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Ijaazat
Film poster
Directed byGulzar
Written bySubodh Ghosh (story)
Gulzar (screenplay & dialogues)
Produced byR. K. Gupta
StarringRekha
Naseeruddin Shah
Anuradha Patel
CinematographyAshok Mehta
Edited bySubhash Sehgal
Music byR. D. Burman
Distributed byGoldmines Telefilms
Release date
  • 11 September 1987 (1987-09-11)
Running time
137 minutes
CountryIndia
LanguageHindi

Ijaazat (transl. Permission) is a 1987 Indian Hindi-language musical romance film directed by Gulzar, based on a Bengali story, Jatugriha, by Subodh Ghosh, which had earlier been adapted in Bengali in 1964 as a movie with the same name.[1] Starring Rekha, Naseeruddin Shah, Anuradha Patel in lead roles, the film followed the story of couple who are separated and who accidentally meet in a railway station waiting room and discover some truths about their lives without each other. The film belongs to the art-house genre in India known as Parallel Cinema, and won two National Film Awards in the music category.[2][3][4]

A book based on the film titled Gulzar's Ijaazat: Insights into the film by Pakistani author Mira Hashmi was launched in June 2019.[5]

Plot

[edit]

The film is narrated as a present-day encounter between a divorced couple interwoven with flashbacks of several instances in their marriage. Mahender (Naseeruddin Shah) gets off a train and makes his way to the station waiting room just as it starts to rain heavily. His ex-wife, Sudha (Rekha), is already sitting in the waiting room but he fails to notice her. Upon seeing him, Sudha tries to hide from him but later they accidentally run into each other.

In the first of many flashbacks, Mahender meets Sudha's father figure (Shammi Kapoor) who urges him to consider keeping his vow of marrying Sudha. He had been engaged to Sudha for 5 years but always made an excuse to delay their wedding. Sudha's father figure has already fixed the wedding date and urges Mahender to show up. Mahender meets with Sudha to discuss his ongoing relationship with Maya (Anuradha Patel). Sudha asks Mahender to bring Maya to her (Sudha's) father figure and reveal his intention of marrying Maya instead. Mahender returns to his place for Maya but finds that she has left, leaving him a letter. Later, Mahender marries Sudha and has an amicable relationship with Maya simultaneously. Mahender often speaks with Maya as a friend but wishes to get over her and pursue a normal, married life with Sudha who remains wary of Maya's presence in her marriage. When Maya attempts suicide, Mahender feels guilty and starts spending more time with her. Sudha, not knowing about Maya's suicide attempt and believing that Mahender is being unfaithful to her, feels that her marriage was a mistake, and questions Mahender about his intentions. He then tells her strongly that he is going to bring Maya home to talk to her. Sudha is opposed to this but Mahender leaves nevertheless to bring Maya. However, Maya overhears Mahender and Sudha's arguments on the phone and she leaves before Mahender reaches to pick her up. Returning home without Maya, he finds that Sudha has left as well. Mahender, unable to bear the shock, suffers from a heart attack. Maya nurses him back to health while Sudha stays out of contact with Mahender and continues as a teacher in Panchgani. Later, Mahender feels the that it is time to bring Sudha back home. However, just then, he receives a letter from Sudha stating her intentions to abandon the marriage and cut off all contact with Mahender. After an argument with Mahender, Maya feels estranged at this abrupt change in their relationship and rides off on her motorcycle early in the dawn. Mahender rushes to follow her in his car to stop her. Maya's scarf gets entangled in the rear wheel of the motorcycle, which derails her off the vehicle and she dies from the injuries.

