Zanjeer Movie Review By Taran Adarsh


My generation grew up on Amitabh Bachchan’s movies and everybody — film historians included — know the priceless contribution of ZANJEER [1973] to Big B’s illustrious career. For the uninitiated, the tag, ‘Angry Young Man’, was coined for Bachchan soon after this film hit the screens and made history at the BO. Although a number of films followed [and continue to be made to this date] — depicting a brooding cop, the fight between honest and evil — ZANJEER is revered, an iconic film by movie aficionados and enthusiasts.

The first time I heard that Apoorva Lakhia was remaking ZANJEER, I must admit, I was appalled. Why would anyone want to play with fire, I asked myself. Remaking an iconic film and reprising the characters of Inspector Vijay Khanna [Big B], Sher Khan [Pran], Mala [Jaya Bachchan], Teja [Ajit] and Mona [Bindu], which have been immortalized by the actors, is a humungous challenge. Sure, the Gen X may/may not be aware of the classic, but those who recall ZANJEER affectionately will find it difficult to see a new set of actors slipping into their fav stars’ shoes.

The question is, how much has Apoorva Lakhia retained from the all-time classic? The new ZANJEER borrows from the original, but it is more of an updated avatar of that film. The essence remains the same, the characters are similar too, even a dialogue or two has been retained… but let me put it this way — it’s his interpretation of a film that’s admired even after four decades of its release.

Vijay [Ram Charan] is an honest police officer who has been transferred yet again by the system for chasing the corrupt underworld goons. He is in charge of a case where the key eyewitness, Mala [Priyanka Chopra], has seen a murder by Teja’s [Prakash Raj] gang and refuses to co-operate. Teja is the head of the oil mafia operation and doesn’t want Mala alive. Vijay manages to convince Mala to give a statement which makes her perpetrators come after her.

He gives her shelter in his house to protect her and soon realizes that she is slowly becoming an important part of his life. He also encounters Sher Khan [Sanjay Dutt], who is into buying and selling of illegal cars. Seeing Vijay’s honesty and determination, Sher Khan turns over a new leaf and mends his ways to transform into a person who now only goes by the book. He has made Vijay a friend for life and will do anything to help him out.

Vijay, on the other hand, is also battling his inner demons, where he is searching for his parents’ killers. He witnessed their cold blooded murder as a child and the nightmares continue to haunt him till date. The film revolves around Vijay’s struggle against the system, his battle against his inner demons and the trail for Teja.

Let’s get one thing right! ZANJEER is *not* a scene-to-scene reproduction of the earlier film. ZANJEER has a present-day setting, thus catering to today’s spectators. Apoorva and his team of writers rely on drama and action to carry the story forward: The conflict between Ram Charan and Prakash Raj works for most parts, while the action is larger-than-life and in sync with what the present-day spectators expect from masala movies.

A subject like ZANJEER is totally up Apoorva’s alley and without comparing him with his peers, I must state that the director has handled a number of dramatic sequences adroitly, especially the ones between Ram Charan and Sanju and also between Ram Charan and Prakash Raj. It’s a double edge-sword for the director, but as a standalone film — not wanting to color my judgment, since I am a big, big fan of the earlier ZANJEER — the director does deliver in the second hour specifically.

Blemishes? The women in the film don’t really work. Priyanka, a fine actress otherwise, is just about okay. And Mahie Gill aka Mona Darling is inadvertently comical. Moreover, the character of the journalist [Atul Kulkarni] is not as convincing. Apoorva also falters because the theme lacks the originality that it had in the 1970s. Haven’t we been subjected to hundreds of good versus evil saga over the decades? The soundtrack is another hiccup. You forget all about it the moment you exit the hall.

Ram Charan steps into a role that was immortalized by Big B and that’s a huge challenge for any actor. The very thought of reprising the iconic character can put you off, but, again, without drawing parallels with Big B’s towering act, I must add that Ram Charan acquits himself very well. He plays the honest cop with precision and comes across as a supremely talented actor. Priyanka Chopra just doesn’t work. Incidentally, this is the third remake for Priyanka, after DON and AGNEEPATH [all starred Big B in the original versions]. After playing the affable Munnabhai and deadly Kancha Cheena, Sanjay Dutt portrays Sher Khan with gusto. He’s first-rate.

