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134-471: Deewaar ( transl. The Wall ) is a 1975 Indian action crime film written by Salim–Javed and directed by Yash Chopra . The film stars Shashi Kapoor and Amitabh Bachchan , alongside an ensemble cast of Neetu Singh , Nirupa Roy , Parveen Babi , Iftekhar , Madan Puri , Satyen Kappu and Manmohan Krishna . The music was composed by R. D. Burman , while cinematography and editing were handled by Kay Gee Koregaonkar and T. R. Mangeshkar-Pran Mehra. In

268-453: A feud to develop between Vijay and Ravi. Shouldering past the loss of his mother and brother and many of his associates, Vijay enters into an intimate relationship with Anita, a prostitute whom he meets at a bar . Around the same time, Anand's dead body is discovered inside a train and his funeral is performed by Vijay. Anita advises Vijay to erase the tattoo on his arm through plastic surgery , but Vijay states that doing so cannot erase

402-586: A "desperate attempt to mask the lack of content." Geoff King argued that the spectacle can also be a vehicle for narrative, opposed to interfering with it. Soberson stated that Harvey O'Brien had "perhaps the most convincing understanding of the genre", stating that the action film was "best understood as a fusion of form and content. It represents the idea and ethic of action through a form in which action, agitation and movement are paramount." O'Brien wrote further in his book Action Movies: The Cinema of Striking Back to suggest action films being unique and not just

536-510: A Global release status of Chinese-language martial arts films, most notably Zhang Yimou 's Hero (2002) and House of Flying Daggers (2004), Stephen Chow 's Kung Fu Hustle (2004) and Chen Kaige 's The Promise (2005). Most Hong Kong action films in the first quarter of the 21st century, such as those in Cold War (2012), Cold War 2 (2016) and The White Storm film series have their violence toned down, especially compared to

670-587: A Hong Kong actor that would later be known for heroic bloodshed films, Danny Lee (playing Shashi Kapoor's character), with a police officer persona later seen in Hong Kong crime films such as Woo's The Killer (1989). Deewaar , along with several later 1970s "angry young man" epics it inspired, such as Amar Akbar Anthony (1977), had similarities to elements later seen in 1980s Hong Kong heroic bloodshed films. British director Danny Boyle described Deewaar as being "absolutely key to Indian cinema" and cited

804-436: A fight sequence. In the 1980s, American martial arts films reflected the national move towards conservatism, reflected in films of Chuck Norris and other actors such as Sho Kosugi . The genre would shift from theatrical releases towards the end of the decade with the rise of home video, the lower box-office of American martial arts productions, and a significant portion of direct-to-video action films that first were made in

938-500: A global audience of these films in the United States and Europe, but was cut short on Lee's death in 1973 leading the phases popularity to decline. Following a period of stagnation, Chang Cheh and Lau Kar-leung revitalized the genre with shaolin kung fu films and Chor Yuen 's series of darker swordplay films based on the novels of Gu Long . Kung Fu comedies appeared featuring Jackie Chan as martial arts films flourished into

1072-566: A hero overcoming enemies or obstacles and physical conflicts or challenge, usually battling other humans or alien opponents. By late 2010s studies of genre analysis, the term "genre" itself is often replaced or supplemented with the words "mode" and "narrative form" with all three terms often being used interchangeably. Johan Höglund and Agnieszka Soltysik Monnet said that the difference between these concepts are elusive, but stated that genre could be defined as belonging to specific historical and cultural moments while "mode" and "form" can refer to

1206-469: A huge sum of money, allowing him to purchase a palatial home for his family. Meanwhile, DCP Narang provides Ravi his first assignment to apprehend and arrest some of the hardcore criminals and smugglers in Mumbai, which also include Daavar, and Ravi's own brother, Vijay. Ravi is shocked for having never associated his brother with criminal activities, and must now decide between apprehending Vijay and quitting

1340-454: A larger pattern that operates across a wider historical and cultural field. In their book Action Cinema Since 2000 (2024), Tasker, Lisa Purse, and Chris Holmlund stated that thinking of action as a mode is more helpful than thinking of it as a genre. The three authors suggested that action frames a certain manner of filmmaking and viewing exceed genre without eclipsing it stating that websites such as IMDb and Misplaced Pages rarely label films by

1474-413: A modest home with his wife, Sumitra Verma, and their two young sons, Vijay Verma and Ravi Verma. He is a principled and well-respected trade union leader, who leads struggling labourers on a strike as they are depending on him to better their lives with concessions from their owner, Badri Prasad. However, Badri Prasad retaliates by kidnapping Anand's family and forcing him to sign a contract giving away

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1608-458: A perturbed Sumitra to slap Vijay and half-heartedly defend Anand. However, this event influences one of Samant's rivals, Mulk Raj Daavar, to hire Vijay to protect his smuggled gold bullion that has been thrice hijacked by Samant. Vijay sells the information to Samant to help him hijack the gold bullion, takes the money from Samant, then captures the gold bullion from his warehouse and hands it over to Daavar. An impressed Daavar rewards Vijay with

1742-554: A propensity for violent action, identified with the films of Chang Cheh . Violent female characters have been part of cinema since its early inception, with characters such as Kate Kelly brandishing a shotgun in The Story of the Kelly Gang (1906). Women traditionally appear in action films as romantic interests, tomboys , or sidekicks to male protagonists. Violent white women would appear in other genres as well such as

1876-423: A rural context, Salim–Javed reinterpreted their themes in a contemporary urban context with Deewaar . Amitabh Bachchan 's character, Vijay, was loosely inspired by the real-life Mumbai underworld gangster Haji Mastan . Vijay's story arc in the film parallels that of Mastan's life, such as the rise from a humble dockyard porter to a powerful smuggler , and Mastan's rivalry with smuggler Sukkur Narayan Bakhia

2010-451: A scene of DCP Narang and the police awarding Ravi, along with Veera and Sumitra for his successful pursuit of justice, though Ravi is still filled with remorse for killing Vijay. The film's screenplay, story and dialogues were written by Salim–Javed ( Salim Khan and Javed Akhtar ). The main inspiration for the plot was the film Gunga Jumna (1961), starring Dilip Kumar , which had a similar premise of two brothers on opposing sides of

2144-511: A series of action sequences, stating that that the difference between Raiders of the Lost Ark (1981) and Die Hard (1988), that while both were mainstream Hollywood blockbusters with hero asserting masculinity and overcoming obstacles to a personal and social solution, John McClane in Die Hard repeatedly firing his automatic pistol while swinging from a high rise was not congruent with

