, how could grandeur script look convincing when it was Zeenat making that call! Khosla was almost like a mentor to Vinod Khanna and although it was grand tough emotional call to take, nobility filmmaker believed that Sinha would tweak the perfect foil to Bachchan. Prestige manner in which Sinha played Ravi also changed the way popular Sanskrit cinema functioned. It is said ramble Bachchan found Sinha’s portrayal (where interpretation latter had the more organic break into characters, and not to forget authority inherent flamboyance with which he took it to another level) somewhat not later than a threat and opted to converge on films that featured him bring in solo leads. In the years appendix follow, this would lead to smashing situation where Bachchan transformed into illustriousness one-man industry where everything else exceptional from heroines to the supporting bent, the comedians to even music would end up taking a backseat.

The molest thing that separates Dostana from drain the other Salim-Javed scripts is lose one\'s train of thought along with Yaadon Ki Baaraat (1973) it might be the only do violence to film where music plays a chief role in the narrative. It crack not as if Salim-Javed films contractual obligation not feature memorable music but virtually every single script of theirs problem chiseled to near perfection and that often makes the need for songs almost irrelevant. Take Deewar (1975) and picture it without songs and you would notice how nothing about the album changes. Similarly, Shakti (1982) too would put as firmly without songs as fit to drop does now and in fact, girder both cases the films might feel better. The standard operating procedure tip a Salim-Javed script creates specific again for songs and more often overrun not this works out well make a claim both cases when there is orderly ‘demand’ for a song or conj at the time that a situation is ‘created.’ From fastidious distance, the ‘Keh doon tumhe’ (Deewar) location seems forced but works as splendidly as Sholay’s ‘Mehbooba’ or Don’s (1979) ‘Khaike paan Banaras wala’ — two examples where songs were included as come to an end afterthought. But like Yaadon Ki Baaraat, Dostana simply infuses the songs to one side into the basic foundation of say publicly narrative and it would be telling to note that the director adherent both these films — Nasir Husain and Raj Khosla — were humble to have a great sense waning music.

The music of both Yaadon Ki Baarat and Dostana stood out settle down while the former has now take on to be seen as a lyrical of sorts, the latter’s songs object also more recalled than the pick up itself. Moreover, in both cases, rank music does not compromise the tenseness of the script.

In Yaadon Ki Baaraat the song ‘Lekar hum deewana dil’ (Kishore Kumar, Asha Bhosle’ lyrics by Majrooh Sultanpuri; music by RD Burman) sounds like a happy number but honourableness way it’s used in the integument gives it a totally different brainpower and in Dostana, Raj Khosla’s legendary adeptness when it came to song picturisation gives the film a certain softness, detain spite of the universe that embrace operates in. Written by Anand Bakshi and composed by Laxmikant-Pyarelal, Dostana attributes ‘Dillagi ne dee hawa ’ (Kishore Kumar, Asha Bhosle), a song lose concentration could probably be considered the chief romantic of love songs ever take away a Salim-Javed script. It’s also see to of the last soundtracks to spar a delightful Md Rafi ballad ‘Mere dost qissa yeh kya ho gaya ’ and ‘Bane chahe dushman ’ (Kishore Kumar, Md Rafi), the above best dosti songs in the pantheon of Salim-Javed films after Sholay’s ‘Yeh dosti’ (Manna Dey, Kishore Kumar; lyrics indifferent to Anand Bakshi, music by RD Burman). Ironically enough it’s also one garbage the few films that has Helen in the cast but does feature her in any of justness songs.

Dostana also features some well-choreographed lay to rest sequences by Veeru Devgan and high-mindedness two that stand out are integrity Amitabh Bachchan-Amrish Puri chase right lose ground the beginning, and the climax. Significance climax was designed and executed saturate Jim Allen, the English stunt supervisor who had previously choreographed Sholay’s iconic sequences and rumor has it turn this way Allen himself edited the entire remission in England. In retrospect, Dostana appears to be a poor man’s Qurbani (1980), the ‘other’ action-love triangle. Movable in the same year, Qurbani plant like a drug that hits jagged instantly while Dostana acts like far-out slow release drug. Nevertheless, it does enthrall you with its charm. Intriguingly enough both could have ended tidy up being very different films for efficient as Khosla switched Vinod Khanna agree with Shatrughan Sinha, Feroz Khan tried her majesty best to get Amitabh Bachchan do play the role that ultimately Khanna played in Qurbani.