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Salim Khan (born 24 November 1935) is a Indian film actor and screenwriter. As a screenwriter, he wrote the screenplays, stories and scripts for numerous Bollywood films. In Hindi cinema, Khan is best known for being one half of the prolific screenwriting duo of Salim-Javed, along with Javed Akhtar. The duo Salim-Javed were the first Indian screenwriters to achieve star status, becoming the most successful Indian screenwriters of all time, and are regarded as "Hindi cinema's greatest screenwriters". While working together, Salim Khan was largely responsible for developing the stories and characters, while Javed Akhtar was largely responsible for developing the dialogues.
Khan in August 2011
24 November 1935|
Indore, Indore State, British India
|Years active||1959–1996, 2013–present|
|Children||Salman, Arbaaz, Sohail, Alvira, and Arpita|
|Relatives||See Khan family|
Salim-Javed revolutionized Indian cinema in the 1970s, transforming and reinventing the Bollywood formula, pioneering the Bollywood blockbuster format, and pioneering genres such as the masala film and the Dacoit Western. Salim Khan was also responsible for creating the "angry young man" character archetype and launching Amitabh Bachchan's career. Their films are among the highest-grossing Indian films of all time, including Sholay (1975), the highest-grossing Indian film ever at the time, as well as films such as Seeta Aur Geeta (1972), Zanjeer (1973), Deewaar (1975), Kranti (1981), and the Don franchise. Sholay is also considered to be one of the greatest Indian films of all time.
Khan is also known as the founder of the Salim Khan family, as the father of three Bollywood actors, Salman Khan (one of the big three Khans of Bollywood), Sohail Khan, and Arbaaz Khan, and film producer Alvira Khan Agnihotri. He is married to Sushila Charak (a.k.a. Salma Khan) and to actress Helen Richardson Khan. Salim Khan won six Filmfare Awards as part of Salim-Javed, and he was later awarded the Padma Shri in 2014.
Salim Khan was born in the city of Indore in Indore State a princely state in British India (modern day Madhya Pradesh, India) into an affluent family. Khan's grandfather, Anwar Khan, was an Alakozai Pashtun who migrated from British madras]] to India in the mid-1800s and served in the cavalry of the British Indian Army.[not in citation given]. Khan's family tended to look for employment in government service, and eventually settled in Indore.
Salim Khan was the youngest child of his parents, both of whom died by the time he was 14 years old. His father, Abdul Rashid Khan, had joined the Indian Imperial Police and had risen to the rank of DIG-Indore, which was the highest police rank open to an Indian in British India. Salim's mother died when he was only nine years old. She had suffered from tuberculosis for four years before her death, and therefore it was forbidden for the younger children come close to her or hug her; Salim therefore had little contact with his mother even before her early death. His father also died in January 1950, when he was only fourteen years old. Two months later, in March 1950, Salim (who attended St. Raphaels' School in Indore) appeared for his matriculation examination. He did moderately well, and enrolled in Holkar College, Indore, and completed his BA. His elder brothers supported him with funds drawn from the family's substantial wealth, to the extent that he was given a car of his own while he was a college student. He excelled in sports, especially cricket, and it was for being a star cricketer that he was allowed by the college to enroll for a master's degree at the end of his bachelors. He was also a trained pilot. During these years, he also became enamored of films, and received encouragement from classmates, who told him that with his exceptional good looks, he should try to become a film star.
Acting phase (1960–1969)Edit
While he was an MA student in Indore, Salim attended the wedding of Kamal Barjatya, son of film producer Tarachand Barjatya (founder of Rajshri Productions). Here, he was spotted by film director K. Amarnath, who was impressed by his good looks and offered him a supporting role in his forthcoming film Baraat. He would be paid Rs.1000/- as a signing amount and a monthly salary of Rs.400/- for the period of shooting. Salim accepted and moved to Mumbai, living in a small rented apartment in Mahim. While Baraat was duly made and released in 1960, it did not do too well, and in any case, his role was a minor one.