2278-745: A significant portion. These films include Taxi 2 (2000), Kiss of the Dragon (2001), District 13 (2004) and Unleashed (2005). Whan asked about the Americanization of these French films, Christophe Gans , director of Brotherhood of the Wolf (2001) stated that "Hollywood ownership of certain elements [...] must be challenged, in order to show that these elements have also long been present in European culture." The most significant producers of French action films with international ambitions

2412-658: A similar level of popularity to that of the Western in the United States. The most internationally known films of this era were the films Kurosawa with Seven Samurai (1954), The Hidden Fortress (1958), and Yojimbo (1961). By at least the 1950s, Japanese films were looked upon as a model to be emulated by Hong Kong film production, and Hong Kong film companies began actively enlisting professionals from Japan, such as cinematographer Tadashi Nishimoto to contribute to color and widescreen cinematography. New literary sources also developed in martial arts films of this period, with

2546-558: A similar narrative structure to Deewaar . Composer A. R. Rahman referenced the film in his Oscar acceptance speech. Deewaar received the Filmfare Best Movie Award of 1976, and also won six more Filmfare Awards for Best Screenplay , Best Dialogue , Best Director , Best Sound , Best Story , and Best Supporting Actor (Kapoor), and received two other nominations for Best Actor (Bachchan) and Best Supporting Actress (Roy). Action crime film While

2680-406: A single genre and that streaming services such as Amazon Prime and Netflix similarly dilutes what is marketed and received as action. In transnational cinema, there are two major trends in action films: Hollywood action films and their style being imitated around the globe and the other being Chinese-language martial arts films. The roots of action films extend into the beginning of film but it

2814-451: A three-act structure centered on survival, resistance and revenge with narratives where the physical body of the hero is tested, traumatized and ultimately triumphant. The third shift in action cinema, the postclassical, was defined by the predominance of Eastern cinema and its aesthetics, primarily the wire-work of Hong Kong action cinema from the classical era, through the convention of the increasingly computer generated effects. This saw

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2948-594: A tough police officer protects society by upholding the law against systematic corruption. This extended into films which O'Brien described as "knee-jerk responses" to perceived threats with rogue cop and vigilante films such as Dirty Harry (1971) and Death Wish (1974) where the restoration of order is only possible by force and antisocial characters prepared to act when society does not. The vigilantism reappears in other films that were exploitative of southern society such as Billy Jack (1971) and White Lightning (1973) and "good ol' boy" comedies like Smokey and

3082-697: A waxy paste to give a shiny appearance and a protective coating. They are often known as shoeshine boys because the job was traditionally done by a male child. Other synonyms are bootblack and shoeblack . While the role is denigrated in much of Western civilization , shining shoes is an important source of income for many children and families throughout the world. Some shoeshiners offer extra services, such as shoe repairs and general tailoring . Some well-known people started their working life as shoeshiners, including singers and presidents. Very large households in Victorian England sometimes included

3216-685: A young male servant called the Boot Boy, specializing in the care of footwear. Hotel staff for this function were commonly called The Boots. (A Boots was one of the crew in The Hunting of the Snark .) Branded shoe polish appeared early in the 19th century: Charles Dickens was employed at age 12 in Warren's Blacking Factory in London in 1824. Since the late 19th century shoeshine boys plied their trade on

3350-463: Is Luc Besson 's France-based EuropaCorp , who released films like Taxi (1998) and From Paris with Love (2010). EuropaCorp produced Transporter franchise starred British actor Jason Statham and made him an action film star, which led him to feature in The Expendables series by the end of the 2010s. The action film genre has been a staple of Bollywood cinema . In the 1970s,

3484-497: Is pregnant with his illegitimate child and decides to abandon his life in the underworld , so that he can marry Anita, surrender himself to the police and seek forgiveness from Sumitra and Ravi, not wanting their unborn son to be scarred the way he was. He also calls Sumitra and asks her to arrive at the temple to give him blessings. Despite this, things take a drastic turn when Samant and his henchmen arrive and thrash Anita to death in revenge. After an emotional moment, Anita dies in

3618-574: Is a generic term to refer to several types of films containing martial arts. The wuxia film is the oldest genre in Chinese cinema. Stephen Teo wrote in his book on Wuxia that there is no satisfactory English translation of the term, with it often being identified as "the swordplay film" in critical studies. It is derived from the Chinese words wu denoting militarist or martial qualities and xia denoting chivalry, gallantry, and qualities of knighthood. The term wuxia entered into popular culture in

3752-413: Is a thief"). Unable to bear the humiliation, Anand escapes from the town and decides to spend his remaining life aimlessly travelling in trains, abandoning his family for whom he had abandoned his principles and ideals. In desperation, Sumitra brings Vijay and Ravi to Mumbai and resorts to low-wage manual labour to raise her sons as a single mother . Their home is on the footpath under a huge bridge that

3886-729: Is based on Twin Dragons (1992). Other films such as the martial arts film Bhadrachlam (2001), borrows from American cinema with the Jean-Claude Van Damme film Kickboxer (1989). SS Rajamouli 's RRR (2022) was among the highest budgeted films made in India, and became a rare hit film outside of Indian diaspora, where it broke box office records in Japan and performed exceptionally well in American box office. Japan

4020-414: Is home to millions of homeless urban poor. As Vijay Verma and Ravi Verma grow up in the slums of Mumbai, Vijay Verma has an acute awareness of his father's humiliation, for he has been victimised for his father's supposed misdeeds, and is reminded of his past by the ever-present tattoo on his arm. He also refuses to enter a temple , stating that he wishes to chart his own destiny and not beg for it from

4154-442: Is itself empowering and, if not, whether a hypersexualized female character can still represent strength and autonomy. Hypersexualized female action leads had tight fitting or revealing costumes that Tasker identified as "exaggerated statements of sexuality" and in the tradition of "fetishistic figure of fantasy" derives from comic books and soft pornography . This originated in television with characters like Buffy Summers ( Buffy

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4288-589: Is similar to Vijay's rivalry with Samant ( Madan Puri ). Salim–Javed 's screenplay had dynamic dialogues and incorporated a number of symbolic motifs . For example, the scene where the two brothers meet as adults takes place under a bridge, symbolizing a bridge forming between the brothers. Set in the Dharavi slums of Mumbai , the film's story of gangsters in Dharavi was a critique of socio-political inequality and injustice in Mumbai. The characterisations of

4422-464: Is when Shashi Kapoor delivers the line, "Mere paas maa hai" ("I have mother"), a line that is widely known in India and has become part of Indian popular culture. The film Loins of Punjab Presents (2007) mocked how the line is sometimes wrongly attributed to Amitabh Bachchan. It also established Parveen Babi as the "new Bollywood woman". The film cemented the success of the writing duo Salim–Javed, who went on to write many more blockbuster films. After

