Before Sholay: Notable Amitabh Bachchan films (1969 - 1975): Deewaar

Amitabh Bachchan's consistent superlative performances even as film quality dipped through the late seventies and all through the eighties is another story. But among those rare bunch of cinematic triumphs that Amitabh Bachchan will be remembered for, Deewar stands out, colossal.

A trade union leader is forced to go on the run, so that his family's life is not endangered. To make ends meet, his stranded wife and children rough it out on ruthless, heartless Mumbai streets. While one son Ravi, grows up to be righteous, Vijay's quiet rebellion silently simmers within, seeking outlet.

Deewaar was released on January 24, 1975, barely seven months before Sholay. Even then, 'two brothers-either side of the law-confrontation' was not a new theme to Hindi films.Notably, Mother India (1957) and Ganga Jamuna (1961) had similar main plots.The former gave the mother centre stage, the latter focused on fate making a dacoit vs police officer standoff between siblings.

Intense, memorable drama

What makes Deewaar a compelling watch, 40 years on, is its urban landscape of inequality, unemployment, poverty, dissatisfaction and greed for power.That lopsided landscape still rots our cities, more than ever. Salim-Javed are in top form here. Their studied yet entertaining dialogues still stand the test of time. 

Amitabh Bachchan as Vijay is the mapped face of an endless generation, for whom money is the ultimate push to buy happiness, if only in vain. Shashi Kapoor as Ravi is as relevant in his principled, straight path. But we fall for Vijay, oh so easily. His turbulence to not make peace with the past, to constantly conflict it with the present, echoes deep within. For all the bravado, Vijay is a vulnerable caged bird, in dire need of solace and love. 

The female roles still feel modern-day, especially Parveen Babi's independent woman. To a mitigated extent, Neetu Singh's carefree girl is cool too. Nirupa Roy's mother of all mothers, represents a timeless moral, rooted core. An iconic Hindi film classic you can't miss. 

Sholay 2D & Sholay 3D: Set for Historical March 2015 Release in Pakistan

If all goes well, Sholay fans in Pakistan will finally get to see the film as it is best experienced - on the 70mm screen. Nadeem Mandviwalla of Mandviwalla Entertainment, a leading Pakistani distributor and exhibitor, plans to release the film in 2D and 3D. The expected release date is March 20, 2015. 

The film will have a limited release at select theaters. Mandviwalla described Sholay with terms such as 'unique' and 'timeless classic'."The magic of watching this movie in theaters is awesome," he added. 

As press reports suggest, most Pakistanis have seen pirated versions of the movie, none has had the fortune of viewing Sholay in a theater. For sheer fun and entertainment, we do hope the fans get their share of cinema. 

We may not be singing yeh dosti yet, but surely you can't grudge Sholay to come between us, would you? Awaiting more news on the historical release. 

Sholay Director Ramesh Sippy's New Film: Shimla Mirchi

Nearly two decades after his last directorial venture, the Shah Rukh Khan starrer, Zamana Deewana (1995), Sholay director Ramesh Sippy is back. At the time of writing he is filming Shimla Mirchi, starring Basanti alias Hema Malini, the mercurial actor Rajkummar Rao and the refreshing Rakul Preet Singh. No spoilers here, the film is rumoured to be a romantic comedy. We await the release date. 

Sholay Specials:Asrani's Undying Spirit:ETC Interview with Komal Nahta

The hero is such a magnified presence in commercial Hindi cinema that seldom are other supporting acting talents recognised. One such dreaded label is the 'character actor', often a footnote when cinema history is evoked. If Ben Kingsley or Morgan Freeman had been working in Hindi films, they wouldn't have been as admired as they are. 

In Rohit Shetty's Bol Bachchan (2012) Asrani gets a long overdue tribute, as Prithvi (Ajay Devgan) mentions how Shastri (Asrani) has been doing special appearances for decades. Post the film's release, ETC's Komal Nahta did a nice freewheeling interview with the veteran actor. 