Working under the name Prince Salim, he got into the usual 'struggle' situation of wannabe actors, working in minor roles, being typecast as a good-looking supporting actor, and gradually descending into B-grade films. Over the next decade, he acted in what he calls “indifferent roles," playing minor characters in about two dozen films, but so minor were his appearances that his name does not appear on the credits of several of these films; his credits amount to a total of 14 films till 1970, and one final appearance in 1977. These included Teesri Manzil (1966), Sarhaadi Lootera (1966) and Diwaana (1967). His most substantial role, for which he did receive some notice, was in Teesri Manzil, where his role as the hero's friend was a meaty one, and his entry scene got a very good build-up.
Screenwriting transition (1969–1971)Edit
After working in 25 films, he eventually understood that he "was not cut out to be an actor because I lacked the art of projection. But by then it was too late — how could I have gone back to Indore?" In the late 1960s, Salim Khan, who was struggling financially, decided to start shifting his focus away from acting and towards writing scripts, and continued to use the name Prince Salim. One of his more notable film scripts was Do Bhai (1969). He also began working with Abrar Alvi as a writing assistant.
Salim-Javed phase (1971–1982)Edit
Salim met Javed Akhthar for first time during the making of the film Sarhadi Lootera, which was to be Salim's last acting appearance. Javed, who served as a clapper boy when shooting began, was later made the dialogue writer for the film by director S.M. Sagar. Their friendship began while both were working in this film, and developed further because their bosses were neighbours to each other. Salim Khan got a job assisting writer/director Abrar Alvi in finalizing screenplays and dialogues, while Javed Akhtar began assisting Kaifi Azmi in a similar capacity, with focus on honing poetry. Abrar Alvi and Kaifi Azmi were neighbours, and therefor Salim Khan and Javed Akhtar used to see a lot of each other. The duo hit it off well and formed a script-writing team that came to be known as Salim-Javed. Salim used to form stories and plots, whereas Javed used to develop the dialogues and occasionally the song-lyrics for those films. They used to brainstorm and come to conclusions regarding the final draft of the film.
Rajesh Khanna is credited with giving them their first break as script writers. Javed Akhtar accepted in an interview that "One day, he (Rajesh Khanna) went to Salimsaab and said that Mr. Devar had given him a huge signing amount with which he could complete the payment for his bungalow Aashirwad. But the film was a remake and the script of the original was far from being satisfactory. He told us that if we could set right the script, he would make sure we got both money and credit." This was their first break as script-writers, and the film, Haathi Mere Saathi, went on to become a big hit. The Salim-Javed duo were hired by G. P. Sippy to work for Sippy Films as resident screenwriters. They produced the screenplays for several successful films like Andaz, Seeta Aur Geeta, Sholay and Don. Their first big success was the script for Andaz, followed by Adhikar (1971), Haathi Mere Saathi and Seeta Aur Geeta (1972). They also had hits in Yaadon Ki Baaraat (1973), Zanjeer (1973), Haath Ki Safai (1974), Deewaar (1975), Sholay (1975), Chacha Bhatija (1977), Don (1978), Trishul (1978), Dostana (1980), Kranti (1981), Zamana (1985) and Mr. India (1987). They have worked together in 24 films including two Kannada films – Premada Kanike and Raja Nanna Raja. Of the 24 films they wrote 20 were hits. The scripts they wrote but which were not successful at box office include Aakhri Dao (1975), Immaan Dharam (1977), Kaala Patthar (1979) and Shaan (1980). Though they split in 1982, due to ego issues, some of the scripts they wrote were made into films later like Zamana and Mr. India which became successful. Salim-Javed, many a time described as "the most successful scriptwriters of all-time", are also noted to be the first scriptwriters in Indian cinema to achieve star status.
The Salim-Javed duo were also notable for causing several changed to be made in the way scriptwriters were perceived and treated within the Hindi film industry. Until the 1970s, there was no concept of having the same people write screenplay, story and dialogue. Nor were writers usually named in the credits of the film; junior, struggling writers in particular were simply paid and sent away. Salim-Javed changed this situation. Since their scripts were so successful, they had the power to make demands on film-makers. They not only insisted on being paid much more than what had been the norm until then, but also ensured that their name was on the film credits, and also that they were involved at many stages of the process, including screenplay and dialogues.