In the present day, after finding out about Mahender and Maya's fate, Sudha is deeply saddened. Just as Mahendra approaches her to ask about her life, her new husband (Shashi Kapoor) enters the room to pick her up. As Sudha's husband leaves the waiting room with her luggage, Mahender asks her to forgive him. She touches Mahender's feet as a plea for his forgiveness and for his permission (Ijaazat) for her to leave him—saying that this was something which she had not received the last time they had separated. Sudha's husband returns to see what is holding her up, recognises Mahender, and smiles at him. Sudha and her husband leave the waiting room and the platform while Mahender hangs back.[6][7]

Cast

[edit]

Reception

[edit]

Filmfare wrote about the film, "One of Gulzar's most sensitive films, it also remains Rekha's most poignant performance as the possessive wife, who gives up her husband (Naseeruddin Shah) rather than share him with another woman (Anuradha Patel). Mera Kuch Saaman … can anyone not be moved by it?"[8] According to Lalit Mohan Joshi, author of the book Bollywood: popular Indian cinema, Ijaazat "recreates the tingling sensation of a mature romance. It looks at an unusual male-female relationship, a subject less often broached in Hindi films." Joshi further notes that the film "exudes a sentimental feeling that seems more touching than the recent teenybopper romance stories."[9] M.L. Dhawan from The Tribune, while documenting the famous Hindi films of 1987, commended Gulzar for giving "a mature treatment to the eternal love triangle of pati patni aur woh (husband, wife and the other woman)." He further noted Asha Bhosle for her "soul-stirring voice [which] left an impact" and the principal cast for their "emotion-loaded performances".[10]

Awards

[edit]

35th National Film Awards:

Gulzar for "Mera Kuchh Saamaan"

Asha Bhosle for "Mera Kuchh Saamaan"

34th Filmfare Awards:

Won

Gulzar for "Mera Kuch Saamaan"

Nominated

Anuradha Patel

Music

[edit]

The film has four songs, all were composed by R. D. Burman and sung by Asha Bhosle to lyrics penned by Gulzar. The song "Mera Kuch Saamaan" won both writer and singer several accolades with Bhosle winning her second National Award.

Song Singer
"Mera Kuchh Saamaan" Asha Bhosle
"Chhoti Si Kahani Se" Asha Bhosle
"Qatra Qatra Milti Hai" Asha Bhosle
"Khali Haath Sham Aayi" Asha Bhosle

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ijaazat

View on Grokipedia
from Grokipedia
Ijaazat is a 1987 Indian Hindi-language musical romance film directed and written by , adapted from the Bengali short story Jatugriha by . The film stars as Mahendra, as Sudha, as Maya, and in a supporting role, exploring themes of love, regret, and marital discord through a non-linear . Set against the backdrop of a chance reunion at a remote railway station during a stormy night, it delves into the emotional complexities of an estranged couple reflecting on their failed marriage via flashbacks. The story centers on Mahendra, who once loved the free-spirited Maya but marries the dutiful Sudha under family pressure after Maya refuses commitment. Their union unravels due to Mahendra's unresolved feelings for Maya, leading to divorce, only for Sudha and Mahendra to reconnect years later and confront their shared pain. Gulzar's screenplay emphasizes psychological depth and poetic subtlety, characteristic of parallel cinema, blending realism with metaphorical elements like the waiting room symbolizing life's transitions. The film's runtime is 137 minutes, and it was produced by Vaishno Films Pvt. Ltd. Musically, Ijaazat features a poignant score by composer , with lyrics penned by and vocals by . Standout tracks like "" and "Katra Katra" highlight Burman's innovative fusion of classical and contemporary styles, earning widespread praise for their emotional resonance. The , released in , remains iconic in Bollywood music history for its lyrical on love and loss. Upon release, Ijaazat received critical acclaim for its sensitive portrayal of relationships and strong , particularly Rekha's nuanced depiction of Sudha. It holds an 8.3/10 rating on from 1,863 user votes and a 97% audience score on (as of November 2025). The film garnered two National Film Awards at the 35th ceremony: Best Female Playback Singer for Asha Bhosle's rendition of "" and Best Lyrics for . Despite modest box-office success, it is regarded as a landmark in Indian art-house cinema for its thematic maturity and artistic integrity.

