Ram Gopal Varma on Gabbar Singh, Sholay’s Sequel, and the Logic of Cinema

Ram Gopal Varma in conversation with Komal Nahta

“The audience loving Gabbar Singh was the story’s failure,” said director Ram Gopal Varma in a candid interview with film trade analyst Komal Nahta on his YouTube podcast Game Changers.

Though Varma hasn’t delivered a critically acclaimed film in over a decade, his cinematic sharpness remains undeniable. In this engaging conversation, he reflects on the failure of Ram Gopal Varma Ki Aag (2007), the perils of loving villains, and the curious illogic of mainstream cinema.

Amjad Khan in Sholay 

Why Loving Gabbar Singh Was a Problem
Varma believes the iconic villain Gabbar Singh, played memorably by Amjad Khan in Sholay (1975), wasn’t meant to be loved. He states, “We are supposed to hate the villain, not admire him.” According to Varma, the audience’s fascination with Gabbar signals a narrative failure. When evil becomes celebratory in cinema, does the story lose moral grounding? Food for thought, though. 

The Wild Sholay Sequel That Never Happened                      Varma revealed a never-before-heard plotline pitched to him by Sasha Sippy, head of Sholay Media & Entertainment and nephew of Sholay director Ramesh Sippy. 

In this proposed sequel: Gabbar and Helen’s dancer character consummate their relationship post the Mehbooba song, leading to the birth of Junior Gabbar. Veeru and Basanti return to Ramgarh for Radha but are kidnapped by Junior Gabbar.Veeru and Basanti's children then journey to rescue them! 

How this story would believably unfold on screen, considering the timelines and assumed biological growth of various characters seems to be the least of the problems. 

Komal Nahta laughs uncontrollably, while Varma swears the pitch was genuine. This far-fetched narrative, says Varma, was one of the reasons he eventually helmed the much-criticized Aag.

What Went Wrong with Ram Gopal Varma Ki Aag?           

Varma attributes the failure of Aag to two key decisions:

Creative Constraints from Sasha Sippy's Pitch: Sasha Sippy's Sholay sequel plot narration, certainly killed RGV's interest. Clearly it was plot that RGV didn't expect to unfold. Varma also surely, didn't have creative control to make his own Sholay version for Sholay Entertainment.   

The Gabbar Poster Mishap: The feedback on a graphic artist's impression of Amitabh Bachchan as Gabbar Singh (renamed Babban due to copyright issues), convinced Varma into a full remake path. The rest, as they do not say often, was disaster. 

Despite the backlash on Aag, Varma laughs at his failures in the interview.

Cinema is Not About Logic, Says Varma                        Interestingly, Varma argues that story logic often disrupts cinematic emotion. He recalls audience mumbling about a brief subplot in Bhoot (2003) that distracted from the horror. According to him, “Story is not the core of a film—emotional highs are.”

He supports this with a scene from Satya (1998): When police are tipped off about Satya’s presence in a theatre, they recklessly announce it, causing chaos. Logically, they should have quietly arrested him. 

Varma admits this was a lapse, but it served the film’s drama. Only background score composer Sandeep Chowta questioned this logic back then—yet the audience never did. 

The Curious Case of Veerappan (2016)

I ended up watching Veerapan after the interview. Varma’s Veerappan shows flashes of brilliance. The lead actor’s uncanny resemblance to the real-life smuggler stands out, though Lisa Ray’s vengeful character borders on theatrical. The score often overemphasizes tension. 

Some of the camera placements and angles are creatively superb. While not a full return to form, the film proves Varma still has cinematic instincts that could spark a comeback.

Is a Ram Gopal Varma Comeback Possible?

In the podcast, Varma hints at working on a “big film” but withholds details. He maintains that commercial success doesn’t influence his decisions, and spontaneity remains central to his filmmaking. While critics and fans may be skeptical, the hope for a true RGV resurgence lingers.

Despite his eccentric public persona, social media antics, and controversial statements, there’s still an audience eager to see Varma reclaim his storytelling prowess.

