If one were to compile a list of romantic films made in Bollywood, the classic Qayamat Se Qayamat Tak would certainly find a place in it. The 1988 film was the debut of Aamir Khan and Juhi Chawla, both of whom went on to become popular stars thereafter. The movie, which was a modern-day rendition of Romeo and Juliet, revolves around youngsters from two feuding families falling in love with each other. Qayamat Se Qayamat Tak achieved many milestones. Aamir Khan’s cousin and filmmaker Mansoor Khan directed the film. It not only changed the face of Bollywood but also gave T-Series its breakthrough into the world of music. All six songs of the film were chartbusters, and about 10 million cassettes of the album were sold.
The film was also a trendsetter, in the sense that it paved the way for the era of romantic films once again in Bollywood. Romantic movies, made popular by Rajesh Khanna in the 60s and early 70s, had lost their relevance after Amitabh Bachchan’s Zanjeer ushered forward the action genre. For the next decade and a half, Bollywood made mostly action films and Qayamat Se Qayamat Tak brought back romance in Hindi cinema, which continued with films like Dil, Aashiqui, Saajan and Dilwale Dulhania Le Jayenge.
Aamir Khan’s uncle Nasir Hussain decided to cast his nephew in the lead role when he decided to make (direct and produce) this film. Aamir had worked in Nasir’s earlier film Yaadon Ki Baraat as a child actor. Midway through the shoot of Qayamat Se Qayamat Tak, Nasir’s health failed him and his son Mansoor had to take over as the film’s director. There were some differences in opinion between the father and son. Nasir wanted to cast Shammi Kapoor and Sanjeev Kumar as Aamir and Juhi Chawla’s fathers respectively, and Mansoor wanted younger actors to portray the roles. Much of the cast was changed, and Dalip Tahil was roped in as Aamir’s father.
There was yet another aspect where their opinions clashed. As was the norm with Indian films at that time, Nasir wanted a happy ending where both lovers lived happily ever after. Mansoor decided that both Aamir and Juhi’s characters should die. This was not common in Hindi films at the time. Both endings were shot, one with them alive and one where they die. When the film was shown to distributors, Mansoor insisted on ending with the deaths and this kept distributors away. Mansoor then decided to distribute the film himself and the rest is history. After Tezaab and Shahenshah, Qayamat Se Qayamat Tak became the third highest grosser of the year and also gave the youth a new anthem in the form of the song Papa Kehte Hai.
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