Background and Development

Literary Origins

The literary origins of the film Ijaazat trace back to the Bengali short story "Jatugriha" by , first published in 1960, which delves into the marital discord and emotional intricacies faced by a middle-class couple navigating personal incompatibilities and societal expectations. Ghosh's narrative centers on the subtle erosion of a love-based , highlighting themes of guilt over unfulfilled desires—such as the wife's —and the quiet emotional distance that leads to separation without overt conflict. This story received its initial cinematic adaptation in the 1964 Bengali film Jatugriha, directed by and produced by Uttam Kumar Films Private Limited, with portraying the protagonist Shatadal, as his wife Madhuri, and in a supporting role. The film faithfully captures the source material's restrained exploration of relational fractures, using symbolism like an unfinished house to mirror the couple's disintegrating bond, and served as an indirect inspiration for later interpretations by emphasizing introspective human relationships over dramatic confrontation. In the , director —himself a celebrated and with a profound affinity for literary adaptations—chose to reimagine Ghosh's story for a audience in Ijaazat (1987), introducing a to amplify the psychological layers while shifting away from melodramatic excess toward nuanced depictions of , , and unresolved reconciliation. Gulzar's version retains core elements like guilt-ridden entanglements and the of emotional closure but enriches them through surreal framing, such as a rain-soaked railway station reunion, to probe deeper into the characters' inner conflicts without tidy resolutions. This adaptation earned Ghosh a posthumous in 1989, underscoring the enduring impact of his original work.

Pre-Production

developed the for Ijaazat by adapting Subodh Ghosh's Bengali "Jatugriha," creating a loose interpretation that expanded the original narrative thread into a more introspective exploration of love and regret. Having first encountered the story at the home of actor , incorporated poetic monologues and a non-linear structure to delve into the characters' fragmented memories and emotional layers, diverging from the linear progression of the source material. In forming the initial creative team, collaborated with composer , chosen for their longstanding partnership and Burman's expertise in blending classical Indian elements with modern sensibilities, which aligned perfectly with the film's lyrical and melancholic tone. This musical synergy was essential from the stage, as the songs were envisioned as integral to the narrative's poetic flow. Produced by R.K. Gupta under the banner of Vaishno Films Pvt. Ltd., Ijaazat was positioned as a mid-scale production within the movement, emphasizing artistic depth over commercial extravagance.

Production

Casting

was cast in the lead role of Mahendra, a character requiring a nuanced portrayal of internal conflict and emotional ambiguity. The role was initially offered to , who passed away in 1985 before production could begin, leading to Shah's selection. Known for his prominent contributions to Indian through films like Nishant (1975) and Sparsh (1980), Shah brought authenticity to the character's introspective depth, drawing from his experience in roles exploring human psychology and societal tensions. Rekha was chosen for the role of Sudha, marking a significant shift from her frequent portrayals of the 'other woman' in earlier commercial and South Indian films, instead embodying the devoted yet independent wife. This casting highlighted her transition toward more introspective performances in the , following acclaimed roles in art-house projects like Umrao Jaan (1981), where she demonstrated expressive emotional range under restraint. Gulzar's direction emphasized subtle interactions, allowing Rekha to convey quiet resilience without overt melodrama. Anuradha Patel, a relatively new face in with limited prior credits including Prem Rog (1982), was selected as Maya after the role was originally intended for , who also died in 1986. Patel's casting infused the character with a fresh sense of vulnerability and unpredictability, contrasting the seasoned leads and providing a dynamic foil in the . Her performance earned a nomination for Best Supporting Actress, underscoring her ability to balance innocence with complexity as a newcomer. The supporting cast contributed to the film's intimate ensemble dynamic, with Rammohan Sharma portraying the , a pivotal figure facilitating the narrative's chance encounters. Other roles, such as those by and , added layers of familial and societal context, maintaining balance in Gulzar's focus on relational nuances.

