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Courtesy National Film Development Corporation. Pallavi Joshi and Rajeshwari Sachdev in Suraj Ka Satvan Ghoda (1992). But the author didn’t mind it he liked the film. Sooraj Ka Satvan Ghoda is not a realistic film, so I could take liberties I borrowed more from Devdas and not so much from Dharamvir Bharati’s novel on which the screenplay is based.
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The approach to dialogue writing depends on the nature of the film: whether it is a stylised film or a realistic one.
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Unlike earlier, when there were actors like a Meena Kumari, who knew the language, or a Lalita Pawar, who was from the theatre background they knew how to deliver dialogues. But this is a general problem we face in our industry today. Since the actors are trained I haven’t had to deal with this much. However, I have been lucky that most of my work has been for parallel cinema. Sometimes, we have to use dialogue coaches to get it right. The problem is more pronounced in a film that deals with a particular class or say, when the father is talking in a Punjabi accent and the mother has a Marathi accent. In Zubeidaa, we had some problems with Karisma Kapoor. Many actors struggle with dialects, their enunciation is quite bad. What is the point of writing dialogues when the artistes can’t even speak fluent Hindi? It is through dialogue that class, gender, and region are reflected in a character. The problem is that most directors do not have an ear for dialogue, and most actors here can’t deliver dialogues unless they have a theatre background. As a society, we memorise film dialogues. When I wrote dialogues for three-four scenes for him, he said, ‘Ye kya hai! Ye toh log baatein kar rahe hain, ye dialogue thodi hai (What is this? Are these dialogues? It’s just people talking).’ĭirectors want dialogue-baazi. A friend of mine was making a film and did not have dialogue writer. The problem with Hindi films is that the dialogues are, what Benegal Sahab calls, ‘wah wah dialogues’.
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I would say Sooraj Ka Satvan Ghoda turned out to be closest to my vision as a screenwriter. I find it fascinating and it is a very Indian way of approaching a story. I also wanted to use the Panchatantra form of storytelling, which is the frame-within-a-frame-within-a-frame style. I wrote it in 15 days – the fastest I’ve ever written. There were three stories in the screenplay and one scene was repeated in all three narratives, but each time it appeared differently. Sometimes, I experiment with the structure of a screenplay in Sooraj Ka Satvan Ghoda, I used the Rubik’s cube as the structure.
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