Final Thoughts: Still Rooting for Ram Gopal Varma

Ram Gopal Varma once reshaped Indian cinema with gritty realism and emotional intensity. Today, even as his films falter, the filmmaker's insights and self-awareness are compelling. Perhaps all it takes is one well-crafted, emotionally resonant story—logic be damned—for Varma to return to form.

Ram Gopal Varma's Satya (1998)

Sholay and the Western Genre: Exploring the Western influences in the film

Sholay is a classic Indian film released in 1975 that has become a cultural icon in India. The film, directed by Ramesh Sippy, was heavily influenced by the Western genre and transformed the Indian film industry by introducing a new style of storytelling and filmmaking.

Cowboys, gun battles, wild wild west: The Western genre has been a popular and enduring genre in cinema history, characterized by its depictions of the American West, cowboys, outlaws, and lawmen. Sholay incorporated several elements of the Western genre, including its setting in a small village in the Indian state of Uttar Pradesh, a story of revenge, and the portrayal of larger-than-life characters.

Nowhere do writers Salim-Javed copy any situation or scene for the Hollywood or the Sergio Leone classic westerns. The family execution scene has an echo from Leone's Once Upon a Time in the West (1968), that's it for any direct influences. The westerns impact is widely visible in the cinematography and minimal use of background score in key action sequences. 

The anti-hero: One of the most significant Western influences in Sholay was its use of the "anti-hero" archetype. In Western films, anti-heroes are often portrayed as flawed characters who possess qualities that make them less than heroic, such as greed or a lack of morality. Sholay's character of Gabbar Singh, played by Amjad Khan, was an anti-hero who was ruthless, violent, and lacked any redeeming qualities. Gabbar Singh was unlike any villain that Indian cinema had seen before, and his portrayal was groundbreaking in the context of Indian cinema.

Buddy system: Another Western influence in Sholay was its use of the "buddy film" trope. In Western films, the buddy film is a popular subgenre that typically features two protagonists who form an unlikely bond and work together to achieve a common goal. Sholay's protagonists, Veeru and Jai, played by Dharmendra and Amitabh Bachchan, respectively, were two very different characters who became friends and worked together to defeat the film's antagonist.

R.D. Burman: Sholay's use of music was also heavily influenced by Western cinema. Western films often use music to enhance the mood and atmosphere of a scene, and Sholay was no different. The film's iconic soundtrack, composed by R.D. Burman, was a fusion of Indian classical music and Western-inspired tunes. 

The use of music in Sholay was revolutionary and set a new standard for Indian cinema. My favourite is the opening credits score, that is at once western yet organically Indian. 

Sholay was a game-changer for the Indian film industry. It transformed the way Indian filmmakers approached storytelling and introduced a new level of technical excellence to Indian cinema. The film's success paved the way for a new era of Hindi cinema, and its influence can still be seen in Indian films today.

Goodbye Kaalia: Remembering Viju Khote (1941 - 2019)

"Tera kya hoga Kaalia?" 

(What will happen to you, Kaalia?) 

"Sardar, maine aap ka namak khaya hai." 

(Boss, I have been loyal to you. ("Have eaten your salt (namak)" implies loyalty.)

"Toh ab goli kha..." 

(Then eat a bullet now..)

(Gabbar presses the gun against Kaalia's forehead and presses the trigger...)

Approximately 44-odd years since he was shot dead onscreen playing henchman Kaalia to lunatic dacoit Gabbar Singh, veteran actor Viju Khote has finally found his peace. 

The 77-year-old actor, known to play bit roles in many Hindi and Marathi movies throughout his five-decade long career passed away yesterday due to multiple organ failure. Apart from Sambaa, Kaalia was the only other recognizable henchman from Gabbar's dacoit gang in Sholay.

Stereotyping & the death of an actor 
As it happens with many Hindi movie actors, Viju Khote was typecast to play the henchman in numerous other movies. Stereotyping an actor based on appearance and repeating a 'hit' character is a Hindi movie curse few actors emerge from and Khote couldn't either. Alas, for here was an actor capable of playing any shade, given the chance.

