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=== Classic Hindi cinema (1970s–1980s) === {{Multiple image|image1=SalimKhan.jpg|width1=120|alt1=A bespectacled Salim Khan|image2=Akhtar for Talaash.jpg|width2=160|alt2=A serious-looking Javed Akhtar|footer=The [[Salim–Javed]] screenwriting duo, consisting of [[Salim Khan]] ''(left)'' and [[Javed Akhtar]], revolutionized Indian cinema in the 1970s<ref name="Pandolin">{{cite web|title=Salim-Javed: Writing Duo that Revolutionized Indian Cinema|url=https://pandolin.com/salim-javed-writing-duo-that-revolutionized-indian-cinema/|website=Pandolin|date=25 April 2013|access-date=29 November 2017|archive-url=https://web.archive.org/web/20171201035749/https://pandolin.com/salim-javed-writing-duo-that-revolutionized-indian-cinema/|archive-date=1 December 2017|url-status=dead}}</ref> and are considered Hindi cinema's greatest [[screenwriter]]s.<ref name="Chaudhuri">{{Cite book|url=https://books.google.com/books?id=Cri9CgAAQBAJ|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|last=Chaudhuri|first=Diptakirti|date=1 October 2015|publisher=[[Penguin Books|Penguin UK]]|isbn=9789352140084}}</ref>}} By 1970, Hindi cinema was thematically stagnant<ref name="raj">{{cite book|last=Raj|first=Ashok|title=Hero Vol.2|date=2009|publisher=[[Hay House]]|isbn=9789381398036|page=21|url=https://books.google.com/books?id=2wo9BAAAQBAJ&pg=PT21}}</ref> and dominated by musical [[romance film]]s.<ref name="indianexpress2" /> The arrival of screenwriting duo [[Salim–Javed]] ([[Salim Khan]] and [[Javed Akhtar]]) was a paradigm shift, revitalising the industry.<ref name="raj" /> They began the genre of gritty, violent, [[Mumbai underworld films|Bombay underworld crime films]] early in the decade with films such as ''[[Zanjeer (1973 film)|Zanjeer]]'' (1973) and ''[[Deewaar]]'' (1975).<ref name="ganti">{{cite book|last=Ganti|first=Tejaswini|title=Bollywood: A Guidebook to Popular Hindi Cinema|date=2004|publisher=[[Psychology Press]]|isbn=978-0-415-28854-5|page=153|url=https://books.google.com/books?id=GTEa93azj9EC&pg=PA153}}</ref><ref>{{cite book|last=Chaudhuri|first=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Books]]|isbn=9789352140084|page=72|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT72}}</ref> Salim-Javed reinterpreted the rural themes of [[Mehboob Khan]]'s ''[[Mother India]]'' (1957) and [[Dilip Kumar]]'s ''[[Gunga Jumna]]'' (1961) in a contemporary urban context, reflecting the [[socio-economic]] and [[socio-political]] climate of 1970s India<ref name="raj" /><ref name="legends">{{cite book|last=Kumar|first=Surendra|title=Legends of Indian cinema: pen portraits|date=2003|publisher=Har-Anand Publications|page=51|isbn=9788124108727|url=https://books.google.com/books?id=AfJkAAAAMAAJ}}</ref> and channeling mass discontent, disillusionment<ref name="raj" /> and the unprecedented growth of [[slum]]s<ref name="Mazumdar" /> with [[anti-establishment]] themes and those involving urban poverty, corruption and crime.<ref name="Penguin Group">{{cite book|last1=Chaudhuri|first1=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Group]]|isbn=9789352140084|page=74|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT74}}</ref><ref name="hindustantimes">{{cite news|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|work=[[Hindustan Times]]|date=29 January 2017}}</ref> Their "angry young man", personified by [[Amitabh Bachchan]],<ref name="hindustantimes" /> reinterpreted Dilip Kumar's performance in ''Gunga Jumna'' in a contemporary urban context<ref name="raj" /><ref name="legends" /> and anguished urban poor.