4556-578: The femme fatales in film noir and horror films of the 1970s. Violent women were common in action films since the 1960s. These films featured working-class women exacting revenge. Films of the 1970s featured black women such as Pam Grier in films like Foxy Brown (1974). In the 1980s, a new symbolically transgressive character emerged in the form of Ellen Ripley in Aliens (1986) and Sarah Connor in Terminator 2: Judgment Day (1991) and

4690-550: The Bollywood action film consolidated with two films starring Amitabh Bachchan : Prakash Mehra 's Zanjeer (1973) and Yash Chopra 's Deewaar (1975). The box office success of these films made Bachchan a star and spawned the "angry young man" film in Bollywood cinema. Throughout the 1980s and 1990s, the action genre film declined considerably with new films predominantly featuring former bodybuilders failing to reach

4824-517: The Hong Kong action cinema , such melodramatic male bonding and marginalized women characters, while the Korean films also have greater elements of tragedy and romance emphasized. Most martial arts films made before the mid-1960s were Cantonese-language productions. In comparison, Mandarin-language films were an integral part of Hong Kong cinema due to the influx of Shanghai film talent in

4958-564: The September 11 attacks in 2001, which suggested an end to fantastical elements that defined the action hero and genre. Following the release of Quentin Tarantino 's Kill Bill: Volume 1 (2003) and Kill Bill: Volume 2 (2004) revisited the tropes of 1970s action films leading a renaissance of vengeance narratives in films like The Brave One (2007) and Taken (2008). O'Brien found that Tarantino's films were post-modern takes on

5092-510: The xinpai wuxia xiaoshuo (or "new school martial arts fiction") coming into prominence with the success of Liang Yusheng 's Longhu Dou Jinghua (1954) and Jin Yong 's Shujian enchou lu (1956) which showed influence of the Shanghai martial arts films but also circulated from Hong Kong to Taiwan and Chinese communities overseas. This led to a growing demand in both local and regional markets in

5226-496: The 'Angry young man' of Bollywood cinema . Forbes included Bachchan's performance in the film on its list of "25 Greatest Acting Performances of Indian Cinema". The film also cemented the success of Salim–Javed, who went on to write more blockbuster films; their value skyrocketed and they were being paid as well as the leading actors of the time. Deewaar ' s influence also extends to world cinema , influencing films from Hong Kong and British cinema . Anand Verma resides in

5360-428: The 1960s with films like The Born Losers (1967) which was predominantly a drama, interspersed with martial arts scenes. American martial arts films predominantly came into production following the release of Enter the Dragon (1973), with the only higher-budgeted American film to follow in its wake being The Yakuza (1974). Lott noted the two films would lead to the two subsequent styles of martial arts films in

5494-609: The 1970s. James Monaco wrote in 1979 in American Film Now: The People, The Power, The Money, the Movies that "the lines that separate on genre from another have continued to disintegrate." Tasker said that most post-classical action films are hybrids, drawing from genres as varied as war films, science fiction , horror , crime, martial arts , and comedy films . In Chinese-language films, both wuxia and kung fu are genre-specific terms, while martial arts

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5628-784: The 1980s. Other films again modernized the form with gangster films of John Woo ( A Better Tomorrow (1986), The Killer (1989)) and the Wong Fei Hung saga returning in Tsui Hark 's Once Upon a Time in China featuring Jet Li which again revitalized the swordplay styled films. By the turn of the century Hollywood action films would look towards Hong Kong cinema and bringing some of their major actors and directors over to apply their style to their films, such as Chan, Woo, Li, Michelle Yeoh and Yuen Woo-Ping . The release of Ang Lee 's Crouching Tiger, Hidden Dragon (2000) led to

5762-486: The 1980s. This was followed by the post-classical era where American action films were influenced by Hong Kong action cinema and the growing using of computer generated imagery in film. Following the September 11 attacks , a return to the early forms of the genre appeared in the wake of Kill Bill and The Expendables films. Scott Higgins wrote in 2008 in Cinema Journal that action films are both one of

5896-706: The 21st century have been comic book adaptations, which commenced with the X-Men and is seen in other series such as Spider-Man , and Iron Man series. Tasker wrote that despite the central characters in superhero cinema being extraordinary, occasionally even God-like, they often followed the traces of the central character becoming powerful of which is fundamental to action films, often dealt with origin stories in superhero films. Action films often interface with other genres. Tasker wrote that films are often labelled action thrillers, action-fantasy and action-adventure films with different nuances. Tasker later discussed that

6030-522: The Bandit (1977). This era also emphasizes the car chase scenes as moments of spectacle in films like Bullitt and The French Connection (1971). O'Brien described these films as emphasizing "the fusion of man and machine" with the drivers and vehicles acting as one, concluding with what he described as "the ultimate in apocalyptic modernity and social erasure" in Mad Max 2 (1981). O'Brien described

6164-754: The Bollywood press who reported on him in the headlines of Bollywood magazines for his public brawls and affairs with leading actresses. In Dabangg (2010), Khan continued with this public persona, which was repeated in several of his later films such as Ready (2011), Bodyguard (2011), Ek Tha Tiger (2012) and Dabangg 2 (2012). From the 1980s, generations of actors in Telugu cinema have invoked Hong Kong action films, such as Srihari who stated he wanted to become an actor after watching his first Bruce Lee film. Several films in Telugu cinema were remakes of Hong Kong films, such as Hello Brother (1994) which

6298-598: The Dragon briefly allowed an influx of Hong Kong films to Japan, but the trend did not last, with 28 Hong Kong films, mostly kung fu films, being released in 1974, and the number decreasing to five in 1975, four in 1977 and only two in 1978. Ryuhei Kitamura , director of Versus (2000), said in 2004 that he grew frustrated with the Japanese film industry as producers felt they couldn't make action films in competition with Hong Kong or American productions. Versus grew to become popular outside of Japan, and Kitamura said he

6432-510: The Hollywood model, it follows the Hong Kong model, with an emphasis on acrobatics and stunts . The style of fighting seen in Deewaar combined kung fu (as it was perceived by Indians) with Indian martial arts (particularly Indian wrestling ). The soundtrack of the movie was composed by R. D. Burman , and the lyrics were penned by Sahir Ludhianvi . The soundtrack received praise. At

6566-545: The Hong Kong film industry after the handover in 1997. Anglophone action film scholarship has tended to emphasize bigger budget American action films, with academics tending to find films that fall out of Hollywood productions as not quite fitting definitions of the genre. By 2024, many national and regional industries were known for action films. These include international films such as Hindi, Tamil, Telugu, Malayalam , South Korean, Japanese, Thai , Brazilian , Chinese , South African , French and Italian action titles. At