Galti se mistake ho gaya
Who can forget the bumbling henchman Robert in Rajkumar Santoshi's cult comedy Andaaz Apna Apna and his hilarious punchline,"Galti se mistake ho gaya." ("The mistake happened by mistake.") 

Also, watch his timing when he matches the amazing Paresh Rawal in the same movie with, "Cheene dalne ka time ho gaya sir?" ("Is it the right time to put in the sugar, sir?").

Last word: Andaaz Apna Apna sequel 
Andaaz Apna Apna director Rajkumar Santoshi spoke to the media on Khote's death, summing up Khote's unfulfilled career,"He was a fantastic actor with very good timing. No one could’ve played Robert like he did. He would drop by whenever he was in Juhu. I’m currently writing the second part of Andaz Apna Apna and had a role for him in mind. He didn’t get the roles he deserved.” 

Rest in peace Viju Khote, and thank you for Kaalia, Robert and many other wonderful characters. 

Sholay fans video recommendation!
Sholay fans, additional recommended viewing - Viju Khote's delightful cameo as Kaalia in Atithi Tum Kab Jaoge? (2010), watch out for his chemistry with Paresh Rawal in this Ajay Devgn-Konkana Sen Sharma comedy.   

SHOLAY in Popular Art: Sholay Graphic Novel Cover

Sholay: Black & White Stills V

Sholay Spinoffs: Sholay Adventures on Pogo (Poster)

Sholay Dialogue Baazi: Khota sikka toh...

 

In contrast to Sergio Leone's westerns, Sholay was all about power-packed dialogues with some little silent moments stitched in.    

  

There is enough warning of a particular coin in the opening scenes of Sholay. Post the opening credits, the jailor and Ramlal arrive at Thakur's abode, there is no grand background music here, effective as blank white paper for the dialogues to stamp their authority. A deceptive quietness persists, an apt precursor to the train robbery scene.

The jailer has arrived in Ramgadh in response to Thakur's (now obsolete mode of communication) telegram. He is shown photographs of two crooks (The audience never sees the photographs, nice touch) and on Thakur's query tells him that they are scoundrels and never up to any good. Yet, Thakur needs him to find the men. The jailer wonders why? The following dialogues sum it up.

Jailor:

KHOTA SIKKA TOH DONO TARAF SE KHOTA HOTA HAI.

Thakur: 

SIKKE AUR INSAAN MEIN SHAYAD YAHI FARAK HAI...

Our lesson, bhakt jano!: A person is not like a bad coin. Hate the sin, not the sinner! Amen!

Sholay Dialogue Baazi: Gabbar ke taap se...

 

Gabbar Singh and gang arrive to disrupt Ramgarh's holi celebrations, right at the end of the song, right on cue - Holi ke din dil khil jaate hai. Jai is cornered, Veeru is coaxed out of hiding and Gabbar is understandably exulted. Seizing the moment he reinforces the psychological hold of fear he has over the hapless denizens of Ramgadh. Gabbar pretty much stamps his authority on the situation, creating the illusion of dependency and inevitability. He proclaims in dreaded tongue, even as most villagers cower behind closed doors and windows:

GABBAR KE TAAP SE TUMHE EK HI AADMI BACHA SAKTA HAI, EK HI AADMI...KHUD GABBAR!

 

(There is only one man who can save you from Gabbar's heat, only one man...Gabbar himself!)  

As for fans, here is our lesson: 

Unwittingly, Gabbar meant that nobody can help us, but ourselves...A lesson in self-reliance. Thank you Gabbar, you missed the Teacher's Day function by the way... 

Sholay Dialogue Baazi: Tera Kya Hoga, Kalia?

A bullet away from death, it is a really a bad day on the job for Kalia. It doesn't get any better when the boss wants to fire him, literally. Gabbar sadistically asks as a parting nod: 
TERA KYA HOGA KALIA?

Sholay Dialogue Baazi: Kitne Aadmi The?

 

It is Gabbar's iconic entry scene, and unlike other Hindi films, much is implied. Kalia and fellow dacoits return without any loot from Ramgadh. Word spreads around and we assume that Samba has passed the message on to the boss.  