<ref name="Mazumdar">{{cite book|last=Mazumdar|first=Ranjani|title=Bombay Cinema: An Archive of the City|year=2007 |publisher=[[University of Minnesota Press]]|isbn=978-1-4529-1302-5|page=14|url=https://books.google.com/books?id=xenNBrRKOGoC&pg=PA14}}</ref> By the mid-1970s, romantic confections had given way to gritty, violent crime films and [[action film]]s about gangsters (the [[Bombay underworld]]) and bandits ([[dacoits]]). Salim-Javed's writing and Amitabh Bachchan's acting popularised the trend with films such as ''Zanjeer'' and (particularly) ''Deewaar'', a crime film inspired by ''Gunga Jumna''<ref name="Ganti" /> which pitted "a policeman against his brother, a gang leader based on real-life smuggler [[Haji Mastan]]" (Bachchan); according to [[Danny Boyle]], ''Deewaar'' was "absolutely key to Indian cinema".<ref name=Kumar /> In addition to Bachchan, several other actors followed by riding the crest of the trend (which lasted into the early 1990s).<ref name="funky">{{cite book|last1=Stadtman|first1=Todd|title=Funky Bollywood: The Wild World of 1970s Indian Action Cinema|date=2015|publisher=FAB Press|isbn=978-1-903254-77-6|url=https://books.google.com/books?id=T0DXoQEACAAJ}}</ref> Actresses from the era include [[Hema Malini]], [[Jaya Bachchan]], [[Rakhee Gulzar|Raakhee]], [[Shabana Azmi]], [[Zeenat Aman]], [[Parveen Babi]], [[Rekha]], [[Dimple Kapadia]], [[Smita Patil]], [[Jaya Prada]] and [[Padmini Kolhapure]].<ref name="actorsuntil90">{{cite web|title=The Present |author=Ahmed, Rauf |work=[[Rediff.com]] |url=https://www.rediff.com/millenni/rauf2.htm |access-date=30 June 2008 |archive-url=https://web.archive.org/web/20080529044434/https://www.rediff.com/millenni/rauf2.htm |archive-date=29 May 2008 |url-status=live}}</ref> [[File:Amitabh.jpg|upright|thumb|left|alt=A smiling, bearded Amitabh Bachchan|[[Amitabh Bachchan]] in 2014]] The name "Bollywood" was coined during the 1970s,<ref name="khanna" /><ref name="collaco" /> when the conventions of commercial Hindi films were defined.<ref name="Chaudhuri58">{{Cite book|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT58|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|last=Chaudhuri|first=Diptakirti|date=1 October 2015|publisher=[[Penguin Books|Penguin UK]]|isbn=9789352140084|page=58}}</ref> Key to this was the [[masala film]], which combines a number of genres ([[Action film|action]], [[Comedy film|comedy]], [[Romance film|romance]], [[Drama film|drama]], [[melodrama]], and [[Musical film|musical]]). The masala film was pioneered early in the decade by filmmaker [[Nasir Hussain]],<ref name="Hussain">{{cite news|title=How film-maker Nasir Husain started the trend for Bollywood masala films|url=https://www.hindustantimes.com/bollywood/how-film-maker-nasir-husain-created-the-prototype-for-bollywood-masala-films/story-ckL6zPLHJFDYoupjFBtbfN.html|work=[[Hindustan Times]]|date=30 March 2017}}</ref> and the Salim-Javed screenwriting duo,<ref name="Chaudhuri58" /> pioneering the Bollywood-[[Blockbuster (entertainment)|blockbuster]] format.<ref name="Chaudhuri58" /> ''[[Yaadon Ki Baarat]]'' (1973), directed by Hussain and written by Salim-Javed, has been identified as the first masala film and the first quintessentially "Bollywood" film.<ref name="Chaudhuri58" /><ref name="bhaumik">Kaushik Bhaumik, [https://thewire.in/24564/an-insightful-reading-of-our-many-indian-identities/ An Insightful Reading of Our Many Indian Identities], [[The Wire (Indian web publication)|The Wire]], 12 March 2016</ref> Salim-Javed wrote more successful masala films during the 1970s and 1980s.