muhabbat aur maut me.n yahii hotaa hai

Film : Nagin

Year of release : 1976

Spoken by : Nagin in the form of Rajkumari (Mumtaz)

Spoken to : Raj (Feroz Khan)

Dialogue writer : Inder Raj Anand

This was advertised as Mumtaz's last film (even the credit titles say so). And she did disappear after this film before reappearing almost 2 decades later in Aandhiyaan. The ichchhaadhaarii naag and naagin (serpents who can assume any form at will) are blessed with the ability to capture the image of their partner's killer in their eyes and do not rest till they eliminate them. So Reena Roy captures the image of these poor hunks in her mind, and eliminates them one by one. 

Her second last target is Raj. She assumes the form of a girl who could end up being Raj's wife. Although Raj is paranoid by now, having lost so many friends, the naagin still manages to trick him into believing that she is Rajkumari. She plants a poisonous kiss on Raj's lips. As his vision clouds, he tells her,

"tumhaaraa chehraa dhundhlaa dhundhlaa saa..."

She says

"tumhaarii aankho.n ke chiraaG zaraa dheeme paD gaye hai.n"

He has not yet realised, that he has been poisoned. He asks,

"kyo.n?"

She replies,

"muhabbat aur maut me.n yahii hotaa hai"

"मुहब्बत और मौत में यही होता है"

Death and love cloud the vision. Fantastic line.

Bhauchaal kee jab aamad aamad hotee hai, to sab se pehle kutto.n ke kaan khaDe hote hai.n

Film : Raaj Tilak

Year of release : 1984

Spoken by : Samad Khan (Raaj Kumar)

Spoken to : Bhavaani Singh (Ajit)

Dialogue writer : Inder Raj Anand

This is a typical Raj Kumar Kohli multi-starrer set in a kingdom and replete with typical intrigue and cloak and dagger stuff. Notable for the fact that his son Armaan Kohli makes an appearance as Saarika's younger brother. Funny I used the word notable.

Samad Khan is a loyal commander of the king, but Bhavaani Singh plots and tries to overthrow the king. When the coup fails, he puts the blame on Samad Khan and has him branded as a traitor. Years later, Samad Khan is in a position to get his own back. When he meets Bhavaani Singh, Bhavaani recognises the voice. He says

"tumhaaree aawaaz. tumhaaree soorat... samad... samad Khaan?"

"तुम्हारी आवाज़, तुम्हारी सूरत...समद...समद ख़ान?"

Samad responds with this line. I used to love this line as a kid. The beauty of this dialogue is the way Raj Kumar delivers it. He warns Bhavaani about his impending doom and brands him as a dog - because he has been able to identify the portents of his doom. Now read the line.

"achchhaa huaa jo toone mujhe pehchaan liyaa bhavaani. Bhauchaal kee jab aamad aamad hotee hai, to sab se pehle kutto.n ke kaan khaDe hote hai.n"

"अच्छा हुआ जो तूने मुझे पहचान लिया भवानी. भौचाल की जब आमद आमद होती है, तो सबसे पहले कुत्तों के कान खडे होते हैं."

भौंचाल or भौचाल is an acceptable alternative for the normally used word for earthquake - भूचाल. But this is the only place where I have heard it used thus.

kaunsaa cigarette laaoo.n aap ke liye

Film : Dil Tera Diwana

Year of release : 1962

Spoken by : Diwan Badriprasad acting as Raamdeen driver (Ulhaas)

Spoken to : Mohan and Anokhe (Shammi Kapoor and Mehmood)

Dialogue writer : Pa NeelakanTan and Inder Raj Anand

This was a remake of the 1958 Sivaji Ganesan comedy Sabaash Meena. Great music by Shankar Jaikishan. This scene has subsequently been repeated in various forms in many films. The father is a martinet (Diwan Badriprasad) and the son (Mohan ) seeks some freedom. One day the son plans to sneak away to watch a play with his friend (Anokhe). Diwan senses this and asks the driver to slip away and takes his place. Mohan and Anokhe are oblivious that the driver is in fact Mohan's father. Mohan continues to curse his lack of freedom. They finally ask the driver to go and buy some cigarettes. Diwan is initially shocked at being asked to do that but recovers and turns around and asks the two

"kaunsaa cigarette laaoo.n aap ke liye?"

"कौनसा सिगरेट लाऊँ आपके लिये?"

In the original he asks

"enna cigarette saar veNum?"

In unison, both Mohan and Anokhe say

"Five, Five ..." and as they are about to say the last 'five', they see the face of the driver and together jump out of the car window. 

Absolute copy of the Sivaji/Chandrababu/SV Ranga Rao scene and I found the original more delightful.