| 1 | '''Qayamat Se Qayamat Tak''''''''' |
| 2 | |
| 3 | |
| 4 | 1988 162’ col/scope Urdu |
| 5 | d Mansoor Khan p/s Nasir Hussain |
| 6 | lyr Majrooh Sultanpuri c Kiran Deohans |
| 7 | m Anand-Milind |
| 8 | lp Aamir Khan, Juhi Chawla, Ravinder Kapoor, |
| 9 | Goga Kapoor, Dalip Tahil, Aloknath, Asha |
| 10 | Sharma, Reema Lagoo, Beena, Ajit Vachhani, |
| 11 | Raj Zutshi |
| 12 | |
| 13 | |
| 14 | The biggest box-office hit of 1988 relaunched |
| 15 | its producer/writer (and some sources claim |
| 16 | also director), and gave new life to glossy teen |
| 17 | romances shot in advertising styles (cf. Maine |
| 18 | Pyar Kiya, 1989). It also established the 90s |
| 19 | star Aamir Khan. The film combines a Romeo |
| 20 | and Juliet theme with the standard Nasir |
| 21 | Hussain pop musical. Raj (Khan) and Rashmi |
| 22 | (Chawla) fall in love, defying a major ancestral |
| 23 | conflict between their families. They elope and |
| 24 | create a kind of utopia in an abandoned temple |
| 25 | on an isolated mountain, living on love, fresh |
| 26 | air and burnt food. Having to buy provisions in |
| 27 | a nearby town (the ‘real’ world), they are |
| 28 | betrayed and die. The film presents the act of |
| 29 | falling in love as an illusory individuation, but |
| 30 | perhaps the only form of culturally acceptable |
| 31 | rebellion available. Its strongly neo-traditional |
| 32 | thrust is underlined by Khan’s nostalgic |
| 33 | evocation of classic Nasir Hussain heroes (e.g. |
| 34 | Shammi Kapoor, Dev Anand), in the teenage |
| 35 | hero’s dilemma: whether to follow the idolised |
| 36 | father, incarnated in the film’s hit song Papa |
| 37 | kehte hain, or to follow a different heroic |
| 38 | vocation and fall in love. The film rapidly |
| 39 | became a cult, fondly referred to by teenagers |
| 40 | as ‘QSQT’. Khan starred again in the follow-up, |
| 41 | Dil (1990). |
| 42 | |
| 43 | [[Film]] |