As this youtube clip shows, Asrani has a rumble-tumble way of talking and a spirit to see the humour in everything, be it his first disastrous film, the struggle to get his breakthrough role in Guddi (1971) and finally, inevitably talking about the character he enjoyed playing the most - Angrezo ke zamane ke jailor in Sholay (1975). Asrani also talks at length about the crucial intonations that nailed it and the origins of the role.

Before Sholay: Notable Amitabh Bachchan films (1969 - 1975): Zanjeer

Zanjeer (1973)

A game changer as far as Hindi film formula is concerned, it is no surprise that the angst-ridden lead role was rejected by several leading men of that time. 

Most films of the 60's were blown up fairy tales that never resembled any of the lives that the audience was leading. Until then, the commercial Hindi film hero wooed the girl, danced in gardens, on hill-tops and in discos, drove jeeps, lip-synced melodious songs in a sugar-candy world oblivious to the world of employment, livelihood, corruption and other bare truths. He did become grim in the end reels, just to bash up the villain or turn the tables on him, verbally or in a courtroom. Salim-Javed's script was more than an eye-opener in this stale scenario.

Amitabh's first big solo hero success, it was also to make several film makers churn out similar anti-establishment films (mostly bad and average) for years to come, many of them starring Amitabh, even as the Hindi film industry moved from a resurgent, creative 70's to formulaic, brazen 80's.

Iconic moment

When inspector Vijay Khanna strides into Sher Khan's area post their face-off at the police station, it is the film's revelatory moment, that Amitabh Bachchan had unexpectedly, made it big on celluloid.  

Before Sholay: Notable Amitabh Bachchan films (1969 - 1975): Anand

 Anand (1971) 

As a friend and doctor battling to save his patient and cheerful friend's life, Amitabh is raw, sincere and intense. Rajesh Khanna is at the top of his form as Anand, Amitabh holds his own.  

Among Hrishikesh Mukherjee's finest films, story is king here sans star trappings or hero worship. This was Amitabh's first brush with success. As the actor has mentioned in an interview, people started recognising him on the street after the film's release.     

   

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 Songs: Koi haseena jab rooth jati hai...

A tried and tested template: Hero charms annoyed heroine. Both ride, walk or dance either into silhouette or a sunset as the song fades out...

Yes, it is a moment that can only occur in a Hindi film. The unmelodious, no-relation-to-music cast suddenly breaking into melodious song. We have no idea where the accompanying instruments are playing. We have long stopped thinking about it.  Our parents didn't think much about it, nor did our grandparents. The thoughtlessness gene has carried over, untouched, unquestioned. We are a patient, understanding Indian audience, cutting across generations, caste, creed, religion and race.

The making of film tradition 

Why do we still don't mind the 'song spouting from nowhere' thing? Because, popular Hindi cinema is still about people breaking into songs and we absolutely love the songs. No matter how false the movie may be, the songs are of the heart, as our favourite ones go.  

Where would music channels, radio FM chatter, redundant TV soaps and lately, even Indian news channels be without the mush of Hindi film songs. It was thus even remotely admirable that the main characters in the mammoth musical hit Aashiqui 2 (2013) were justifiably singers. That is the level of intelligence we have grown up to expect from most Hindi films. Redundancy is passe, an acceptable tradition.    

Koi haseena jab rooth jati hai...    

The song plays out post another scene that has been repeated in several Hindi films, again as a copy-paste template. The hero fools the naive heroine into believing that he is god's voice. Thus taking advantage of Basanti's religious beliefs, Veeru almost fools her to marrying him. Jai intervenes with a stoic face, leading Basanti to Veeru's ventriloquism exercise. Basanti walks out in a huff, and then the great Hindi film soundtrack takes over. Kishore Kumar is at his playful best and the train whistle touch is almost poetic. Almost. 

That little 'something' 

The Dharmendra - Hema Malini chemistry is sparkling here.The exaggerated tone of wooing, more than once hints at molestation and eve-teasing. Hindi film heroes are known to stalk and trouble heroines no end, that at times the villain seemed a man with ethics and principles.     