Prakash Raj is electrifying as the villain. He is venomous to the hilt. Mahie Gill definitely deserved something better. Atul Kulkarni is wasted. Ankur Bhatia is relegated to being Prakash Raj’s sidekick. Dayashankar Pandey and Aditya Lakhia try hard to infuse humor in the proceedings. Chetan Pandit is passable.

On the whole, ZANJEER is a triumph for Ram Charan, who gets abundant opportunity to exhibit his talent and scores exceedingly well. However, the film comes across as a regular masala fare that caters to the single screen spectator mainly and also for enthusiasts of typical Bollywood entertainers. As for the comparisons with the original ZANJEER, I suggest try not to get there!


  1. Author
    aryan 10 years ago

    Zanjeer Movie Review by Raja Sen

    Zanjeer is an unforgivably bad remake

    Raja Sen feels Apoorva Lakhia’s Zanjeer is an unwarranted, atrocious remake.

    Zanjeer was never a particularly great film. Sure, it had Amitabh Bachchan at his most primal, all flammable eyes and sincerely-furious baritone.

    And it had Pran, who brought dignity and warmth to the proceedings. It had dialogue that seared the ear, forged hot by master blacksmiths Salim-Javed. And, like all Prakash Mehra films, the music was sensational. These are what makes it a film we can watch over and over and over, with considerable awe.

    The new Zanjeer, directed by Apoorva Lakhia, has none of these things. Least of all the hero.

    Ram Charan makes his Hindi film debut with this Bachchan remake, and my heart goes out to his fans who will have to sit through this tediously trashy film.

    To paraphrase an unforgettable Indian movie character who shares a name with this new hero: Teja tum ho, marks idhar hain — alas, it isn’t anywhere close to a passing grade, son. You shouldn’t have bloody tried.

    The writing is bafflingly bad. “Investigations start karo,” says the hero, a second before cops start whacking everyone in sight. At some point a character launches into a bizarre tirade against the Discovery Channel, which is apparently the channel of choice for the car-thieves demographic. A bawdy joke clearly written in English about one’s, um, “member” is translated sloppily into “mere mehmaan”, and is soon followed up by an offensively bad fellatio joke.

    And yet all this excruciating slop is preferable to when they use the original lines.

    Because they go right ahead and do their take on that most iconic of scenes, the one where Amitabh Bachchan kicks the chair out from under Pran and — words scorching, eyes blazing — ordering him to stay standing, informs him what a police station is not.

    Making Ram Charan play out this scene with Sanjay Dutt as Sher Khan is a brazenly stupid move, as if the makers of this enterprise lost all interest and decided to flaunt their utter incompetence with fanfare.

    Dutt ambles toward a chair, and Ram — who stares at it before kicking it — does so with a perfunctory scowl, the kind reserved for hanging up the phone after a wrong number. The chair itself is an office chair with wheels, so instead of flying violently across the station, this too perambulates blithely out of the screen. It’s all casually catastrophic.

    The words “Sanjay Dutt as Sher Khan” might have struck fear into some of your hearts, and I’m here to reassure you that the result is exactly as woebegone as it sounds. Dutt sleepwalks through Pran’s iconic role, looking demented during the Yaari hai imaan dance and lazy the rest of the time, even during fight scenes.

    At one point he beats away assailants like they were errant pinatas, and at another — during his big, crucial fight scene with Ram Charan — he and his rival look too physically drained to square off against each other, like Street Fighter ran out of batteries.

    A lame fight is apparently what passes for male bonding in the Lakhia universe, and a few scenes later both of them are playing car-racing games on a Playstation. Dutt, if only to provide us with a tragic metaphor, continues to grapple violently with his controller, mashing the buttons even though his car has already crashed and burned.

    Whenever Dutt appears on screen, the background score switches to that of an operatic crescendo, like a rejected cut of something that’d play behind an Old Spice commercial. Background score man Amar “BringYourEarplugs” Mohile has a blast in this film, having made three or four music cues — others include an Inception-y blare, and a Mission Impossible riff — and clicking through them with high-volume recklessness, without care or nuance.

    It’s the stuff of particularly loud nightmares, this.

    But even the ear-pillaging Mohile shuts up for the superloud heroine. The only positive from Priyanka Chopra’s performance in this film is that she hasn’t dragged in Pitbull.

