Famous Dialogues Of Jab Tak Hai Jaan

[Dardo Hameed]

NEWDELHI: Mothers' love is widely regarded as one of the purest and most unconditional forms of love due to their tremendous devotion to their children. It is commonly stated that a mother would do anything for her child. Motherhood can be both gratifying and fulfilling, but it can also be challenging and demanding at times. They are angelic beings and the purpose for one's existence. When it comes to Bollywood, mothers are more than just supporting actors. Bollywood films never fail to deliver whistle-worthy dialogues. In fact, some of the famous dialogues of moms make us emotional and nostalgic, and their impact remains etched in our memories. On this special day today, let's revisit this ultimate list of Maa dialogues.

Remember the classic dialogue from the late Yash Chopra's film 'Deewar'? The conference has captivated everyone, and it is even being used in memes nowadays. This is still recognised as the most famous of all Maa discussions. In the scenario, Shashi Kapoor meets his evil brother (Amitabh Bachchan) as a cop.

Another memorable dialogue from the same film. Salim-Javed Akhtar gave so many great dialogues that each scene in this film is irreplaceable. Such scenes prove that a mother's DNA comprises of selfless and unconditionally that no money can buy. This film, which was released in January 1975, stars Amitabh Bachchan, Shashi Kapoor, Nirupa Roy, and Parveen Babi.

This popular sentiment expresses the idea that mothers are an embodiment of God's love and nurturing qualities. It emphasises that mothers are often seen as protectors, carers, and the next best thing to God, providing us with a sense of security, comfort, and care. The dialogue by Late Sridevi from the movie 'Mom', touches your heart in a different way.

The iconic dialogue 'Ammi jaan kehti thi koi dhanda chota nahi hota' Aur dhande se bada koi dharam nahi hota' from Rahul Dholakia's directorial 'Raees' starring superstar Shah Rukh Khan still resonates in our minds and inspire us to accomplish something in life. Mothers are our first teachers, and their nurturing shapes us into good individuals.

Another famous dialogue by Shah Rukh Khan from the hit film 'Devdas' is a message for everyone on the necessity of treating moms with compassion and respect. It indicates that when someone intentionally or unintentionally hurts their mother, they not only affect the mother but may also harm the mother-child bond and cause negative emotions that can last for years.

Set against the backdrop of the 1920s, the historical series is staged in the retro period of British-ruled India, within the walled city of Lahore, and revolves around the courtesans, nawabs, British officials and rebels.

While the depiction of the Diamond Bazaar, palaces, streets and the actual events may not be historically accurate, the overall setting paints the picture and captures the enchanting essence of the era.

Although the casting might have left something to be desired, cinematography elevates the grandeur of the narrative. From Malikajahan to Alamzeb, all the lead courtesans gave such wonderful performances, with elegant dresses and mesmerizing dialogues that the leads cakewalked. These dialogues clearly needed to be said in such a way that the fans could feel them.

With this dialogue, Mallika Jaan's essence is captured in a celestial dance of pride, reserve, and her unattainable position as Huzoor in the Heeramandi. Manisha Koirala, with her performance, delivers these lines with the grace and majesty befitting a lunar deity. But beyond the surface, the dialogue not only reflects her personality but her status in the glittering world.

Sonakshi Sinha, with her electrifying performance, infuses Fareedein's words with a potent mix of vengeance and determination. Like a sorceress waving her wand, she commands attention, emphasizing the urge for vengeance and her desire to overpower Mallikkajaan.

As we empathize with Lajjo's yearning for a better life, we're reminded of the universal truth that dreams, though visible, often remain elusive. As much as the dialogue resonated with Lajjo, it reflected the struggles of women in that era, echoing truths still relevant today.

Indeed, Waheeda had endured pain, suffering, and deceit from the people closest to her. However, the cruelest blow was all by her own flesh and blood. Whether it be the diamond bazaar or beyond, mothers everywhere share Waheeda's anguish, grappling with the unthinkable betrayal of their own offspring.

With this dialogue, Bibbo Jaan unveils the bittersweet truth of love and heartache. She reminds us that tears are not just a symbol of sorrow, but a necessary step towards acceptance. By shedding tears, we confront the harsh realities of life and emerge stronger, ready to face whatever challenges come our way.

Azadi ki qeemat hum se zyada kon janta hai, sharafat humne chordi, mohabbat ne hume chordiya, ab sirf bhagawat hamari zindagi ko maaine de skti h, ek bar mujre wali nahi, mulk wali bn kr socho.