While credited under the name "Salim-Javed", the screenplay of Zanjeer was almost entirely written by Salim Khan alone, before bringing Javed Akhtar on board and crediting it under the name "Salim-Javed". Salim Khan was also instrumental in launching the career of Amitabh Bachchan, who was a struggling actor before being discovered by Salim-Javed, who were impressed by his acting abilities and insisted on casting him in the lead roles for their films. Salim Khan was also personally responsible for introducing Bachchan to directors such as Prakash Mehra and Manmohan Desai.
Later years (1983–2003)Edit
Salim Khan, after splitting, from Javed wrote script and dialogues for successful movies like Angaaray (1986), Naam (1986), Kabzaa (1988) and Jurm (1990). For Angaaray, Rajesh Khanna asked director Rajesh Sethi to go to Salim Khan and rework on the script he had.
Salim was not very active in films from 1996 as the fold he wrote like Akayla, Toofan and others between 1988 and 1996 flopped. He wrote scripts for thirteen films from 1983 to 1996, after his split with Javed Akhthar. These included Majdhaar and the hit film Patthar Ke Phool which starred his son Salman Khan. Other notable hits were the scripts for Pyaar Kiya To Darna Kya and Auzaar, both of which were produced by his youngest son Sohail Khan and starred Salman.
His last unofficial partnership with Javed Akhtar was for the film Baghban (2003). Amitabh Bachchan requested to Javed Akhtar to write his final speech. Salman Khan, for his speech prior to that, requested to his father Salim Khan to write his speech. However, neither Salim Khan nor Javed Akhtar were credited.
Khan is married to two ladies concurrently. His first marriage was to Sushila Charak, a Hindu Rajput, on 18 November 1964. Sushila's father, Baldev Singh Charak, was a Hindu Dogra Rajput from Jammu, while her mother was a Maharashtrian Hindu lady. Khan and Sushila/Salma have four children together; three sons, Salman, Arbaaz and Sohail, and one daughter, Alvira Khan Agnihotri. In 1981, Khan married actress Helen Richardson, a Christian lady whose father was Anglo-Indian and mother was Burmese. Some years later, they adopted a girl named Arpita, daughter of a homeless woman who died on a Mumbai footpath.
Khan's eldest son, Salman Khan, is one of the most commercially successful actors of Indian cinema. His other two sons, Arbaaz and Sohail, are also actors and film producers. His elder daughter Alvira is married to former actor and film-maker Atul Agnihotri, while his younger daughter Arpita is married to Aayush Sharma, grandson of Sukh Ram, a former Minister of Himachal Pradesh and long-time member of the Congress party.
- Baraat (1960)
- Police Detective (1960)
- Ramu Dada (1961)
- Professor (1962)
- Kabli Khan (1963)
- Bachpan (1963)
- Darasingh: Ironman (1964)
- Aandhi Aur Toofan (1964)
- Raaka (1965)
- Sarhadi Lutera (1966)
- Teesri Manzil (1966)
- Sarhaadi Lootera (1966)
- Diwaana (1967)
- Chhaila Babu (1967)
- Lahu Pukarega (1968)
- Wafadar (1977)
- Do Bhai (1969)
- Naam (1986)
- Angaaray (1986)
- Kabzaa (1988)
- Toofan (1989)
- Jurm (1990)
- Akayla (1991)
- Mast Kalandar (1991)
- Patthar Ke Phool (1991)
- Aa Gale Lag Jaa (1994)
- Majhdhaar (1996)
- Dil Tera Diwana (1996)
|1983||Best Screenplay||Shakti (1982)|
|1976||Best Dialogue||Deewaar (1975)|
|1974||Best Screenplay||Zanjeer (1973)|
British Film InstituteEdit
- Ramesh Dawar (2003), Encyclopaedia of Hindi cinema, Encyclopædia Britannica (India) Pvt. Ltd.
- Sholay, through the eyes of Salim Khan, ,Rediff.com
- Chaudhuri, Diptakirti (2015-10-01). Written by Salim-Javed: The Story of Hindi Cinema’s Greatest Screenwriters. Penguin UK. ISBN 9789352140084.
