Inder Raj Anand
Inder Raj Anand | |
|---|---|
| Born | Miani, Punjab, British India (present-day Punjab, Pakistan) |
| Died | 6 March 1987 |
| Occupations |
|
| Years active | 1940s–1987 |
| Works | Aag, Aah, Anari, Sangam, Shahenshah |
| Children |
|
| Relatives |
|
Inder Raj Anand (died 6 March 1987) was an Indian film dialogue and screenwriter in Hindi cinema, who worked on many Raj Kapoor films, starting with Aag (1948), Aah (1953), Anari (1959) and Sangam (1964).[1] While formally referred to as a writer for Hindi films, he was actually an Urdu writer,[2] writing his scripts and dialogues in Urdu.[3]
He was father to actor-director Tinnu Anand and producer Bittu Anand. Inder's grandson is noted film director Siddharth Anand (Salaam Namaste (2005) and Anjaana Anjaani (2010)).[4] Famous director Mukul Anand was Inder's nephew. Shahenshah, starring Amitabh Bachchan, was Inder's last film as a writer. It was produced by his son, Bittu, and was directed by Tinnu. Shahenshah was released after Inder's death and it became one of the biggest hits of that year.
Early life
Anand was born in Miani (now Punjab, Pakistan) and would spend his student years in Lahore and Hyderabad, Sindh.[5]
Career
Anand began his career as a writer associated with Prithviraj Kapoor’s Prithvi Theatres and the People’s Theatre movement in Mumbai. He was also closely associated with writer and director K. A. Abbas through the Indian People’s Theatre Association (IPTA).[6]
During his career, Anand wrote screenplays and dialogue for numerous Hindi films, including Safar, Sangam, and Ek Duuje Ke Liye.[7] Several films written by Anand such as Haathi Mere Saathi, Jaani Dushman, and Shahenshah were commercially successful and remain well known in popular Hindi cinema.[8][9]
Filmography
| YEAR | FILM | CREDITS |
|---|---|---|
| 1948 | Phool Aur Kante | Writer |
| 1948 | Aag | Story and screenplay, dialogues |
| 1950 | Birha Ki Raat | Story, screenplay and dialogues |
| 1951 | Naujawan | Dialogues and story |
| 1953 | Aah | Story, screenplays and dialogues |
| 1956 | New Delhi | Screenplay |
| 1956 | C.I.D. | Screenplay and dialogues |
| 1957 | Sharada | Screenplay |
| 1959 | Choti Bahen | Screenplay and dialogues |
| 1959 | Char Dil Char Rahen | Writer |
| 1959 | Anari | Dialogues, screenplay and story |
| 1960 | Chhalia | Story & Dialogues |
| 1961 | Sasural | Dialogues and screenplay |
| 1962 | Dil Tera Deewana | Writer |
| 1962 | Asli-Naqli | Writer |
| 1963 | Hamrahi | Screenplay and dialogues |
| 1963 | Bahurani | Screenplay and dialogues |
| 1964 | Sangam | Writer |
| 1964 | Phoolon Ki Sej | Writer and Director |
| 1964 | Dulha Dulhan | Screenplay and dialogues |
| 1964 | Beti Bete | Screenplay and dialogues |
| 1965 | Aasman Mehel | Writer |
| 1966 | Chotta Bhai | Dialogues |
| 1968 | Vaasna | Dialogues |
| 1968 | Sapno Ka Saudagar | Story |
| 1969 | Nanha Farishta | Dialogues |
| 1969 | Bhai Behen | Writer |
| 1970 | Safar | Writer |
| 1970 | Ghar Ghar Ki Kahani | Dialogues |
| 1970 | Devi | Story, screenplay and dialogues |
| 1970 | Aansoo Aur Muskaan | Writer, Screenplay and dialogues |
| 1971 | Haathi Mere Saathi | Dialogues |
| 1971 | Upaasna | Screenplay and dialogues |
| 1971 | Rakhwala | Dialogues |
| 1972 | Apna Desh | Dialogues |
| 1972 | Anokha Daan | Writer |
| 1972 | Jawani Diwani | Writer |
| 1973 | Gai Aur Gori | Writer |
| 1974 | Humshakal | Dialogues |
| 1974 | Faslah | Writer |
| 1974 | Prem Nagar | Dialogues |
| 1975 | Sunehra Sansar | Writer |
| 1975 | Raaja | Writer |
| 1975 | Julie | Dialogues |
| 1976 | Nagin | Dialogues |
| 1977 | Dildaar | Dialogues |
| 1977 | Aaina | Dialogues |
| 1977 | Yehi Hai Zindagi | Dialogues |
| 1979 | Jaani Dushman | Dialogues |
| 1981 | Ek Duuje Ke Liye | Dialogues |
| 1981 | Kaalia | Dialogues |
| 1982 | Vakil Babu | Dialogues |
| 1983 | Lovers | Dialogues |
| 1984 | Raaj Tilak | Writer |
| 1984 | Jeene Nahi Doonga | Writer |
| 1985 | Mard | Dialogues |
| 1988 | Shahenshah | Screenplay |
References
- ^ Gulzar, p. 304
- ^ Nandy, Ashis (1998). The Secret Politics of Our Desires: Innocence, Culpability and Indian Popular Cinema. Palgrave Macmillan. p. 97. ISBN 9781856495165.
- ^ 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: Gulzar, or Rajinder Singh Bedi or Inder Raj Anand or Rahi Masoom Raza or Vahajat Mirza, who wrote dialogue for films like Mughal-e-Azam and Gunga Jumna and Mother India. So most dialogue-writers and most song-writers are from the Urdu discipline, even today.
- ^ "Salaam Namaste's director is 'very anxious'". Rediff.com Movies. 6 September 2005.
- ^ Rajadhyaksha, Ashish; Willemen, Paul (2014). Encyclopedia of Indian Cinema (2nd ed.). Hoboken: Taylor and Francis. p. 43. ISBN 978-1-135-94318-9.
- ^ Nandy, Ashis (1998). The Secret Politics of Our Desires: Innocence, Culpability and Indian Popular Cinema. Palgrave Macmillan. p. 97. ISBN 9781856495165.
- ^ Gulzar (2003). Encyclopaedia of Hindi Cinema. Encyclopaedia Britannica (India). p. 304.
- ^ "वो राइटर जिसके बिना अमिताभ बच्चन कभी न बन पाते Shahenshah, मौत से ठीक पहले लिखा था 23 पन्नों का डायलॉग". India.com (in Hindi). Retrieved 4 January 2026.
- ^ "Do you know Shahenshah writer created 23 pages of dialogues day before his death?". Hindustan Times. 5 August 2022. Retrieved 4 January 2026.
Bibliography
- Gulzar; Nihalani, Govind; Chatterjee, Saibal (2003). "Encyclopedia of Hindi Cinema". Encyclopædia Britannica (India). Popular Prakashan. p. 304. ISBN 8179910660.