    She plays a hyper-talkative bimbette — in her words, a “simple NRI ladki” — who talks nineteen to the dozen but, forget about matching up to Jaya Bachchan from the original, she serves only to show us how tough it must have been for Kareena Kapoor to pull off Poo.

    Chopra’s character, Mala, is a moron who mistakes Stockholm Syndrome for pyaar. I didn’t think it was possible to bring smugness into a giggle, but Chopra — made of plastic, so fantastic — looks to be giggling at the fact that she can giggle.

    And then there’s Ram Charan, a cop so tough he wears only two inscrutable expressions. He struts around trying to look hardcore, but clearly there is a reason why it takes someone like Salman Khan to make a stupid actioner work.

    This new boy has zero screen presence, possibly worsened by the Hindi dubbing, and taking on one of Bachchan’s Vijays is particularly suicidal. When the film mercifully ends, some remixed song has the gall to play Bachchan’s voice saying that “yeh police station hai” line, which seems particularly cruel to young, unimpressive Ram.

    That voice just puts into perspective how simian this new hero has appeared in this unwarranted, atrocious remake — and we shouldn’t monkey around with Amitabh.

    Rating: ZERO stars

  2. Author
    aryan 10 years ago

    Zanjeer movie review by Subhash K Jha/Ndtv


    Let’s not get carried away. Every time a remake comes along, we get gooey-eyed and nostalgic about the original. The Zanjeer remake gets it right. Dead right.

    Unlike Ram Gopal Varma’s remake of Sholay, which was purely misguided, and Karan Malhotra’s Agneepath, which was unnecessarily brutal, Zanjeer is just what a remake should be. It’s respectful to the original material which, let me hasten to add, was no masterpiece, and suspiciously similar to a 1967 film called Death Rides A Horse.

    Providentially, Lakhia’s Zanjeer is neither slavishly reverent to the original material nor does it take off into weird wild and wacky tangents — like the Rohit Shetty’s recent remake of Hrishikesh Mukherjee’s Golmaal.

    Rather, the new Zanjeer opens up the original plot, weeds out the humbug and preserves the core of the revenge saga of an angry cop whose ire grows progressively higher as the plot moves through a series of cleverly conceived conflicts that accentuate his alienation from his khaki-coloured line of duty.

    No one can do to the sullen cop’s role what Mr Bachchan did. But yes, even in his new avatar, Inspector Vijay Khanna seethes, simmers and boils over with an indignant rage. Everything about the festering rotten ‘system’ makes him annoyed and churlish.

    Since Zanjeer, and its more serious-toned country-cousin Ardh Satya, numerous cops have vented their cinematic spleen in films as far-ranging in quality as Singham and Policegiri.

    What makes Vijay Khanna in the new Zanjeer special is the plot-mechanics which put him in time-worn situations, but subject him to dramatic dynamics that give the prototypical Angry Cop a renewed riveting life of violent score-settling.

    That this time the Angry Cop, who was played with such compelling candidness by Amitabh Bachchan in the original Zanjeer, is played by Ram Charan Teja is just a huge stroke of luck for the remake. Ram Charan brings in an entirely unique brand of silent satyagraha to his character. When we first see him on screen, he wallops a goonda-politician on a busy road of Hyderabad as a hoarding of Ram Charan’s father Chiranjeevi’s film looks down on the chaotic scene.

    A version of Raghupati raghav… plays in the background as Ram Charan lets us know without wasting time, that he means business.

    The pace from that hard-hitting moment is relentless. The momentum never slackens even when Vijay Khanna gets down to expressing tender thoughts for the fast-talking befuddled and disoriented NRI girl Mala. Playing Mala, Priyanka Chopra seems to have a whole lot of infectious fun. She spells joie de vivre and looks gorgeous. Priyanka is the comic relief in this fast-paced actioner where fists and the background point out an ominous warning.

    Lakhia paces the proceedings as a rush-hour traffic of bustling events. No one has the luxury to stop and think as the narration gathers up a storm of pulpy conflicts building up to an exceptionally staged climax filmed amidst the volatile proceedings of a crowded Moharram event.

    From the Ganpati Viasarjan to the Moharram, Lakhia’s interpretation of Zanjeer traverses a mammoth canvas of rapid-fire images. Gururaj Jois’s camera moves dexterously, but never to divert our attention from the central conflict. And Chintan Gandhi’s dialogues use one-liners judiciously, never over-doing the smart-alec retorts.

