Wednesday, August 20, 2008

Shakti: Dialogues of Bollywood Actresses

A good blog post deserves another. JAP has extended his erudition to Bollywood and written very entertainingly on the wonderful lines that our stars have maaro-ed in landmark films. He has ended his post with a thought on the lack (or paucity) of great lines uttered by women on-screen - which obviously merits a long post (and that's the one you are about to read).
Indeed, it is worth a sweat to see if there are lines beyond "Beta, yeh to khushi ke aansoo hain" and "Nahhhhiiiinnnn"!

Indian heroines - mothers, sisters, heroines - have simpered in the background for most part and even when they have come to the foreground with a solid author-backed role, they have remained the stoic, silent and resilient types - leaving the chest-thumping part to Sunny Deol and the like.
Jaya Bhaduri, Nutan, Meena Kumari did tons of roles like that and won megatons of awards but I cannot think of a single dialogue from Kora Kagaz, Bandini or Pakeezah. Bobby said "Mujhse dosti karoge?" and that was it. Rekha did a landmark tawaif role in Muqaddar Ka Sikandar and all I remember is the song, Salaam-e-Ishq.
So much so, when I sit down to compile the list of my favourite dialogues by actresses, I am often stumped because I clearly remember the context and the content but the exact words often escape me.
This was definitely not a problem for me when I compiled my list of favourite dialogues (which, by an unhappy coincidence, were all by actors) and I got the words down exactly. But trying to recall my favourite dialogues by actresses, I had trouble recalling the exact words.
But even then, I believe that there can still be a substantial list consisting of the best words spewed by a woman - usually in the context of a complicated quote involving hell, fury and scorn!

Hema Malini is arguably the most successful Hindi film heroine of all times. She ruled tinsel town from mid-60s to end-70s (early 80s?) and looks breathtakingly beautiful in her Baghban-type roles even now.
She spoke so much in Sholay that you were hard-pressed to remember the memorable lines from the encyclopaedia. Of course, there is the landmark Chal Dhanno, aaj tere Basanti ka izzat ka sawaal hain, which immortalised Dhanno in filmi folklore!
But my favourite is the one in which she shatters all notions about simple village folk by saying, Basanti tum jaiso ko tange mein bithake gaon ke char chakkar lagake taisun tak chhod sakti hain... Haan!
But her all-time bestest line has to be the one from Seeta Aur Geeta, in which she hit back at her aunt's (Manorama) pseudo-affectionate Neeche aa jaa, beti with a super-cocky Upar aa ja, Moti! Of course, you remember that she was sitting on a ceiling fan in a police station when she said that.

Deewaar turned the fortune of two people. The obvious one is Amitabh Bachchan. It also cemented Nirupa Roy's position as the Ultimate Mother Icon of Bollywood.
To Amitabh's angry lines in which he exhorted his hapless brother to jao, pehle uska sign leke aao, she aggressively punched back saying - "Jisne tere baap se sign liya tha, woh tera kaun tha? Jisne tere ma ko naukri se nikala tha, woh tera kaun tha? Jisne tere haath likh diya tha ki tera baap chor hain, woh tera kaun tha? Koi nahin. Lekin main to tera maa hoon. Tune mere maathe pe kaise likh diya ki tera beta chor hain?" Warped logic - but very potent.
But then, this is nothing compared to her pre-climax adrenaline pump.
First, she handed the official revolver to her younger son and said, "Goli chalate waqt tere haath na knaap jaaye." And then, she left for the mandir. "Ek aurat apni farz nibha chuki hain. Ab ek maa apne bete ka intezar karne jaa rahi hain..."

The Mother Icon, of course, has been a staple on the Indian screen for a very long time though it was never as memorable (and hyped?) as in Mother India. Nargis wallowed in mud, lost her husband, brought up two wimpy sons (who became fine when they grew up!), rejected the advances of the most despicable looking villain in history (no Indecent Proposal here!), remained pathetically poor and accused Satyajit Ray of glorifyingly poverty in his films!
When she threatened her Bad Son with a gun, he taunted her by saying, "Tu mujhe maar nahin sakti. Tu mera maa hain." She shot back (literally) with "Main pehle ek aurat hoon, Birju, aur gaon ki izzat mera izzat hain."

Mughal-e-Azam is typically seen as the battle between two Alpha Males but it also has some lovely lines by the women of the film. The most famous line of the film is sung and remains unblemished even after five decades - Jab pyaar kiya to darna kya?
In a romantic scene with her lover, she accepts rose thorns with grace and says, "Zeh naseeb, kaanton ko murjhane ka darr nahin hota."
There are other gems to be had as well. In a memorable scene, Jodhabhai (Durga Khote) says, "Hindustan tumhara dil nahin hain ki ek laundi uspar hukumat kare." And Salim replies, "Mera dil bhi Hindustan nahin hain ki aap uspar hukumar kare."