Filming and Technical Aspects

for Ijaazat commenced in 1987 and was primarily conducted at key studios in , including Mehboob Studios, Film City, , and Seth Studios, with outdoor sequences filmed at railway stations to evoke the story's authentic setting and in Kudremuk, , for scenic hill station scenes. Cinematographer Ashok Mehta utilized soft lighting and subtle diffusion techniques to differentiate flashbacks from the present timeline, creating a tender, introspective visual palette that emphasized emotional depth through intimate close-ups and warm tones, aligning with the film's themes of regret and longing. Editor Subhash crafted seamless transitions for the film's extensive flashback structure, avoiding abrupt cuts to maintain a fluid emotional narrative flow and enhance the psychological intimacy of the characters' recollections. As a modest art-house production, Ijaazat relied on minimalistic sets and dialogue-centric scenes, prioritizing character-driven storytelling over elaborate action or spectacle to fit its constrained resources.

Narrative and Characters

Plot Summary

The film Ijaazat opens with the divorced couple Mahendra () and Sudha () accidentally reuniting in the of a remote railway station during a fierce storm that delays their trains. Stranded together overnight, their conversation prompts a series of flashbacks that unfold the story of their marriage and separation. In the flashbacks, marries Sudha under family pressure, despite his deep emotional attachment to his former lover, the vibrant and impulsive Maya (). Sudha, portrayed as patient and forgiving, enters the union knowing of Mahendra's unresolved feelings and initially accommodates the remnants of his past relationship, including Maya's belongings left in their home. Mahendra's persistent guilt over his divided loyalties creates tension, while Sudha's repeated acts of forgiveness fail to bridge the emotional gap. Maya's further strains the marriage, as Mahendra spends more time with her, leading to arguments; after Mahendra suffers a heart attack and is nursed by Maya, Sudha leaves the home and later sends a letter seeking . Maya's dramatic interventions escalate the conflict, as she reenters their lives through persistent letters, phone calls, and bold gestures, such as sending back mementos tied to shared memories, which reads aloud to Sudha. These intrusions highlight the unresolved tensions in the marriage. In the aftermath, following an argument with , Maya dies in a motorcycle accident when her scarf becomes entangled in the rear wheel of her , leaving alone with his regrets. Returning to the present, the night of reflection culminates in an emotional confrontation where and Sudha revisit their hurts and lingering affection, but without any prospect of reconciliation. As the storm clears, Sudha's caring new husband () arrives to fetch her, underscoring the finality of their separation.

Cast List

The principal cast of Ijaazat features in the lead role of , the conflicted husband. portrays Sudha, the devoted wife. plays Maya, the intrusive lover. Supporting roles include Rammohan Sharma as the Ticket Checker. Additional supporting actors comprise as Sudha's mother (Parvati), as the school principal, as 's grandfather, and as Sudha's husband. The film also features minor roles such as passengers at the railway station and a child credited as Swati, though specific details on the latter are limited in available credits.

Music and Soundtrack

Composition Process

The music for Ijaazat was composed by in close collaboration with lyricist , marking one of their final joint efforts before Burman's death in 1994. Burman's score blended traditional structures with orchestral elements, creating a melancholic fusion that complemented the film's introspective tone; this approach drew on Burman's signature style of integrating Indian classical motifs with Western arrangements to evoke emotional depth. The composition took place during recording sessions in 1987 at Mumbai's prominent studios, where Burman often worked to layer intricate instrumentation. Gulzar's lyrics were deeply influenced by traditions, emphasizing themes of separation, longing, and unresolved emotions central to the narrative. For instance, in "," the lyrics use everyday objects left behind as a poignant for lingering memories and in a failed relationship, reflecting Gulzar's poetic subtlety in capturing relational fragmentation without overt . This creative involved Burman often receiving Gulzar's verses first and improvising melodies around them, sometimes challenging the composer's rhythmic instincts due to the lyrics' abstract nature. All vocal tracks featured as the primary singer, selected for her versatile emotional timbre that conveyed vulnerability and restraint, aligning with the female characters' inner turmoil; her renditions, such as in "Khaali Haath Shaam Aayi Hai," highlighted Burman's preference for her nuanced delivery in introspective pieces. The background score was integrated seamlessly to enhance key scenes, employing instruments like the for ethereal, wandering motifs and the for soulful, wailing undertones that underscored moments of solitude and reflection, amplifying the film's psychological intimacy without overpowering the dialogue.