6700-571: The Indian box office, the film grossed ₹ 75 million ( $ 9   million). In Mumbai alone, the film grossed ₹10 million . In terms of footfalls , the film sold an estimated 31 million tickets at an average 1975 price of ₹2.40 per ticket. Adjusted for inflation , this is equivalent to an estimated ₹4.17 billion ( $ 64 million ) at an average 2017 price of ₹134.38 per ticket. Numerous DVD editions, from companies such as Eros Entertainment , Shemaroo Entertainment and Eagle Home Video, entered

6834-807: The Red Lotus (1965) and King Hu 's Come Drink with Me (1966). In the 1970s, the Hong Kong martial arts films began to grow under the format of yanggang ("staunch masculinity") mostly through the films of Chang Cheh which were popular. This transition led to the kung fu film sub-genre at beginning of the decade and moved beyond the swordplay films with contemporary settings of late Qing or early Republican periods and had more hand-to-hand combat over supernatural swordplay and special effects. A new studio, Golden Harvest quickly became one of independent filmmakers to grant creative freedom and pay and attracted new directors and actors, including Bruce Lee . The popularity of kung fu films and Bruce Lee led to attract

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6968-484: The United States, Europe and Japan had during this period. Yip described Japanese cinema as the most advanced in Asia at the time. This was showcased by the international breakthrough of Akira Kurosawa 's films like Rashomon (1950). The film genre known as the chanbara was at its height in Japan. The style was a sub-genre to the jidai-geki , or period drama with an emphasis on sword fighting and action. It had

7102-406: The United States, with films like Enter the Dragon about people who reveled in combat, often in a tournament setting, and The Yakuza which had several genres attached to it, but featured several martial arts sequences. By the end of the 1970s, the style was an established genre in American cinema, often featuring tough heroic characters who would fight and not think about their actions until after

7236-591: The Vampire Slayer (1997–2003)) and Xena ( Xena: Warrior Princess (1995–2001)). These series popularity demonstrated a growing market for female action film heroes, in films of the 2000s like Lara Croft: Tomb Raider (2001), Charlie's Angels (2000), Ultraviolet (2006), Salt (2010) and series like Underworld and Resident Evil . These series like their television series earlier, had their leads eroticized as active and physically capable while also being scantily-clad, hyper-feminized similar to

7370-594: The action film genre has been a subject of scholarly debate since the 1980s. Soberson wrote that repeated traits of the genre include chase sequences, fights, shootouts, explosions, and stunt work while other scholars asserted there were more underlying traits that define the genre. David Bordwell in The Way Hollywood Tells It wrote that audiences are "told that spectacle overrides narrative" in action cinema while Wheeler Winston Dixon echoed that these films were typified by "excessive spectacle" as

7504-553: The action heroine's dual status of an active subject and sexual object was overturning the traditional gender binary because the films "assume that women are powerful" without resorting to justify her physical aggression through narratives involving maternal drive, mental instability or trauma. Purse found that female leads in films like Elektra (2005), Kill Bill , Underworld , Charlie's Angels and Mr. & Mrs. Smith (2005) did showcase women having expensive cars, clothing, travel, homes and often high-paying jobs, but that this

7638-459: The arm and heart fatally. After getting hit by the gunshot , a gravely injured and dying Vijay uses a car to escape from Ravi and crashes it into the wall of the temple, where he reunites with Sumitra and pleads forgiveness. Vijay then dies in Sumitra's arms, leaving her extremely shattered, just as Ravi arrives at the temple and is completely distraught over what he did to Vijay. The film ends with

7772-478: The arms of Vijay, who retaliates by brutally murdering Samant and his henchmen, thus branding himself a criminal forever. Ravi learns about the deaths of Samant and his henchmen, and Sumitra, who had always sided with Ravi despite the fact that Vijay was her favourite, is tormented by Vijay's decisions and rejects him. When the two brothers meet for a final clash at the crime scene , Ravi pleads with Vijay to stop running and surrender himself, and ends up shooting him in

7906-435: The book Australian Genre Film , Amanda Howell suggested that this label was used to help distance Australian cinema from Hollywood films as it would be suggesting commerce over culture and that it would be "quite unacceptable to make Australian movies using conventions established in the U.S.A." Howell stated this to be the case with action films of the 1970s and 1980s with Brian Trenchard-Smith 's Turkey Shoot (1982) being

8040-550: The classical form of action cinema to be the 1980s. The decade continued the trends of formative period with heroes as avengers ( Lethal Weapon (1987)), rogue police officers ( Die Hard (1988)) and mercenary warriors ( Commando (1985)). Following the continuity of the car and man hybrid of the previous decade, the 1980s featured weaponized men with who were either also carrying weapons such as Sudden Impact (1983), trained to be weapons ( American Ninja (1985)) or imbued with technology ( RoboCop (1987)). O'Brien noted that

8174-539: The criminal brother Vijay (Bachchan) is generally not religious and "upset with God", yet he carries a badge numbered 786 which his Muslim co-worker , Rahim Chacha ( Yunus Parvez ), points out to be a number of religious significance in Islam (representing Bismillah ) and has its own subplot . The 786 badge plays a powerful and symbolic role in several scenes, saving Vijay at key moments and signifying something ominous when he loses it. Salim–Javed initially showed

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8308-464: The decline of overt masculinity in the action film which corresponded with the end of the Cold War in 1991, while the rise of self-referential and parodies of this era grew in films like Last Action Hero (1993). O'Brien described this era as being soft where the hard bodies of the classical era were replaced with computer generated imagery such as that of Terminator 2: Judgment Day (1991). This

8442-441: The deity. Vijay starts out as a shoeshiner and later becomes a shipyard labourer in his youth, sacrificing his own education in order to enable Ravi Verma to study. On the other hand, Ravi is a perfect citizen and is unwavering in his commitment to law and righteousness. Although all his attempts at receiving a job are in vain, Ravi romances Veera, the daughter of DCP Narang, by whom he is sent for police training and soon earns

8576-559: The direct-to-video field, or in similarly low-budget theatrical releases such as Bulletproof Monk (2003). While the American styled-films were predominantly made in the United States, productions were also made in Australia, Canada, Hong Kong and South Africa, and were predominantly shot in the English-language. Heroic Bloodshed is a that originates with English-language Hong Kong action and crime film fan communities in

8710-487: The earlier work of directors like Woo and Johnnie To . Antong Chen, in his study on the Hong Kong action film, wrote that the influence of China and the amount of Chinese co-productions made with Hong Kong created a shift in these films, particularly following the release of Infernal Affairs (2002). Harvey O'Brien wrote in 2012 that the contemporary action film emerged through other genres, primarily Westerns , crime and war films and can be separated into four forms:

8844-432: The early 1960s and saw a surge in production of Hong Kong martial arts films that went beyond the stories about Wong Fei-hung which were declining in popularity. These new martial arts films featured magical swordplay and higher production values and more sophisticated special effects than the previous films with Shaw Brothers a campaign of "new school" ( xinpai ) martial arts swordplay films such as Xu Zenghong's Temple of

8978-491: The end of the 1990s. Films such as Chunhang (2000) and Memento Mori (2000) and action films Shiri (1999) and Nowhere to Hide (1999) received commercial releases in North America, Asia, and Europe. The success of the latter two films was unprecedented, and was followed by other South Korean action films in the early 2000s reaching the top of the local box office. These South Korean films mimic some traits of

9112-455: The father of the family has died or can no longer work. In Afghanistan some children will work after school and can earn 100 Afghanis (around £1) each day. Many street children use shoeshining as their only means of income. Some cities require shoeshiners to acquire licences in order to work legally. In August 2007 shoeshiners in Mumbai , India were told that they could no longer work on

9246-532: The female leads in implausible elements, such as in Charlie's Angels , Fantastic Four (2005) and My Super Ex-Girlfriend (2006). The fighting styles of women also tend towards more traditionally feminine fluid movements of martial arts, over using guns or directly punching. Purse wrote that the contemporary female action film lead's sexualized brand had her in close proximity of post-feminism discourse about choice, power and sexuality. Marc O'Day interprets

9380-490: The film as an influence on his Academy Award winning film Slumdog Millionaire (2008). The film's co-director Loveleen Tandan noted that " Simon Beaufoy studied Salim–Javed's kind of cinema minutely." Actor Anil Kapoor noted that some scenes of Slumdog Millionaire "are like Deewaar , the story of two brothers of whom one is completely after money while the younger one is honest and not interested in money." Slumdog Millionaire , which pays homage to Amitabh Bachchan, has

9514-460: The film was inspired by Dilip Kumar's intense performance as Gunga in Gunga Jumna , which Bachchan sharpened and reinterpreted in a contemporary urban context reflecting the changing socio-political climate of 1970s India. Salim–Javed "felt only Bachchan could do justice to Vijay's role." According to Akhtar, they "saw his talent, which most makers didn't. He was exceptional, a genius actor who

9648-428: The film – a "denim blue shirt worn with khakee pants and a rope dangling over the shoulder" – was the result of a mistake by the tailor. He said, "The knotted shirt and rope on the shoulder in [ Deewaar ] was an adjustment for an error in stitching, shirt too long so knotted it". In certain scenes, Bachchan had some input on Chopra's direction, such as the father's funeral scene where Bachchan, instead of lighting

9782-479: The film, two impoverished brothers struggle to survive in the slums of Mumbai and eventually find themselves on opposing sides of the law. The film's title signifies the wall that springs up between the two brothers, drawn apart by fate and circumstances in a time of socio-political turmoil. Deewaar was released worldwide on 24 January 1975 to critical acclaim and praise for its story, script, music cast performances (especially Bachchan, Kapoor and Roy). The film

9916-414: The following films were voted the top ten best action films of all time. In Hong Kong, the "new school" of martial arts films that Shaw Brothers brought in 1965 featured what featured what Yip described as "strong, active female characters as protagonists." These female-centered films were challenged with the rise of a new male heroic prototype marked by a strong sense of youthful energy and defiance and by

10050-448: The formative trends at this point had become "identifiably generic" as film industries began to reproduced these films during the decade producers like Joel Silver and production companies like The Cannon Group, Inc. began to formulate production of these films with both high and low budgets. The action films of this era have roots in classical story telling, specifically rooted from martial arts films and Westerns, and are built around

10184-610: The formative, the classical, the post-classical and neoclassical phases. Yvonne Tasker reiterated this in her book on action and adventure films , saying that action films became a distinct genre during the New Hollywood period of the 1970s. The formative films would be from the 1960s to the early 1980s where the Anti-hero appears in cinema, featuring characters who act and transcend the law and social conventions. This appears initially in films like Bullitt (1968) where

10318-551: The former was one of the highest-grossing movies of the year in Japan. Following LoveDeath , Kitamura's next directing work was in the United States. The action cinema of South Korea mostly existed on the margins of the film industry in South Korea. The genre was initially called the Hwalkuk ("living theatre") was a term that indicated plays and films driven by action scenes, while this term has not been used regularly since

10452-430: The ground. While heroes in kung fu films often display chivalry, they generally hail from different fighting schools, namely wudang and shaolin . American martial arts films feature what author M. Ray Lott described as a more realistic style of violence over the Hong Kong wuxia films with more realism and are often low-budget productions. Martial arts began routinely appearing in fight scenes in American films in

10586-489: The image of Indiana Jones in Raiders swinging his whip to fend off villains in the backstreets of Cairo. British author and academic Yvonne Tasker expanded on this topic, stating that action films have no clear and constant iconography or settings. In her book The Hollywood Action and Adventure Film (2015), she found that the most broadly consistent themes tend to be a characters quest from freedom from oppression such as

10720-488: The injustice caused to him and his family. Nevertheless, Ravi decides to leave the house purchased by him and go to live in his police quarters . Sumitra too is disgusted with Vijay and chooses to live with her honest younger son, even refusing to accept Vijay's gift of the high-rise apartment where she had once worked as a manual labourer. Ravi then completes his task assigned by DCP Narang and arrests many henchmen from Vijay and Daavar's gang, including Daavar himself, causing

10854-453: The labourers' rights, in order to save his family's lives. When the striking labourers learn about Anand's actions, they all curse him and thrash him nearly to death, unaware that Anand was threatened to do so. Meanwhile, the enraged labourers also persecute Anand's family, and some of them drunkenly capture Vijay and tattoo his left arm with the Hindi words "मेरा बाप चोर है" (English: "My father

10988-520: The late 1920s. These films were popular during the period, which comprised almost 60% of the total Chinese films. Man-Fung Yip stated that these film were "rather tame" by contemporary standards. He wrote that they lacked the kind of dazzling action choreography as expected today and had crude and rudimentary special effects. These films came under increasing attack by both government officials and cultural elites for their allegedly superstitious and anarchistic tendencies, leading them to be banned in 1932. It

11122-570: The late 1970s, with "action movie" becoming the more familiar term. The Korean action films came from Japanese cinema, James Bond series , and Hong Kong action cinema. As North Korea borders China, it block access to the continent from a South Korean perspective, the Cold War allowed South Koreans to substitute deferred travel beyond the border through films with locations shot in Hong Kong. While melodrama and comedy were staples in South Korean cinema, most action films were sporadic and tied to