Sridevi - who reigned in the middle 80s - achieved that one hallmark of superstardom that many of her successors have not yet achieved. A superhit with her in a double role. Only the biggest stars of the Bolly firmament have achieved this rare feat.
Chaalbaaz, an unabashed copy of the Seeta Aur Geeta plot, can be considered to be totally original simply because of Sridevi's zany freshness. As Anju and Manju, she was like a schizophrenic on steroids! Romancing Sunny Deol and Rajnikanth, she ate both of them up with her comic timing and OTT dialogue delivery. To Rajni the Taxi Driver, she said, "Main madira nahin peeti ji" and brought the house down.

Another lady who ruled in the 1980s was Shabana Azmi, with a string of powerhouse performances. One of her meatiest roles came in Mahesh Bhatt's Arth, where she is deserted by her husband for a top actress. The film moves rather unwieldily between infidelity, flesh trade, domestic violence and unrequited love before settling towards a very subtle climax. Shabana's husband returns to her (because the star becomes mentally ill) and asks her to take him back. She quietly asks, "Mujhse agar yahin galti hota, toh kya tum mujhe apna lete?" The husband says no and she shuts the door on him.

In recent times, there has been another performer in the same league as Shabana - Konkona Sen Sharma. She has built up an impressive body of work and at least two of her lines have stayed with me.
To a gay friend who she had caught in bed with her boyfriend, she took a wicked dig in Page 3 by saying, "Next time, lock the door" when she saw him chatting up another guy. Very plain in isolation but when taken in context, it does come alive.
And in Omkara, she gets under the skin of a UP village girl effortlessly and gets the nuances and the lilts of the dialect just right. To a depressed friend, she says "Hansi badi mehngi ho gayi hain re" and suffuses the scene with a melancholy air.

One key reason why women have had fewer lines of consequence in screenplays is the image of the demure pativrata. After all, her duty has always been to helpfully hand over a tumbler of warm milk to the husband on the suhaag raat bed.
In Aradhana, when she is actually asked to wish for something, the heroine (Sharmila Tagore) dreamily said, "Main kya mangoo? Mujhe toh sab bin mange hi mil gaya." (one of my favourites, because of the way Sharmila said it).
She is never expected to ask anything. Least of all, sex.
Vyjayanthimala did dress up as a Parisian chorus girl in Sangam and rued her luck because Kya karoon Ram? Mujhe buddha mil gaya! but the wanton displays of desire were typically left to Helen and Bindu in smoky night clubs.
Which is why my jaw dropped when Priyanka Chopra pinned Akshay Kumar to the wall in Aitraaz and said, "Main tumhe apni biwi ko chhodne ke liye nahin keh raha hoon. I am only asking you to sleep with me." Probably for the first time in mainstream Hindi cinema, a heroine asked for sex so brazenly.

And, finally all I have left is a line (which I now realise) that should have been in my list of the favourite dialogues of all times. More so, because the luminous lady who said it was my first (and last?) Bollywood crush. In Prakash Jha's Mrityudand, when Ayub Khan tried to impose himself on his wife, Madhuri Dixit turned around and said through clenched teeth, "Aap mere pati hain. Parameshwar banne ke koshish mat kijiye."
Hallelujah - Shakti speaks!

So, have I managed to make you believe that women have strewn loads of pearls in Bollywood or not? To quote Geet in Jab We Met, aap issi mein convince ho gaye ho ki main aur boloon?

UPDATED TO ADD: Given that 'Bangaliyon ka gender nahin hota', the 'mera's and 'meri's in the above post are all wonky (as several perceptive commenters have pointed out). Thousand apologies for that!

24 comments:

Roger Rabbit said...

Absolutely fabulous!

Tania said...

very well researched post. I loved JAP's post too, but this one really took some effort! Great work!

suku said...

This shows clearly shows your passion for the movies...truly commendable!

greatbong said...

With respect to the Mughal-e-Azam dialog, wasnt it " Kaaton ko murjhaane ka khauff naheen hota" instead of "darr"?

Anonymous said...

How can you forget this "gem" from Kuch Kuch Hota Hain?

"Tumhara naam Anjali kyun hain? Shayad mere mummy-papa ko aap acche lag gaye ho isiliye"

Cheers,
PK

myopic astronomer said...

hi Dipta

Madhuri has been a favourite of many, including myself.

I think Madhuri had some memorable lines (only a handful that she spoke) in Prahaar.

wrt double role and successful movie by a heroine, can we include Deepika Padukone? perhaps she is too young?

Nilendu said...

aaauuuuuuu...

Andy said...

Hi Dipta,

A couple that stayed in my mind after watching them were:

1. Paheli : Whr the ghost asks Rani what she wants and she said something like " mujse aaj tak kisi ne yeh nahi pocha ki main kya chahti hoon"(if not the exact words)

2.KKKG : when AB and Jaya has some argument about the kids and she says something of the kind that echoes wht madhuri said abt "pati and parmeswar" and ends it with "Bol diya bus bol diya" (Oh I have lousy memory)- the dialogue that AB says through the movie

Ravi said...