Track Listing and Lyrics

The soundtrack of Ijaazat comprises five tracks composed by , with lyrics by , and vocals primarily by . Released in 1987 by the label, the album totals approximately 32 minutes and integrates the songs seamlessly into the film's dialogue-driven narrative without traditional lip-syncing.
No.TitleSinger(s)Duration
1Katra Katra (with Dialogues), , 7:29
2Khali Hath Sham Aai Hai5:00
3Mera Kuchh Samaan6:38
4Katra Katra6:03
5Chhoti Si Kahani Se7:13
"Mera Kuchh Samaan" features lyrics centered on remnants of past emotions, with key lines such as "Mera kuchh saamaan tumhare paas pada hai / Saawan ke kuchh bheege bheege din rakhe hain / Ek khat main lipti raat padi hai." "Katra Katra" (both the standard and dialogue versions) employs of incremental life moments, highlighted by "Katra katra milti hai / Katra katra jeene do / Itni si baat hai." "Khali Hath Sham Aai Hai" evokes themes of solitude through verses like "Khali haath shaam aayi hai / Khali haath jaayegi / Ik pal toh saath reh jaa / Ik raat toh thahar jaa." "Chhoti Si Kahani Se" draws on everyday narratives for emotional depth, beginning with "Chhoti si kahani se / Har pal yahaan jee bhar jiyo / Pal do pal ki baat hai / Yahaan kal ki baat nahin." The track "Katra Katra (with Dialogues)" overlays film excerpts from and onto the melody, blending audio and spoken elements.

Release and Commercial Performance

Distribution and Premiere

Ijaazat was released on 11 September 1987 in , produced by R. K. Gupta under the banner of Vaishno Films. The film marked Gulzar's return to directing after Angoor (1982), with promotional efforts highlighting its introspective narrative and musical elements. The nationwide distribution focused on major urban centers, including a premiere in theaters, amid a strategy that tied into the prior launch of its in 1986, which built early audience interest through R. D. Burman's compositions and Gulzar's . Limited international screenings followed in subsequent years.

Box Office Results

Reflecting its status as a parallel cinema production amid the commercial excesses of Bollywood, Ijaazat achieved modest success, with sustained interest in urban markets. The film enjoyed theatrical runs in major cities such as and , bolstered by the star power of leads and alongside strong word-of-mouth praise for its emotional depth and R.D. Burman's soundtrack. Although its sensibilities curtailed broader mainstream appeal, Ijaazat underscored its niche commercial viability driven by critical buzz and cultural relevance. As of 2025, the film is available on streaming platforms like and for modern audiences.

Critical Reception and Analysis

Contemporary Reviews

Upon its release in 1987, Ijaazat garnered acclaim for Rekha's portrayal of Sudha, highlighting her nuanced depiction of emotional restraint and vulnerability. Critics commended Gulzar's direction for its subtlety, noting how the film's understated and poetic visuals captured the intricacies of human relationships without . Critics, however, pointed to the film's deliberate pacing as a drawback; the slow tempo and introspective style distanced mass s accustomed to faster commercial fare. The film underscored its emotional authenticity and innovative approach to marital discord, though it divided opinions between art-house enthusiasts and mainstream viewers. Contemporary indicated strong appreciation from urban viewers, who valued the film's psychological depth and lyrical exploration of and .