We see again in the song audio visual why Sholay is part of Indian film history. Accidentally or otherwise, something invariably has come together in Sholay. There are defining moments all over, things that have repeated in several films before and after 1975, but how Sholay is like a merging point, a high point, blueprint of what the term 'filmy' in the Hindi film context implies.         

The almost poetic train spouting smoke scene

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?!

Movie Watch: Sholay in 3D: As good as it gets!

Well, for starters Sholay in 3D is totally worth the price of your ticket. 

Literally speaking, weekdays are your best bet if you intend to pay less (reasonable, not daylight robbery prices) at multiplexes for the same quality. 

Now on to the film. I entered the cinema hall in excitement and just the treatment of the opening steam engine ruckus pretty much killed me. 

Right from Ramlal waiting at Ramgarh station to Thakur taking a lone walk away from the holi celebrations after narrating the Gabbar episode, the first half is a hoot. 

It was like watching Sholay for the first time. I laughed again at the Soorma Bhopali, Asrani sections (Jagdeep and Asrani are stellar) and was awed by the train robbery scene - this is where 3D is put to best use. 

I could also see how the reaction to the unfolding proceedings has changed with age. 

There is much to decipher now, in the humour, the proverbs and accidental/intentional undertones (The coin, Jai's Veeru talk to Mausi, Jai playing the mouth organ looking up at Basanti, etc.).  

Then, Now

The picture quality has improved ten-fold, the sound quality is just great and one can see various elements from the stand out scenes very clearly.

The brown terrain, widespread landscape gets through, giving the characters a great location background. 

It was more than deja vu - the first frame of Amitabh Bachchan tells us why he so fits into the Hindi film hero bill. 

Amidst Dharmendra (Endearingly goofy) and Sanjeev Kumar (Stylish dialogue and substance), Amitabh's performance has a timeless ease and authority. Hema Malini (perky) and Jaya Bachchan (understated) are good contrasting shades to 'filmy' heroines.

The Radha lamp lighting sequence exudes some spoof vibes, the undertone of attraction it projects seems outdated now.

There is still that tug in the heart when Jai dies, the Yeh Dosti sad version doesn't work there now though.

Also, the muffled, retro treatment of the song vocals is a downer even while the new remastered, tweaked background music is apt.

By the end, I was expecting the original ending (didn't happen) where Gabbar is killed by Thakur, surely there is no issue in releasing that version now? 

It still seems queasy and incomplete when the police arrive. It's as if Gabbar will again make his escape and we would have a sequel.

Three odd hours later

Finally, Sholay in 3D is not to be missed on 70mm.Within the tired churn of formula, Sholay attains a rare cinematic vibe, its jokes, drama, and performances still immensely enjoyable. 

Sholay is ultimately one of the most entertaining Hindi films ever made.

Watch out moments - Sholay in 3D 

• A close up of the steam engine's wheels.
• The bullet that sears at us after breaking through handcuffs. 
• Wood pieces coming apart, flying. 
• The bike in Yeh Dosti is a closely acquainted character, thanks to 3D.
• Dhano gets a great side view angle of its head. 
• The leaves in the Thakur family execution scene.
• A pigeon's timely flight past the jailor's face. 
• Thakur's nailed footwear coming down on Gabbar. 

Sholay in 3D: Preview

I could go on and on about this.

A barren borrowed terrain, collective hoof beat thunder, distant hapless village, a tormenting larger than life bandit/dacoit, unlikely saviours - and an entire array of gun exchange running through it. Among many other things, Sholay is an Indian western and unabashedly so.

Yet there is the very Hindi cinema twang to it, spirit of the nautanki, a playful exaggeration, inexplicable change of heart and elements which we now identify as filmy. Yet, a sense of fortunate cinematic culmination pervades through the marathon running time.

Something extra has been put into Sholay, a wide frame throne that suits the epic treatment.We can clearly see how each scene stands out as an act. There is an attempt in arrangement, careful execution, lopsided bits are few here. Even now, it tells of a director who dared to take the leap. It is another thing that Ramesh Sippy hasn't yet made another film to equal or surpass it in the years to come. We are not complaining, merely playing the objectivity-ridden fan here. 