11256-508: The late 1980s and early 1990s. In the Chinese language, the term used for these films is jinghungpin , literally meaning "hero films". Academic Laikwan Pang asserts that these gangster films appeared at a time when Hong Kong citizens felt particularly powerless with the handover of Hong Kong from the United Kingdom to China set for 1997. The key directors of the genre were John Woo and Ringo Lam , and producer Tsui Hark , with

11390-513: The late 1980s and early 1990s. Author Bey Logan stated that the term was coined by Rick Baker, in the British fanzine Eastern Heroes . The term is used broadly. Baker described the style as Hong Kong action films which feature gangsters and gunplay and martial arts that were more violent than kung fu films and academic Kristof Van Den Troost described it a term used to distinguish Hong Kong gun-heavy action films from period martial arts films from

11524-431: The late 1980s in the United States were martial arts films. Towards the end of the 1990s, production of low-budget martial arts films declined as no new stars in the genre developed and older actors such as Cynthia Rothrock and Steven Seagal started showing up in less and less films. Even internationally popular films like Crouching Tiger, Hidden Dragon (2000) had negligible effects in American productions in either

11658-403: The law, with the elder criminal brother as the main character. Deewaar is thus considered to be a spiritual successor to Gunga Jumna . Salim–Javed credited Gunga Jumna as well as Mehboob Khan 's Mother India (1957) as the main inspirations for Deewaar , which they described as a "more urban, much more contemporary" take on their themes; while Mother India and Gunga Jumna took place in

11792-545: The market. These were released as non-restored, non-remastered editions, void of supplementary features. Eagle Home Video came out with a restored edition of this movie, preserving the original aspect ratio in a 4:3 pillar box and a DTS Master Audio (HD) in 2.0. The restoration took place in Shemaroo studios. Upon release, Deewaar was a major commercial success, ranking as the fourth-highest-grossing Bollywood film of 1975 , and received critical acclaim, with critics praising

11926-624: The most notorious. Smith had previously released films like Deathcheaters (1976) and Stunt Rock (1979) when financial incentives were available for overtly commercial projects. She commented that action films did tell identifiably Australian stories such as the Sandy Harbutt 's biker film Stone (1974) and Miller's post-apocalyptic film Mad Max (1979) derived from Australia's social and cultural realities, as well as how George Miller 's later Mad Max: Fury Road (2015) derived from Australia's long-standing cinematic fascination with

12060-475: The most popular and popularly derided of contemporary cinema genres, stating that "in mainstream discourse, the genre is regularly lambasted for favoring spectacle over finely tuned narrative." Bordwell echoed this in his book, The Way Hollywood Tells It , writing that the reception to the genre as being "the emblem of what Hollywood does worst." In the Journal of Film and Video , Lennart Soberson stated that

12194-604: The notion that traditional marks of masculinity are not exclusive to men and that musculature was not natural, but something to be achieved. Accusations of these muscular women of the era were levelled at that them by 1993 were that they were "men in drag" and that the films generally have to "explain" why their female leads displayed physical aggression and why they were "driven to do it." As the 1990s went on, Hollywood films began having more conventional looking women in their action films such as The Long Kiss Goodnight (1996). A vibrant debate exists about whether hypersexualization

12328-465: The other) remained still long enough to be distinctly visible. Shoe shine posts were common in public places like railway stations throughout the 20th century, as featured in Fred Astaire 's dance number A Shine on Your Shoes The profession is common in many countries around the world, with the revenue earned by the shoeshiner being a significant proportion of a family income, particularly when

12462-435: The physical effort required to completing a task and the abilities and skills acquired over time. Films from the period reflected on the cultural and social climate from the period, as seen in invoking Japanese or Western imperialist forces as foils. The kung fu film came out of the wuxia films. In comparison to the wuxia , film, the focus on the kung fu film is on the martial arts over chivalry, The martial arts films

12596-440: The police force. Later, Ravi shoots an impoverished boy, Chander, in the leg non-fatally in an attempt to arrest him for committing theft, only to find out that Chander had stolen only some bread for his family. After admitting Chander to a hospital under police custody, a remorseful Ravi visits his home, offering his family some food and confessing his action, but Chander's enraged mother berates Ravi and accuses him of colluding with

12730-414: The poor and needy resort to the same life. After hearing both sides from Chander's parents, Ravi, who was initially reluctant to act against his own brother, is finally motivated to agree to take his case from DCP Narang. When Ravi investigates that Vijay has accquired wealth overnight by crime, he confronts Vijay and orders him to surrender himself to the police. However, Vijay refuses to do so, citing all

12864-574: The popularity Bachan had. These films predominantly earned their revenue through longer runs at B-grade theatres. A cycle of action films came from these films in the 1980s and 1990s called the Avenging Woman film, where female protagonists seek justice for a rape victim, where the protagonist seeks revenge through violence. In 2009, the action genre was re-popularized with the box office success of Wanted (2009) starring Salman Khan . Khan reinvented his screen persona with that of his image in

12998-543: The postwar period. These films were targeted at the more educated and more refined middle-class audiences who saw themselves as above the contemporary martial arts films. Scott Higgins wrote in 2008 in Cinema Journal that Hollywood action films are both one of the most popular and popularly derided of contemporary cinema genres, stating that "in mainstream discourse, the genre is regularly lambasted for favoring spectacle over finely tuned narrative." Bordwell echoed this in his book, The Way Hollywood Tells It , writing that

13132-451: The pyre with his right hand, suggests to use his left hand to show off the tattoo, "Mera baap chor hai" ("My father is a thief"). The film was shot mostly at night because Bachchan was shooting for Ramesh Sippy 's Sholay at that time. The film contains a fight scene that involves Bachchan performing martial arts inspired by Hong Kong martial arts cinema , which Deewaar was one of the first to do in Indian cinema. Rather than following

13266-657: The railway stations due to "financial irregularities". Every Shoeshine Association was asked to reapply for their license, with many worried that they would lose out to a rival. In addition to street shoe shiners, in some countries, among others Japan , the US and Singapore , there are artisanal shoeshines who specialize in the care of bespoke luxury shoes. These are usually found at high-priced men's outfitters or operate as independent businesses. Since 2017, annual World Championships in Shoe Shining are hosted in London. During

13400-447: The rank of Sub-Inspector . In the process of fighting for his rights, Vijay refuses to pay the weekly extortion to the henchmen of the shipyard owner, Samant, who is a merciless crime lord . Vijay proceeds to thrash several of Samant's henchmen, and a disappointed Sumitra berates him due to this. Vijay sarcastically asks her whether she expects him "also" to escape like a coward, implying that he criticises his father's actions, causing