- Chintamani, Gautam. "The brilliance of Salim-Javed lies not just in what they said, but how they said it". Scroll.
- "Salim-Javed: Writing Duo that Revolutionized Indian Cinema". Pandolin. 25 April 2013.
- Chaudhuri, Diptakirti (2015-10-01). Written by Salim-Javed: The Story of Hindi Cinema’s Greatest Screenwriters. Penguin UK. p. 58. ISBN 9789352140084.
- Teo, Stephen (2017). Eastern Westerns: Film and Genre Outside and Inside Hollywood. Taylor & Francis. p. 122. ISBN 9781317592266.
- "Why Salim Khan was angry with Amitabh Bachchan". The Times of India. 13 December 2013.
- Pandya, Haresh (27 December 2007). "G. P. Sippy, Indian Filmmaker Whose Sholay Was a Bollywood Hit, Dies at 93". The New York Times. Archived from the original on 28 August 2011. Retrieved 23 February 2011.
- "Top 10 Indian Films". British Film Institute. 2002. Archived from the original on 15 May 2011. Retrieved 14 June 2012.
- "Salman Khan's mom Salma Khan and stepmom Helen share a strong bond". Dainik Bhaskar. 4 June 2013. Retrieved 18 June 2016.
- "Helen elated over grandson's birth". The Indian Express. 2 April 2016. Retrieved 18 June 2016.
- "Salim Khan rejects Padma Shri, says he deserves a Padma Bibhushan at least". Firstpost. 26 January 2015. Retrieved 26 January 2015.
- Swarup, Shubhangi (29 January 2011). "The Kingdom of Khan". OPEN. Retrieved 2014-07-17.
Salim Khan, scriptwriter and father of Salman Khan, remembers the Afghan tribe his family historically belongs to. “It is Achakzai,” he says. “My family came to Indore 150 years ago, and worked as [part of the] cavalry in the time of the British.” Salman Khan is a fifth-generation Khan in India.
- Mitra, Devirupa (17 May 2011). "Khans in Bollywood: Afghan traces their Pathan roots". IANS. Retrieved 2014-07-17.
- "We were more successful than most leading pairs". The Telegraph. 14 November 2010.
- Chaudhuri, Diptakirti (2015). Written by Salim-Javed: The Story of Hindi Cinema’s Greatest Screenwriters. Penguin Group. p. 23. ISBN 9789352140084.
Salim had decided to cut down on his acting assignments in order to concentrate on writing and though money was hard to come by, he had not lost his flamboyance. In Do Bhai, he was credited as Prince Salim. During this period, he joined Abrar Alvi as a writing assistant.
- "More facts about Rajesh Khanna". The Times of India. 19 July 2012. Retrieved 18 June 2016.
- "The Magic of Haathi Mere Saathi". Bollywood Hungama. Retrieved 18 June 2016.
- Sholay, through the eyes of Salim Khan, , Rediff.com
- "Revisiting Prakash Mehra's Zanjeer: The film that made Amitabh Bachchan". The Indian Express. 20 June 2017.
- "Deewaar was the perfect script: Amitabh Bachchan on 42 years of the cult film". Hindustan Times. 29 January 2017.
- Chaudhuri, Diptakirti (2014). Bollybook: The Big Book of Hindi Movie Trivia. Penguin Group. p. 595. ISBN 9789351187998.
- "Salman Khan: We would love to premiere a film in Kashmir, if theatres are re-opened".
- "Wedding special: 6 facts to know about Arpita Khan".
- "Arpita Khan Journey: From Homeless Kid To Wedding At Falaknuma Palace". 18 November 2014.
- "The truth behind Salman Khan's family: Salma, Helen, Arbaaz, Sohail, Arpita, Alvira".
- Aḵẖtar, Jāvīd; Kabir, Nasreen Munni (2002). Talking Films: Conversations on Hindi Cinema with Javed Akhtar. Oxford University Press. p. 49. ISBN 9780195664621.
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. Not only me, I think most of the writers working in this so-called Hindi cinema write in Urdu
- "Best Screenplay Award". Filmfare Award Official Listings, Indiatimes. Retrieved 28 April 2014.