Nice post on women's lines. But I am sure there are very powerful lines that you have left out.

Do check out Nutan's superb line 'Maju bi ras kaa mausam ..." from Saudagar at the following blog

http://medobe.blogspot.com

arunima said...

Good Compilation but am sure there are more...
BTW the font doesn't look so great..makes reading difficult, especially when italicized.

Confessions of a blogaholic said...

You have another award waiting in my blog :-P

OrangeJammies said...

Make that Ek Ka Teen. You've got it again. See my blog for details. And yes, compile on. (Hyuk hyuk, I love my own puns).

Dipta Chaudhuri said...

@ GB: You are probably right. Its been ages since I saw the film.

@ Arunima: Font changed.

Nilendu said...

Does anyone remember what Farheen said immediately after meeting Ronit Roy in "Jaan Tere Naam"? That was freaking awesome.

The Line of Beauty said...

Great post..I will include a few of mine!!

In one of the Mahesh Bhatt's interview he quoted his favorite scene from Arth. Right after the song koi ye kaise bataye when Shabana accosts Kulbhushan Kharbanda with Smita Patil mouthing this dialogue " hamare samaj mein patni ko pati ke sewa mein kai roop dharane padte hai, kabhi maa ka, kabhi bahan ka, aur bistar me Randi ka roop dharna padta hai. Inder, ek baar mauka do, main tumhe ye bhi kar ke dikhaunhii" the dialogue may sound corny but I get goosebumps everytime I see that dialogue specially because of the last line and the way Shabana utters these words - swinging with her glass, grieving and sarcastically


There is another dialogue of Rekha from a little known movie "Jeevandhara" that was hard hitting. At the end of the movie when a bus conductor asks Rekha why she is taking the bus as yesterday she would have got married. To which she replies "Jinke ghar mein Vidhwa maa, apahij bahan aur teen chhote bhai hote hai, un ladkiyon ki shaadi nahi hoti" ( A little too 80ish but it rings true for so many women I have seen in real life)

Btw, on a lighter note, how could you forget the lines Bipasha made famous in her beau's debut movie?

J. Alfred Prufrock said...

Nice effort, sir, but I think you will admit that except for Mrityudand and Arth, the other lines do not resonate. There's one other line that someone mentioned - Suchitra Sen in the middle of that song from Aandhi

Loved your 2-level film quiz.

J.A.P.

the mad momma said...

all your meris are mera. how do you remember all the dialogues and then change the gender DKC?!

kaafi sahi post hai waise...

Aparna said...

Good one which set me thinking of more. My most favourite (!) is by Hema Malini in Satte Pe Satte, when she rejects Amitabh's...telling him.."tumse koi shaddi karega..? arre tum toh darane wali cheez ho..koi tumhara chehra ek baar dekha liya toh woh khu ba khud mar jaaye...." or something to that effect. Great dialogue and delivery by the Dream Girl...just for this scene, I've watched this movie umpteen times !

iz said...

Ummm, mer-ee ma! Not mera...

Roger Rabbit said...

Oh, and how could you miss Rakhi's eternal:
"MERE BETE
...AYENGE...
MERE KARAN ARJUN
... ... AYENGE ..."

Homecooked said...

PS: Can u delete the previous comment...The link is wrong.

Wow...wonderful list! I think the most powerful dialogue I have heard is by Madhuri Dixit. I dont know if you've seen this movie but one of my friends could repeat this word for word. Heres the link

http://www.youtube.com/watch?v=TM8gEYGt0ss&eurl=http://www.orkut.com/FavoriteVideoView.aspx?uid=10666871454639987145&ad=1218170491

Niladri said...

In Lajja the wedding scene in which Mahima speaks up from under her veil and says "uth jaaiye!" to her would-be groom for constantly threatening them with "hum uth jayenge!"....followed by a round of solid tongue-lashing to his greedy khandaan...quite memorable!

thequark said...

there was a lively debate over repeated watching of a seedy VCD of Aitraz. The part in debate was when Priyanka Chopra pins Akshay and asks his inner animal to be revealed. Even Anil Kapoor requested Milind Gunaji not to unleash his inner animal but we know the consequences when the inner animal comes out of its cage. Back to the debate. The camp was divided amongst two, few of the people just shrugged and said Priyanka must have said "show me you are an animal" and the demented other half claimed no she actually says "show me your animal". In the hullabaloo I forgot which side one, but I was shocked to see this debate was not covered in any of English news channels :(

thequark said...

You should watch Big Brother (the Sunny Paji wali movie). It should be called Big Brothe: Maa ka tashan for one of the brilliant mother roles done by Farida Jalal. She takes the typical operation-ke-liye-paise cliché head on. The dumb doctor has balls enough to say "operation ke liye XYZ rupaye chahiye" to Sunny Paji and his mother. "aapke paas itne paise kahan se ayenge". The mother remembers she is not in the whimpering age snaps, "wo tumhari problem nahi hai doctor wo mera beta dekh lega"!

This is only a glimpse of Maa ka Tashan in the movie