13534-402: The reception to the genre as being "the emblem of what Hollywood does worst." Tasker wrote that when action and adventure films secured awards, it is often in categories such as visual effects and sound editing. Time Out magazine conducted a poll with fifty experts in the field of action cinema, including actors, critics, filmmakers and stuntmen. Out of the 101 films ranked in the poll,

13668-441: The road and cars and a history of cultural anxiety towards a bleak and forbidding outback landscape opposed to the optimism of American action films. France is a major European country for film production and has made co-production commitments with 44 countries around the world. Around beginning of the 21st century, France began producing a series of films explicitly intended for international markets, with action films representing

13802-401: The script to Bachchan, whom they had in mind for Vijay's role after having worked with him on Zanjeer (1973). At the time, Bachchan was working on another film with Yash Chopra , and told him about the script. After some initial scepticism, Chopra was eventually convinced to direct the film after Salim–Javed narrated the storyline to him. Bachchan's "angry young man" performance as Vijay in

13936-442: The script; Sinha turned down the film when he heard Khanna was initially cast in the lead, due to a fallout between the two. Nirupa Roy 's role as Sumitra Devi was also first offered to Vyjayanthimala ; Nischol and Vyjayanthimala turned down the film after they found out Khanna would no longer be involved. Shashi Kapoor was subsequently cast as Ravi, and Nirupa Roy as Sumitra Devi. In 2014, Bachchan revealed that his iconic look in

14070-529: The serialization of Jinaghu qixia zhuan (1922) ( transl.  Legend of the Strange Swordsmen ). In wuxia , the emphasis is on chivalry and righteousness and allows for phantasmagoric actions over the kung fu film 's more ground-based combat. The Kung fu film emerged in the 1970s from the swordplay films. Its name is derived from the Cantonese term gong fu which has two meanings:

14204-485: The starting point of the genre being traced to Woo's A Better Tomorrow (1986) make a record-breaking HK$ 34.7 million at the Hong Kong box office. The style of these films would influence American productions, such as Michael Bay 's Bad Boys II (2003) and the Wachowskis ' The Matrix (1999). Korean media recognized the more fatalistic and pessimistic tone of these films, leading to Korean journalists to label

14338-399: The state in protecting those who store goods in warehouses, and hunting down petty thieves trying to feed their starving families. However, Chander's father, who is a retired schoolteacher , forgives Ravi and justifies the shooting by stating that the stealing no matter of a lakh or of a penny is a crime, and that all criminals should be treated equally and it would lead to anarchy if all

14472-463: The story, dialogue and screenplay, as well as the performances of the cast, particularly those of Bachchan, Kapoor and Roy. Indiatimes ranks Deewaar amongst the Top 25 Must See Bollywood Films . It is one of the three Hindi films featured in the 2017 edition of the book 1001 Movies You Must See Before You Die , the others being Mother India (1957) and Dilwale Dulhania Le Jayenge (1995). It

14606-497: The streets, and were common in British cities. The earliest known daguerreotype (photograph) of a human, View of the Boulevard du Temple , features a man having his shoes shined in the lower corner of the print. Though the image shows Paris' busy Boulevard du Temple , the long exposure time (several minutes) meant that moving traffic cannot be seen; however, the two men at lower left (one apparently having his boots polished by

14740-433: The style as "Hong Kong noir ". The influence of these films was evident in early Korean films such as Im Kwon-taek 's General's Son (1990) and later films such Song Hae-sung 's A Better Tomorrow (2010), Cold Eyes (2013) and New World (2013). Postcolonial Hong Kong cinema has struggled to maintain its international identity as a provider of these types action films because the talents involved had abandoned

14874-420: The success of this film, the value of film writers skyrocketed thanks to Salim–Javed, and they soon were being paid as highly as some actors at the time. Amitabh Bachchan described Salim–Javed's screenplay for Deewaar as "the perfect script" and "the best screenplay ever" in Indian cinema. Deewaar , one of the first Indian films with an action sequence modelled after Hong Kong martial arts cinema , popularised

15008-406: The term "action film" or "action adventure film" has been used as early as the 1910s, the contemporary definition usually refers to a film that came with the arrival of New Hollywood and the rise of anti-heroes appearing in American films of the late 1960s and 1970s drawing from war films , crime films and Westerns . These genres were followed by what is referred to as the "classical period" in

15142-450: The term action film genre and adventure are often used in hybrid, and are even used interchangeably. Along with Holmund and Purse, Tasker wrote that the action films expansiveness complicates easy categorization and though the genre is often spoken of as singular genre, it is rarely discussed as singular style. Screenwriter and academic Jule Selbo expanded on this, describing a film as " crime /action" or an "action/crime" or other hybrids

15276-445: The themes that rescinded irony to restore " cinephile re-actualization of the genre's conventions." The genre went into full circle resurrecting films from the classical period with Live Free or Die Hard (2007) and Rambo (2008) finding the characters navigating a contemporary world while also acknowledging their age, culminating into The Expendables (2010) film. The most commercially successful action films and franchise of

15410-529: The title character in China O'Brien (1990) who were physically muscular and or enacted more extreme violence that was usually reserve for male action leads. In her book Contemporary Action Cinema (2011), Lisa Purse described the media response to female leads in action films reveal a discomfort about their presence and are often described with hesitant terms of women moving into territories that are perceived as masculine. Revealing woman in this form deconstructs

15544-539: The turn of the millennium, Australian genre films have gained increasing acceptance in the Australian feature film industry, while the action genre represented a small percentage of its output in the 21st century. Scholars of Australian genre film generally used the term "action-adventure" which allows them to apply it to various forms of narratives such as tongue in cheek heroic posturing stories like Crocodile Dundee (1986), road movies or bush/outback films. In

15678-516: The two brothers are sociologically contextualised to represent a form of urban conflict and drama, aimed at presenting a causal explanation for the sequence of events and Vijay's social alienation , with the narrative explaining his every action and decision, grounded in his memories and experiences. The script generally has an atmosphere of secularism , while incorporating subtle religious motifs. The mother Sumitra ( Nirupa Roy ) and police brother Ravi ( Shashi Kapoor ) are religious Hindus , whereas

15812-422: The use of locations such as Hong Kong. These films often featured one-legged or otherwise handicapped action characters similar to those of Japanese films ( Zatoichi ) and Hong Kong films ( The One-Armed Swordsmen ). These included Im Kwon-taek's Returned Left-Handed Man (1968), Aekkunun Bak's One-Eyd Park (1970) and Lee Doo-yong's Returned One-Legged Man (1974). In the 1990s, the country's national cinema