Thematic Interpretation

Ijaazat delves into the complexities of and the persistence of , portraying a divorced couple's encounter not as a conflict but as a poignant of unresolved emotions. This approach was unusual in , which often adhered to conservative norms that stigmatized and emphasized marital or moral judgment. Director presents as a human experience marked by warmth and honesty, challenging the era's typical depictions of failed marriages as punitive or tragic without nuance. The film's symbolism reinforces its emotional depth, with the railway station serving as a space where characters confront their pasts amid transience and isolation. Rain and storms recur as metaphors for internal turmoil, mirroring the characters' stormy relationships and the release of long-suppressed feelings. Gulzar's directorial style employs non-linear flashbacks to unravel the layers of and , while poetic dialogues—such as those evoking lingering attachments—subtly critique patriarchal guilt, where male indecision burdens women with the emotional fallout of relational choices. In terms of gender dynamics, Ijaazat highlights women's agency through the characters of Sudha and Maya, who navigate love and loss with rather than passive suffering. Sudha, an autonomous working woman, asserts her self-worth by leaving her husband twice, subverting the trope of the sacrificial ideal wife who endures marital discord. Maya, though tied to the past, embodies a free-spirited complexity that influences Sudha's reality, fostering feminist interpretations of female resilience and choice in patriarchal structures. This portrayal underscores how women reclaim narrative control, defying expectations of or victimhood. The film's music further accentuates these themes, with songs like "" using lyrical motifs to underscore the ache of separation and emotional persistence.

Awards and Legacy

Accolades

Ijaazat garnered recognition at major Indian film awards for its artistic contributions, particularly in music and story adaptation. At the 35th National Film Awards in 1988, the film secured two honors in the music category: the Best Lyrics award for Gulzar's work on the song "," and the Best Female award for Bhosle's rendition of the same track. The acknowledged the film's narrative foundation with the Best Story award to for adapting his Bengali tale Jatugriha into the screenplay. also received the Best Lyricist award for "." Additionally, the adaptation of 's work was highlighted through his posthumous recognition, reflecting the literary influence of his Award-winning career on .

Cultural Impact

Ijaazat has left a lasting legacy in Indian by revitalizing interest in introspective narratives on human relationships during the late , when mainstream Bollywood often favored escapist fare. As one of Gulzar's most finely tuned works, the film exemplifies his humanistic approach to exploring marital flaws and emotional turmoil, contributing to the genre's endurance through its artistic acclaim and metaphorical depth. This nuanced portrayal of love triangles and separation set a precedent for more mature treatments of matrimony in subsequent films, influencing depictions of relational complexities beyond the era's typical moral binaries. In the and beyond, Ijaazat experienced renewed visibility through , making it accessible for screenings and home viewings. Post-2020, the film has surged in popularity on streaming platforms like Prime Video and , drawing younger audiences who appreciate its timeless relevance to modern relationship dynamics. Contemporary retrospectives underscore its enduring appeal, positioning it as a benchmark for honest explorations of and in . Academically, Ijaazat is frequently examined within as a cornerstone of Gulzar's oeuvre, particularly for its emotional realism and representation of interpersonal conflicts. Scholarly works, such as a 2023 article by Bakul Srimany, highlight its role in addressing social nuances of and , while the 2019 Gulzar's Ijaazat: Insights into the Film delves into its thematic daring and character depth. These publications, along with broader critiques in the , emphasize the film's contribution to understanding roles and relational in Indian cinema. In , Ijaazat's songs, especially "," maintain vitality through frequent covers by contemporary artists, reflecting ongoing resonance with themes of loss and longing. The track has inspired reinterpretations in indie music scenes, such as acoustic renditions released in the early . The film itself is invoked in public discourse on , praised for its poetic handling of post-separation intimacy, which contrasts with more sensationalized portrayals in media.