Our outrageous theory 
Gabbar considers, "How many people did Thakur hire after all? Can I hire them too? Do they cost much? Will they ask for a 40% hike on previous net salary? Should I put up a counter ad on naukri.com and bid higher than Thakur? After all, Veeru and Jai work only for money (So he has heard). Then Gabbar does his walk and utters:
 

KITNE AADMI THE?

DO SARDAR...

HMMM...WOH DO THE, AUR TUM TEEN, PHIR BHI LAUT AAYE, KHALI HAATH...KYA SOCH KE AAYE THE,SARDAR KHUSH HOGA, SHABASHI DEGA KYUN...

SUVAR KE BACHON!!!

(OINK, OINK, OINK?!)

Sholay Dialogue Baazi: Kab hai holi? Kab?!

Don't worry Basanti, Gabbar will crash the party only after we finish lip-syncing the whole song!

Gabbar Singh was human too, he too wanted to play holi. All guns and no mischief made him a dull dacoit. That Ramgadh residents didn't allow him to do so, also contributed to his bitterness, or so we fantasize. 

Anyway, post killing three men with six bullets (three fatal, three wasted), Gabbar is seething with insult and he bellows out to his stunned gang: KAB HAI HOLI?KAB?!

Sholay Dialogue Baazi: Jo Darr Gaya...

When fear threatens to vanquish you, keep aside your mountain dew for a moment and heed Gabbar Singh's advice: JO DARR GAYA...SAMJHO MAR GAYA!

Sholay in 3D: Trailer Stills II

One of the many 3D effects from the film

Another poetic dacoit fall, another hapless horse

Thakur gets a measure of Gabbar's neck

Veeru has his 'Nana Patekar' moment

Chitti aayi hai...: Gabbar reads a letter

Sholay in 3D: The Latest Offical Trailer

With two days to go for the historic release, the latest Sholay in 3D trailer is doing the rounds on youtube. This trailer is impressively done, with good juxtaposed edit cuts, considering that most of us have seen the 2D version more than once. Click here to watch the trailer.

The RD Burman background music seems to have been tweaked to suit modern aural sensibilities. What looks most pleasing to the eye is the picture quality. Finally Sholay looks brand new in this enhanced print. Why, even if you consider the latest Pen DVD of Sholay, the print is just about OK.

Then there are many of us who were not yet born or (possibly) conceived when the film was first released in 1975 on 70mm stereophonic sound. 
 
So, bring it on! 

Sholay 3D Poster ii

Sholay 3D: The 'Gabbar' Poster

Sholay Moments: Who will take Basanti Home?

 

A major dilemma in Sholay's final moments and certainly an awkward one. Who the hell will take Basanti home? Veeru or Jai? They could have left it to the horse too. Basanti was an expert in riding the tanga, so surely, surely, surely she could ride back to Ramgarh on horseback. Was it about chivalry then? What were Veeru and Jai afraid of? That Gabbar's pack would catch up with Basanti and hold her at ransom? 

The decision is finally made by Jai, when a machine gun bullet finally catches up with a Hindi film hero, right on the back. Even as Jai jumps to safety, we must understand that neither Veeru or Basanti have seen the wound. It is a moment of great sacrifice and we can only watch when Jai tosses the fatal coin and thus seals his fate. 

Amrish Puri in Mr. India

Bullets and Heroes (Before Rajnikanth) 

I could go on and on about the bullet that first gets Jai. There are very few Hindi film heroes who have been felled by enemy fire post Sholay, all through the trashy eighties and redundant nineties. If either Amrish Puri, Ranjit, Gulshan Grover or Prem Chopra finally did get to the gun, there was always a sister, mother, evil brother gone good, vamp turned pure woman, or former lover (lesser paid heroine) who would dive in lightning speed to save the hero. Then bloody and dying, they would make their final speeches, if needed bring the hero and heroine's hands together and then pass away in a twist of head on cosy denim hero lap. 