    The film’s action, by Javed-Ejaz, feels and looks right. The attention paid to getting the action sequences right is highly commendable. There is an elaborately staged multiple-explosion sequence in a huge Dharavi-like slum which belongs to a Vin Diesel-starrer.

    Sanjay Dutt steps splendidly into Pran’s part. His sequences, though limited by the actor’s physical unavailability, show the sensitive side to his aggressive personality. The bonding between Ram Charan and Dutt comes across as effectively as the one between Ram Charan and Priyanka and Prakash Raj and Mahie Gill.

    And the momentum never slackens.

    Fast-paced, and forever furious, Zanjeer also finds space to be excruciatingly funny. In fact, the whole villain-vamp equation between Teja (Prakash Raj) and Mona Darling (Mahie Gill) is here subverted to a kind of comic coitus interruptus where Prakash Raj repeatedly keeps talking about sex without getting down to it while ‘Mona’ Mahie Gill purrs and moans and pouts — not out of passion but for just the opposite reasons.

    The most tongue-in-cheek homage I’ve seen in a remake occurs in this film when we see the new Teja-Mona pair watching actor Ajit and Bindu in the original Zanjeer on a DVD. The sequence is irreverent without appearing to belittle the original. It reminds us of the renewed cycle of art and individual talent.

    Throughout the film, we sense the director’s immense affection for the original Zanjeer, a reverence that never clouds his judgement.

    This is one remake that stands tall and lithe. It is manned by a manful supply of action and yet manages to keep the machismo understated. Breakneck-paced, adrenaline-pumping, pulse-pounding — Lakhia’s deconstructed version of the Prakash Mehra film is a full-on pacy paisa-vasool entertainer with brio and balls.

    Ram Charan Teja makes an impressive Bollywood debut. We can safely say he is the man among the boys.

    Go for it!

    Rating: 4 Stars

  3. Author
    aryan 10 years ago

    Zanjeer Movie Review by Komal Nahta

    Reliance Entertainment, Prakash Mehra Pictures, Flying Turtle Films and Rampage Motion Pictures Ltd.’s Zanjeer (UA) is adapted from the old Zanjeer (1973). Vijay Khanna (Ram Charan) is a principled police officer who often gets into trouble for his no-nonsense and honest nature. He has been transferred many times and his latest transfer brings him to Bombay. He is soon put in charge of investigating a cold-blooded murder, the sole eye-witness of which is Mala (Priyanka Chopra). Mala has seen a man being burnt alive and she instinctively telephones the police when she sees the crime being committed.

    The investigation leads Vijay Khanna to Sher Khan (Sanjay Dutt), a notorious car dealer carrying on illegal businesses, and Rudra Pratap Teja (Prakash Raj), an evil man who has varied business interests. Vijay also soon meets Mala and convinces her to help the police identify the murderer. Mala has come from the USA to attend a friend’s marriage, and is hesitant at first because she is all set to return home after the wedding. But she stays back in Vijay’s home to help the police.

    Even as Vijay Khanna and Mala get romantically involved, the former realises that the cold-blooded murder had taken place as the victim was trying to expose the oil mafia for black-marketing in oil. Right at the top of the illegal business is Rudra Pratap Teja. Mala also learns about the murder of Vijay Khanna’s parents when he was just eight years old. Vijay is often haunted by the scene of his parents’ killings soon after they had celebrated his birthday one rainy night. The only thing he remembers is that the killer had a horse tattooed on his arm. It is because of this that Vijay invariably dreams of a horse and wakes up in cold sweat.

    Quite early on during the investigations, Vijay Khanna becomes friendly to Sher Khan because the latter decides to give up his illegal businesses.

    What happens ultimately? Does Vijay Khanna face opposition from the police force while trying to nab the culprits behind the illegal oil trade or is he given a free hand? Does Mala prove helpful? Is the murderer of the person who was trying to expose the oil mafia, caught by inspector Vijay Khanna? Does Sher Khan aid Vijay or was he playing a game? Is Vijay Khanna able to prove that Rudra Pratap Teja is the kingpin of the oil scam and is he able to mete out punishment? Who had murdered Vijay Khanna’s parents? With only the tattoo as the clue, is inspector Vijay Khanna able to trace the killer of his parents? Do Vijay Khanna and Mala unite in matrimony?