References

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  4. https://archive.org/details/in.ernet.dli.2015.355287
  5. https://learningandcreativity.com/silhouette/jatugriha-and-ijaazat-love-in-fragments/
  6. https://indiancine.ma/LDN
  7. https://indiatogether.org/gulzar-interview-after-dadasaheb-phalke-award-people
  8. https://www.awardsandshows.com/features/best-story-award-151.html
  9. https://anuradhawarrier.blogspot.com/2015/03/ijaazat.html
  10. https://indigenousweb.com/blog/ijaazat/
  11. https://www.songsofyore.com/gulzar-and-rd-burman-a-combination-in-contrast/
  12. https://thegreatbollywoodparty.com/2023/12/14/music-review-ijaazat-1987/
  13. https://www.imdb.com/title/tt0091256/trivia/
  14. https://www.cinemaazi.com/public/people/naseeruddin-shah
  15. https://indianexpress.com/article/express-sunday-eye/rekha-at-70-a-look-at-the-actor-the-enigma-and-her-cinematic-and-fashion-legacy-9604612/
  16. https://www.cinemaazi.com/film/ijaazat
  17. https://www.dawn.com/news/743648/writer-with-light-the-life-and-films-of-ashok-mehta
  18. https://lovelifeandcinema.wordpress.com/2020/04/25/ijazat-gulzars-melody-of-love-life-and-regret-2/
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  21. https://paragkdm.wordpress.com/2017/08/31/ijaazat-1987-review/
  22. https://theprint.in/feature/ijaazat-is-a-strangely-poetic-take-on-divorce-that-was-rare-in-1980s-hindi-films/501040/
  23. https://www.highonfilms.com/the-begetter-of-movement-the-case-of-sudhas-husband-in-ijaazat-1987/
  24. https://www.rediff.com/movies/column/gulzars-madhur-dosti-with-r-d-burman/20230818.htm
  25. https://www.republicworld.com/entertainment/bollywood/when-rd-burman-criticised-gulzar-for-writing-lyrics-like-movie-dialogues
  26. https://www.youtube.com/watch?v=D96Ni_A4BxM
  27. https://music.apple.com/us/album/ijaazat-original-motion-picture-soundtrack/1340743930
  28. https://www.discogs.com/master/1247458-Rahul-Dev-Burman-Gulzar-Ijaazat
  29. https://gaana.com/lyrics/mera-kuchh-samaan-1
  30. https://www.smule.com/song/asha-bhosle-katra-katra-milti-hai-ijaazat-1987-karaoke-lyrics/12853351_12853351/arrangement
  31. https://timesofindia.indiatimes.com/entertainment/hindi/movie-details/ijaazat/movieshow/61341486.cms
  32. https://memsaabstory.com/2009/04/26/ijaazat-1987/
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  34. https://www.youtube.com/watch?v=yRb3rUv5sHY
  35. https://www.imdb.com/title/tt0091256/reviews/
  36. https://snratings.wordpress.com/2021/07/08/this-week-that-year-featuring-ijaazat/
  37. https://asuph.wordpress.com/2017/03/09/notes-on-ijaazat-1987/
  38. https://www.firstpost.com/opinion/lets-talk-about-women-how-ijaazat-subverted-the-established-trope-of-the-ideal-wife-10908941.html
  39. https://www.dnaindia.com/bollywood/report-rd-burman-unable-to-compose-music-gulzar-lyrics-asha-bhosle-song-won-national-awards-ijaazat-mera-kuch-samaan-3105427
  40. https://www.filmfare.com/awards/filmfare-awards/winners
  41. https://fipresci-india.org/wp-content/uploads/2023/04/Bakul-Srimany-Gulzar.pdf
  42. https://www.cnbctv18.com/entertainment/why-ijaazat-stands-tall-amid-all-hindi-films-on-matrimony-and-dalliance-14136272.htm
  43. https://www.justwatch.com/in/movie/ijaazat
  44. https://www.amazon.com/Gulzars-Ijaazat-Insights-into-Film-ebook/dp/B07MD3W34G
  45. https://www.youtube.com/watch?v=s2aFbrNdwNg
  46. https://www.scoopwhoop.com/entertainment/rekha-naseerudin-starrer-ijaazat-was-way-more-mature-than-most-films/
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