Sholay and Spoofs

Not a long time ago, when MTV and V used to be music channels with a few laughs lined up in between (Quick Gun Murugan, The Liftman, etc) there were some funny spoofs done on Sholay. One tickling series, shows how Jai steals Basanti from Veeru, even as the latter is haplessly bonded by friendship. Hence in the reenactment of the final scenes, Jai tricks Veeru to stay back by the toss of the coin and thus makes away with Basanti. If Sholay were to be remade as an epic story of betrayal, Jai would have made a bigger name as a villain and even Gabbar would have roared in disgust, "Dikkar hai!" So much for alternatives.    

Sholay Stills: Yeh Haath...

It is a moment that defines the entire film - that Gabbar Singh (Amjad Khan) makes his choice - he lets Thakur (Sanjeev Kumar) live. Not before maiming him for life though. 

Gabbar Singh seems like any other endearing Hindi film villain until this point, but when we see the pair of swords swishing the air in sheer brutality, we know he has to be destroyed. That in some way justice has to be served.Unlike the Thakur family execution which is without any villainous dialogue, here Gabbar is at his sadistic height, hatefully playful when he screams "Yeh haath hum ka dede Thakur!" ("Give us thy arms, Thakur!). 

Thakur's character is brought to the fore in the matter of seconds. He is a man of honour, and in his loss and rage, ready to be killed by Gabbar Singh. But as would any of us be horrified, he bellows, "Nahi" ("No!"). Take my life, but certainly not my arms - it is an intense scene of audience connect, we would said so too - "Not my arms." 

Sanjeev Kumar matches up to the brilliant debutant Amjad Khan with a natural vibrancy, watch his eyes in those final moments of barbarism. Unforgettable.

The act also makes it plausible in the story for Gabbar Singh to not think the unthinkable - that in a boomerang of events, his arms would be crushed by an armless Thakur wearing nail-poking shoes. That Thakur would be asking him, "Yeh haath hum ko dede!" 

We don't blame Gabbar. High on confidence, savageness and cruelty, Gabbar didn't invest on a pack of spies to loom the Thakur household and inform him, "Well, Ramlal is making him some new shoes, beware!" But then, it was GP Sippy who was financing the film, and he was certainly not a dacoit. 

Sholay Stills: The Thakur's Shoe...

It is a scene that lasts hardly a second in the censored version of Sholay. Pity for that, for how easily you can miss what the director and the cinematographer do with it. The dark sky is menacing, it is also a take on the day when Gabbar executed Thakur's (Sanjeev Kumar) family. Then there is the nail-stuck shoe and the expression on Thakur's face. 

Calm and composed all through his dealings with Jai and Veeru, rarely showing his wrath, he now bursts open all his accumulated hate. It is also a scene that brings revenge to the fore, and its blind rage of consequences. Also, since this is the censored version, it becomes all the more unbelievable that Thakur Baldev Singh repents and gives up Gabbar in the name of law and order. It is a sane, sombre end, but doesn't go with Thakur's character at all...

Die-hard Sholay fan stumbles upon 'ORIGINAL SHOLAY'!!

He has seen it. He has got it on DVD. He is the 'chosen one'.

How many of us have heard of the original version of Sholay where Thakur kills Gabbar?

Everybody.

How many of us have seen it?

Nobody...until my friend Veersen Savant alias Spiral Smoke, presently working in Dubai as a sub-editor bought a DVD of this original version. A native of Kolhapur, this die-hard Sholay fan was astounded to say the least.

Here is his reaction: 
"First I was shocked...I never thought I would find the original of this gem of a film in a heap of "on discount" CD's in a mall...I had no idea it was the uncut version...and while watching the film...I realised there is something new...I thought I may have not noticed these scenes earlier...my mind was playing games...but when the climax arrived...but the police didn't...then it dawned on me it was the original uncut version..."

My friend Veeru also informs us of other extended scenes, including the one of Gabbar killing Ahmed. I can't wait to see this version, how can you take it so calmly, dear readers....anybody in Dubai who can pilfer it from Veeru?...before he wraps it in a chain and keeps the DVD in an unbreakable safe, and guards it day and night...I can make an offer you can't refuse...anybody...please...