    The story of the old Zanjeer has been adapted by Apoorva Lakhia and Suresh Nair. Right at the outset, it must be mentioned that the adaptation is not half as good as it ought to have been, considering that the old Zanjeer was a blockbuster and also considering that the remake is coming after 40 years!

    Suresh Nair and Apoorva Lakhia have written a half-baked screenplay with absolutely no novelty. As the drama unfolds, it becomes very clear to the audience that the scenes are of the kind seen in umpteen films earlier. What’s even worse is that so many things are simply not established! For example, there is a song (qawwali) in which Sher Khan swears by his bonding with inspector Vijay Khanna (very obviously inspired by the super-hit ‘Yaari hai imaan’ song of the old Zanjeer) but no – repeat, no – attempt has been made to establish the bond of friendship between Vijay Khanna and Sher Khan. Resultantly, the song in which Sher Khan claims to be ready to lay down his life for inspector Vijay Khanna looks weird and silly. For, nobody ever makes such tall claims for an acquaintance which is what inspector Vijay Khanna is for Sher Khan.

    The screenplay writers have also tried to infuse some fun element through a few comic scenes between the two deputies (Daya Shankar Pandey and Aditya Lakhia) of inspector Vijay Khanna but, unfortunately, the comedy falls flat on its face. Several scenes, turns and twists are so stale that the drama often looks straight out of the seventies and eighties! Chintan Gandhi’s dialogues are okay.

    Ram Charan makes an impressive debut. He has a good physique and plays the angry young man ably. He is effective in action scenes too and dances gracefully. Priyanka Chopra performs well and shines in a couple of comic scenes. Prakash Raj makes a wonderful villain but it must also be added that he is getting typecast now. Sanjay Dutt seems to have rushed through his role and hardly makes a mark. Mahie Gill looks out of place as the moll of Rudra Pratap Teja; her performance, though, is alright. Atul Kulkarni gets limited scope but he manages to leave a mark. Daya Shankar Pandey and Aditya Lakhia act well but their comedy is meaningless. Chetan Pandit makes his presence felt in a special appearance. Capt. Bikramjeet Singh and Ankur Bhatia (as Bosco) make their marks. Kavita Kaushik and Jasmine May are okay in song-dance numbers.

    Apoorva Lakhia’s direction is routine. There is nothing in the script or his narration to catch the audience’s fancy. Yes, the action scenes would impress the masses and front-benchers but that’s about all. Music (Meet Bros. Anjjan, Chirantan Bhatt and Anand Raaj Anand) is okay. The ‘Pinky’ song may be popular but it doesn’t have much of a shelf life. A couple of other songs are also okay. Lyrics (Shabbir Ahmed, Ashraf Ali and Manoj Yadav) are in keeping with the film’s mood and flavour. Song picturisations (by Ganesh Acharya, Pony Verma and Swarup-Himanshu) are commonplace but the picturisation of the ‘Pinky’ number is definitely eye-pleasing. Gururaj R. Jois’ camerawork is okay. Javed-Eijaz’s action and stunts lack novelty; also, they could’ve been more exciting. Sunil Nigvekar’s sets are okay. Chintu Singh’s editing could’ve been sharper.

    On the whole, Zanjeer is a dull show which also looks dated. Except for action, that too, mainly for the mass audience, there is not much for the viewers. As such, the film’s run at the box-office will not be exciting. The Telugu version of the film has also been released simultaneously and its fate at the ticket windows may be better due to the stardom of Telugu films’ star, Ram Charan.

  4. sputnik 10 years ago

    Zanjeer Movie Review by Rajeev Masand

    Rating: 0

    September 06, 2013

    Cast: Ram Charan, Sanjay Dutt, Priyanka Chopra, Prakash Raj, Mahie Gill, Atul Kulkarni

    Director: Apoorva Lakhia

    Ramgopal Varma Ki Aag, which I consider the worst Hindi movie ever made, now has company in the annals of film history. It’s a coincidence that the second worst Hindi film I had the misfortune of watching is also a remake of a classic 70s hit – Zanjeer.

    Directed by Apoorva Lakhia, who has previously unleashed such atrocities on our senses as Mumbai Se Aaya Mera Dost and Mission Istanbul, the new Zanjeer isn’t just a bad film, it’s a shameless exercise in laziness. As anyone who watches movies for a living will tell you, there’s some merit to be found even in awful films…a nicely picturised song perhaps, or a decent performance from a random supporting actor, possibly a relevant message buried somewhere in the mess. But I’m afraid there’s nothing polite that can be said about Zanjeer.