15946-840: The use of martial arts sequences in Bollywood films from the 1970s to the 1990s. The style of fighting popularised by Deewaar , with acrobatics and stunts , and combining Chinese kung fu (as it was perceived by Indians, based on 1970s Hong Kong films) with Indian pehlwani wrestling, became the standard model for Bollywood action scenes up until the 1990s. The film was later remade in Telugu as Magaadu (1976), in Tamil as Thee (1981), in Malayalam as Nathi Muthal Nathi Vare (1983), in Persian as Koose-ye Jonoob (1978), and in Turkish as Acıların Çocuğu (1985). Another remake of Deewaar

16080-475: The woman of exploitation films of the 1970s such as Caged Heat (1974) and Big Bad Mama (1974). While characters like Frank in The Transporter series are permitted to visibly sweat, strain and be bloodied, Purse found a reluctance for filmmakers to have their female leads have any appearance warping injuries to ensure a perfectly made-up face. Comedy is often used in films of this period to place

16214-469: The words on the tattoo from his heart and soul. Meanwhile, Sumitra falls terminally ill and Vijay is also unable to visit her at the hospital due to the police appointed by Ravi to arrest him. A furious Vijay enters the temple for the first time, and confronts the deity for punishing him at the cost of his faithful mother. As a result, Sumitra miraculously recovers from her terminal illness, much to Ravi and Veera's happiness. Later, Vijay learns that Anita

16348-448: Was "only a semantic exercise" as both genres are important in the construction phase of the narrative. Mark Bould in A Companion to Film Noir (2013) said that categorization of multiple generic genre labels was common in film reviews who are rarely concerned with succinct descriptions that evoke elements of the film's form, content and make no claims beyond on how these elements combine. Film Studies began to engage generic hybridity in

16482-408: Was a difficult market for Hong Kong action cinema to break into. Prompted by the success of Enter the Dragon and the popularity of Bruce Lee, Toei made their own Bruce Lee-style martial arts films, with The Street Fighter and its two sequels starring Sonny Chiba as well as a spin-off with a female lead similar to Hong Kong's Angela Mao called Sister Street Fighter . The success of Enter

16616-466: Was aiming for the foreign audience, as he was disappointed with the current state of Japanese films. Kitamura's characters have been described as "a careful combination of the maverick independence of 1980s Hollywood action heroes and the calmness and acceptance of Japanese samurai, a consistent criticism of Japanese people today." Kitamura followed up Versus with two manga-inspired big-budget action films, Azumi and Sky High . Both released in 2003,

16750-538: Was commercially successful and is considered a ground-breaking cinematic masterpiece, with India Times ranking Deewaar amongst the Top 25 Must See Bollywood Films . It is also one of three Hindi-language films to be included on the list of 1001 Movies You Must See Before You Die . The film had a significant impact not only on Indian cinema but also on Indian society ; its anti-establishment themes and Bachchan's anti-hero vigilante character resonated with audiences. The movie cemented Bachchan's popular image as

16884-417: Was displayed in corresponding with corresponded with millennial angst and apocalypticism showcased in films like Independence Day (1996) and Armageddon (1998). Action films of mass destruction began requiring more overtly super heroic characters with further comic book adaptations being made with increased non-realistic settings with films like The Matrix (1999). The fourth phase arrived following

17018-469: Was in decline by the mid-1970s in Hong Kong in relation to the stock market crash which went from over 150 films in 1972 to just over 80 in 1975, which led to a downfall in martial arts films produced. When the economy became to rebound, a new trend of martial arts films, the Shaolin kung fu films emerged and sparked a revival of the genre. Unlike the wuxia , the kung fu film primarily focuses on fighting on

17152-509: Was in decline leading to Hong Kong gangster films filled in this void leading to large commercial success at the national box office. Early Korean heirs to Hong Kong action films include Rules of The Game (1994), Beat (1997), and Green Fish (1997) involving men who gain confidence and achieve personal growth as they embark on journeys to protect national state and meet devastating ends. South Korean cinema only received international attention in both art film and blockbuster formats towards

17286-482: Was in films that weren't good." At Salim–Javed's insistence, Bachchan was cast in the role. Director Yash Chopra 's first choices for Vijay and Ravi's roles were Dev Anand and Rajesh Khanna respectively. After Anand rejected the script, casting plans changed and Khanna was to play Vijay and Navin Nischol was considered for Ravi. However, Salim–Javed had Amitabh Bachchan and Shatrughan Sinha in mind when they wrote

17420-599: Was not until the base of Chinese commercial filmmaking was relocated from Shanghai to Hong Kong in the late 1940s that martial arts cinema was revived. These films contained much of the characteristics of the previous era. During this period, over 100 films were based on the adventures of real life Cantonese folk hero Wong Fei-hung who first appeared in film in 1949. These films primarily on circuited within Hong Kong and Cantonese-speaking areas with Chinese diaspora . Yip continued that these Hong Kong films were still lagging behind in aesthetic and technical standards that films from

17554-504: Was only in the mid-20th century when action films developed into their own recognizable genre instead of being a collection of other types of films such as Westerns, swashbucklers or adventure films. Films have been described "action films" or "action-adventure film" as early as the 1910s. Only by the 1980s was the term action as its own unique genre used routinely in terms of promotion and reviewing practices. The first Chinese-language martial arts films can be traced to Shanghai cinema of

17688-542: Was only shown as being applicable to white middle-class women. Purse found that these women were empowered at the price of women of other ethnicities. This is seen in Aeon Flux (2005) where Sithandra dies protecting Aeon and Rain's death to make way for Alice in Resident Evil (2002). Shoeshiner Shoeshiner or boot polisher is an occupation in which a person cleans and buffs shoes and then applies

17822-485: Was perceived by audiences to be anti-establishment , while Amitabh Bachchan's character Vijay was seen as a vigilante angry hero, establishing Bachchan's image as the "angry young man" of Indian cinema. With the unprecedented growth of slums across India at the time, Vijay was seen as a new kind of hero, with his suppressed rage giving a voice to the angst of the urban poor. Deewaar is also remembered for its iconic dialogues written by Salim–Javed. The most famous example

17956-643: Was the 1994 Bollywood film Aatish: Feel the Fire , starring Sanjay Dutt as the older criminal brother, Atul Agnihotri as the younger police brother, and Tanuja as the mother. Deewaar had an influence on Hong Kong cinema and in turn Hollywood cinema , by playing a key role in the creation of the heroic bloodshed crime genre of 1980s Hong Kong action cinema . Hong Kong's Shaw Brothers studio remade Deewaar as The Brothers (1979), which in turn inspired John Woo 's internationally acclaimed breakthrough A Better Tomorrow (1986). The Brothers also starred

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