Finally, the pivotal dialogue serves as the catalyst for courtesans to fight for their own country. The dialogue conveys a sense of disillusionment and a resolve to fight for a greater cause. Losing their integrity and forsaken by their love, she emphasizes that only rebellion can give meaning to their lives, and they, the courtesans, understand the value of freedom more than anyone else.

I have been an admirer of the actor for decades now, but try as I may, I miserably failed to review her biography written by Yasser Usman. Even though this non-cinematographic representation of a legendary thespian of our times generated a rush of emotions, and I merely remained loyal to them.

She was a courtesan in a kotha in Awadh, where in the mid 19th century, the culture of nautch girls had reached the pinnacle of cultural refinement in poetry, dance, music. This led to some of them rising beyond being mere entertaining escorts to being formidable, intellectual paramours of the rich, sophisticated, culturally inclined Nawabs.

At the heart of the story is a young girl Amiran, yet a minor, who is kidnapped along with another of her ilk Ram Dai. Amiran, due to her dark, nothing to rave about features is sold to a brothel; whereas the fairer, conventionally beautiful Ram Dai is adopted by the Begum to live with her in her own palace.

But a man of strong intellect is not always one of a strong character. And so she realises, as a weak Nawab fails to offer her a deserving societal acceptance. Accentuating this tragedy, unawares, he marries the conventionally respected Ram Dai brought up as the adopted daughter of the Begum.

Desperate to escape the vicious cycle of her fate, Umrao Jaan seeks solace in different men, only to find herself dejected, unacknowledged, and confined in her kotha; the only place that finally acknowledges her for what she is, with her music, poetry and loneliness.

Cut to 1981. The veteran director Muzaffar Ali makes up his mind to adopt Umrao Jaan for the screen; his Umrao Jaan is to be played by the thespian Rekha. Perhaps his choice was instinctive, but it is she, who would go on to eternalise Umrao on screen like no other. Any attempt in consequent years to emulate the genius of the part she lived would fall flat. Like when none other than the stunning, gorgeous Aishwariya Rai comes face to face with this dawning reality when she made an attempt to reinvent Umrao Jaan once again in 2006. Even her famous, ethereal beauty fails to come to her rescue from the dismal fate of the reinvented Umrao Jaan.

As her superstar father flourished and reached the pinnacle of stardom in the South, Pushpavalli struggled with Bhanurekha, her sister and her other half siblings (all born out of wedlock) to make ends meet.

As her father lined up awards, Bhanurekha Ganesan lined up the doors of producers for meagre roles to keep her family going. At a very tender age, Bhanurekha learnt that to survive as a woman in this dark, lethal world is dangerous. It is shamelessly easy to abuse and take advantage of a minor who no one feared, respected or cared for. All the more reason that she bore the cross of her famous title and her illegitimacy.

In the same year of her arrival, there was another south Indian beauty who was launched: Hema Malini. Hema Malini was far well placed in society, knew Hindi better, was a trained dancer, and was easily accepted as well as respected by the film industry. On the other hand Rekha was ridiculed. She was made fun of, mocked at, body shamed serially by various industry people.

This is precisely how Rekha began her career in Bollywood. But there was no looking back for her and no luxury of choice. If she was a product of nepotism, then this was her biggest curse. Back home, she had mouths to be fed, debts to be cleared and had only one choice, the choice to plod on for survival. She began with B grade films, signing them in heaps. Her aim had nothing to do with acting and everything to do with money.

It was the veteran Gulzar who had spotted a special spark in her in the underrated film Do Anjaane, and shocked everyone by casting her in such a serious role. Though she had slowly fought her way into being a glamorous prop for the male leads by then, no one had ever considered Rekha as any kind of an actor.

Bhanurekha Ganesan, the unacknowledged daughter of her star father, saw to it that she was now a star herself. She had finally managed to silence her critics once and for all. The once dark, gauche, oddly dressed girl with a strange accent was now a gorgeous, fashionista Diva, a star, dancer, and actor with an enviable Hindi diction and an outstanding voice modulation (the last two, I personally believe, none of the other non Hindi speaking actresses including her more welcomed contemporary Hema Malini, could accomplish anywhere near her.)

Farooque Sheikh has been quoted as saying that on the sets of Umrao Jaan, she left the unit spellbound with her Urdu dialogue delivery. All others -Naseer, he himself, even Raj Babbar (all of them having had a prior familiarity with Urdu), she was the only non Urdu speaking actor around the set. Yet her dialogue delivery in the film remains exemplary till date.

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