    Prakash Mehra’s 1973 film starred Amitabh Bachchan as an upright cop pitted against a corrupt system. Superbly written by Salim-Javed, the movie shrewdly tapped into the nation’s collective frustration, and the Angry Young Man was born. Lakhia’s version features Telugu star Ram Charan as ACP Vijay Khanna, hot on the trail of oil Mafiosi Teja (Prakash Raj). Priyanka Chopra is Mala, an NRI girl and sole witness to a gruesome murder that could link Teja to the adulterated petrol scam. Closely following the blueprint of the earlier film, Vijay is helped in his mission by reformed illegal car dealer Sher Khan (Sanjay Dutt). There’s an informant too, in the form of an honest crime reporter (Atul Kulkarni), who at one point gives Vijay crucial information about Teja’s operations, all the while dancing in a Ganpati procession.

    Not satisfied at being a hollow imitation, the new Zanjeer is embarrassingly ill-conceived and is packed with howlers from start to finish. Sanjay Dutt’s Sher Khan and our cop hero first engage in what comes off as a comedic fight scene that leaves them panting for breath. The next moment, they’re bonding during a Playstation game. At another point in the film, while asking that Vijay be protected, Sher Khan says: “Woh mera dost hai. Aur waise bhi Hindustan mein sher aur dost, dono ki kami hai”.

    Dressed in badly-fitted gaudy suits and constantly pawing his moll (Mahie Gill in a career-ending performance) while delivering sleazy double-meaning lines like “Mona Darling, apna moonh sirf ek cheez ke liye kholna please”, Prakash Raj can’t recreate the gloriously over-the-top guilty pleasure that was Ajit in the role of the original Teja. The film, in fact, is a treasure chest of corny dialogue, with the choicest lines reserved for Prakash Raj. During a lavish meal with his associates, Teja says, “Chicken and chicks are the two meows of life.” While bribing Atul Kulkarni in a private theatre filled with skimpily-clad white women, he points to one lady and says to the reporter: “How about a massage? She gives the best happy ending.”

    Lakhia cobbles together powerful moments from the original Zanjeer, but he brings neither imagination nor depth in his telling. In a cringe-inducing rehash of the memorable morgue scene, as the background score swells, Vijay tells Mala rather tritely, “I thought being a woman, you’d have a heart”. Meanwhile, the famous confrontation scene with Sher Khan in the police station feels strangely muted because Ram Charan can’t muster up the seething intensity that Bachchan brought to that moment.

    Ram Charan, in fact, a successful and popular star in Telugu films, comes off as stiff as a wax statue in his Bollywood debut, with barely any emotion, forget brooding anger. His biceps pop out of his uniform, but he barely flexes his facial muscles. Ram Charan never gets under the skin of Vijay Khanna, making it hard to look beyond his kohl-lined eyes and his neatly styled hair. A portly Sanjay Dutt, his wardrobe comprising bright pathani suits, pretty much sleepwalks through his scenes as Sher Khan. Buried under bad prosthetic make up, or the result of too many hangovers, his eyes and face appear hard as a rock.

    But the most grating performance comes from Priyanka Chopra, who was so good in last year’s Barfi, you have to wonder if that role sucked all the talent right out of her. Like a six year old on a sugar high, she chatters away inanities without pausing for breath; her Mala an idiot version of Jaya Bachchan’s memorable take on the character.

    Having said that, the blame for this film rests squarely with its makers – co-writer and director Apoorva Lakhia, and Prakash Mehra’s own sons who have produced this drivel. If the new Zanjeer was merely a badly made film, you could dismiss the makers as talentless brats. But their biggest crime here is that they don’t so much as try to make a decent film. Their movie stinks of a blatant disregard for the audience’s intelligence and entertainment. It’s an obvious attempt to cash in on the brand Zanjeer and offer nothing in return.

    I’m going with zero out of five, for the new Zanjeer. Without belittling their year-long battle with the film’s makers to be compensated for remaking their script, one has to wonder if screenwriters Salim Khan and Javed Akhtar might consider donating some part of their settlement towards admitting these guys in film school.


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