 

Finally, Sholay's core are in the endearing characters - the main six and the memorable cameos. Salim-Javed dialogues are its blood and veins.The music is good accompaniment. But to unravel what makes it, after all these years, memorable, is still a mystery. Probably, at the first hint of oblivion, we will finally know - what it was all about.

Until then, long live Sholay.

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: On its way!

 Yes, we have heard it right, seen it right. The posters are out in the newspapers, TV promos are doing the rounds and multiplexes are flashing cardboard cut outs. Sholay 3D is certainly galloping its way to Pune theatres on January 3rd 2014. What about your city?  

Sholay 3D: Cleared for Release

As on December 3rd 2013, the Bombay High Court discarded Ramesh Sippy's application for putting a hold on the release of Sholay 3D. Interestingly, the Sholay director sought the stay on the 3D version that has been incidentally produced by Sascha Sippy, his nephew. 

Ramesh Sippy's filed the appeal after the April 1 2013 Justice Kathawala judgement that lead to the rejection of a stay petition. Now that his latest appeal has been dismissed, we must expect that Sholay 3D will keep its appointment with cinema goers on January 3, 2014.    

SHOLAY (1975): Post release facts i

Sholay got thrashed by critics post the August 15th, 1975 premiere. Ramesh Sippy visited theatres in Mumbai to gauge the audience reaction. All he got is silence. He couldn't understand why the audience was not reacting.  

Ramesh Sippy panicked and called up a meeting with GP Sippy and Amitabh Bachchan. The trio mooted re-shooting the ending before releasing it in other regions, with Jai still alive and kicking at the end of it. Post Zanjeer (1973) and Deewar (1975), "Amitabh was too big a star to die." Writers Salim-Javed were adamant on not changing anything. Ramesh Sippy finally went with his heart and nothing was touched. Already, the ending had been changed, and the director didn't want to creatively compromise on anything else.  

By the end of its first week run in Mumbai, the second week advance bookings were lukewarm. The film's producer GP Sippy wondered, considering that creditors were yet to be paid, if he would be able to make another film again.   

Amitabh Bachchan (almost) cried on the shoulders of Shashi Kapoor at the Kabhie Kabhie shooting on learning of Sholay's low first week collections. "No yaar, it's over, the film's a flop."

Amjad Khan was a defeated man in the heat of negative reviews, he went in to a shell and lamented to his co-star Asrani that, "There's nothing to be done now." 

Ramesh Sippy finally saw hope in the middle of the second week when the owner of Geeta Cinema, Worli told him that the sale of his ice creams and soft drinks were down. Why was that, asked the director. The answer: The audience was too stunned to leave their seats during the interval...

(To be contd.)

Sholay Moments: Robbers, Widows and Safes

In their first interaction with Thakur, Veeru makes it clear why he and Jai are thieves. In a brash and rough tongue he puts in one single word - "Paisa" ("Money").Yet, the duo has its money principles, there is no hint as to where they get their noble intentions from.What we do know it that Hindi film heroes can go from rogue to good in the matter of seconds.

At their arrival at Ramgarh, the duo has no intention of helping Thakur Baldev Singh. Having received advance payment and provided a generous view of the family safe, it is decided that they while the day away in sleep and clear out the safe at night and escape. Only, Radha catches them in the act and instead of screaming,"Thieves, help!", she is strangely maudlin.The widow does the unthinkable, she hands over the safe's keys and asks them to make away with the money. Her point is - at least that will convince Thakur, her father-in-law that the duo are crooks after all.

Radha must have done some serious criminal psychology reading, or it must have been her semi-transparent white sari that did the trick. For, in an inexplicable Hindi film u-turn, Jai returns the keys to Radha the next morning with the promise that they will not repeat the act again.

Moral of the story: Once a Hindi film hero turns good, nobody can bring them to the bad side. Ever. If a beautiful heroine is responsible for the transformation, Satan can readily apply for retirement.   

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.