<ref name="Chaudhuri58" /> Masala films made Amitabh Bachchan the biggest star of the period. A landmark of the genre was ''[[Amar Akbar Anthony]]'' (1977),<ref name="bhaumik" /><ref name="Dwyer2005">{{cite book|author=Rachel Dwyer|title=100 Bollywood films|url=https://books.google.com/books?id=4EBNAQAAIAAJ|access-date=6 August 2013|year=2005|page=14|publisher=Lotus Collection, Roli Books|isbn=978-81-7436-433-3}}</ref> directed by [[Manmohan Desai]] and written by [[Kader Khan]], and Desai continued successfully exploiting the genre. [[File:Dharmendra 2012.jpg|upright|thumb|right|[[Dharmendra]] in 2012]] Both genres (masala and violent-crime films) are represented by the blockbuster ''[[Sholay]]'' (1975), written by Salim-Javed and starring [[Dharmendra]] and [[Amitabh Bachchan]]. It combined the [[dacoit film]] conventions of ''Mother India'' and ''Gunga Jumna'' with [[spaghetti Western]]s, spawning the [[Dacoit Western]] (also known as the [[curry Western]]) which was popular during the 1970s.<ref name="Teo" /> Some Hindi filmmakers, such as [[Shyam Benegal]], [[Mani Kaul]], [[Kumar Shahani]], [[Ketan Mehta]], [[Govind Nihalani]] and [[Vijaya Mehta]], continued to produce realistic [[parallel cinema]] throughout the 1970s.<ref name=Gokulsing-18 /><ref name=Rajadhyaksa96-685>Rajadhyaksa, 685</ref> Although the [[art film]] bent of the Film Finance Corporation was criticised during a 1976 [[Committee on Public Undertakings (India)|Committee on Public Undertakings]] investigation which accused the corporation of not doing enough to encourage commercial cinema, the decade saw the rise of commercial cinema with films such as ''[[Sholay]]'' (1975) which consolidated [[Amitabh Bachchan]]'s position as a star. The devotional classic ''[[Jai Santoshi Ma]]'' was also released that year.<ref name=Rajadhyaksa96-688>Rajadhyaksa, 688</ref> By 1983, the Bombay film industry was generating an estimated annual revenue of {{INR|700 [[crore]]}} ({{INR}} 7 billion,<ref>{{cite news |title=Amitabh Bachchan Hindi film industry's most expensive star, Hema Malini tops among women |url=https://www.indiatoday.in/magazine/economy/story/19830215-amitabh-bachchan-hindi-film-industrys-most-expensive-star-hema-malini-tops-among-women-770465-2013-07-31 |work=[[India Today]] |date=15 February 1983}}</ref> {{US$|{{#expr:7000/10.099 round 2}} million|long=no}}),<ref>{{cite web |title=Official exchange rate (LCU per US$, period average) |url=https://data.worldbank.org/indicator/PA.NUS.FCRF?end=1983&locations=IN&start=1982 |publisher=[[World Bank]] |year=1983 |access-date=15 December 2018}}</ref> equivalent to {{US$|{{Inflation|US|0.69314|1983|r=2}} billion|long=no}} ({{INR|{{#expr:171*(1000/{{To USD|1000|IND}}) round 0}} crore}}, {{INR}} 111.33 billion) when adjusted for inflation. By 1986, India's annual film output had increased from 741 films produced annually to 833 films annually, making India the world's largest film producer.<ref>{{cite book |title=Films in Review |date=1986 |publisher=Then and There Media, LCC. |page=368 |url=https://books.google.com/books?id=Ah1CAQAAIAAJ |quote=And then I had forgotten that lndia leads the world in film production, with 833 motion pictures (up from 741 the previous year).}}</ref> The most internationally acclaimed Hindi film of the 1980s was [[Mira Nair]]'s ''[[Salaam Bombay!]]'' (1988), which won the [[Camera d'Or]] at the [[1988 Cannes Film Festival]] and was nominated for the [[Academy Award for Best Foreign Language Film]].
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