Don't we all know almost everything about Sholay?
I have watched the movie numerous times. We have participated in Sholay quizzes, through which we came to know a lot of intricate details about the movie and its characters. We have watched countless interviews of the actors, through which we got to know about their experiences and what went on behind the scenes. So, when I picked up Anupama Chopra's Sholay: The Making of a Classic, I was afraid that the book would not add anything as I already knew quite a lot about the movie.
Sholay, in terms of its story per se, is nothing out of the world. It is not an exceptionally artistic or brilliant story. Several movies with similar themes had already been made. Salim-Javed, legendary Indian screenwriting duo who revolutionized Hindi cinema in the 1970s and early 1980s, took inspiration from several movies including Akira Kurosawa's Seven Samurai, John Sturges's The Magnificent Seven, Raj Khosla's Mera Gaon, Mera Desh. In terms of look and treatment, Sholay also took inspiration from some western classics like Once Upon a Time in the West and may be even The Good, The Bad and The Ugly. However, everything came together and the end product, I truly believe, is brilliant. And that is precisely why, even after knowing so much about Sholay, I was interested in reading this book.
And now that I have finished reading it, I realize there was still so much I did not know!
I did not know how much time it took to make the movie, the complexities involved, or that it was shot in both 35mm and 70mm because the makers had a vision to create something grand. I knew that Danny Denzongpa was supposed to play Gabbar Singh, but did not know exactly why that did not work out and how Amjad Khan eventually 'came into the picture', quite literally.
I did not know why the makers chose a completely different backdrop instead of the familiar Chambal landscape that was almost the norm for Hindi movies featuring dacoits. And I had never realized that Sholay was released during the Emergency in India and, as a result, faced some peculiar complications.
As a movie buff, I have increasingly started looking at movies a little differently. I like to understand how a particular scene was shot, why the camera was placed at a certain angle, or what went into creating a particular sequence. And Sholay was the first movie of its kind in India, with action sequences that had never been attempted on that scale. It was a new experience not just for the audience, but also for the makers, technicians, and the entire cast and crew. The book provides fascinating details about all this, including the technical challenges, the budget, the shooting schedules, and even how the music business worked in those days.
It was also interesting to read about how the cast and crew bonded during the making of the movie. Some described the experience as being almost like a picnic, with parties nearly every night. The shooting went on for so long that several relationships blossomed during this period, and I am not just talking about the lead actors!
A little Sholay trivia! Did you know that one actor played two different characters in Sholay, both in very small roles? In fact, in one of those roles, his face is not even revealed! But I could still make out that it was him. Can you guess the actor and the two characters he played?
Anupama Chopra has done some excellent research, and the writing is engaging. There are some wonderful anecdotes, a few of which genuinely made me laugh, and some fascinating stories about the people involved. Overall, it is a good, easy, breezy read.
I highlighted quite a few passages while reading, but one particular expression stayed with me. While referring to the enormously successful scriptwriting partnership of Salim-Javed and their eventual split, the book says, "But eventually, the egos grew too big for the hyphen."
What a brilliant expression! I simply loved it.
One thing that has always struck me about Sholay is its perfect casting. Each and every actor seems to be the best possible fit for the character. And I am not just talking about Jai, Veeru, Gabbar, Thakur, Basanti, or Radha. Even Jagdeep as Soorma Bhopali, Asrani as the jailer, AK Hangal as Imam Chacha and Satyen Kappu as Ram Lal. Can you imagine anyone else playing these characters?
But while reading the book, I realized something. Whenever we see something brilliant, in any walk of life, probably luck also has a role to play.
What if Danny Denzongpa, the original choice, had actually played Gabbar? What if Shatrughan Sinha, who was being recommended by several people, had been cast instead of Amitabh Bachchan? What if Dilip Kumar or Pran had played the role of Thakur? What if Hema Malini had refused the movie because of her lengthy dialogues, or Jaya Bachchan had turned down the relatively small role of Radha? What if Jagdeep had not played Soorma Bhopali because of certain issues on the set? What if someone else would have dubbed for Amjad Khan as was recommended by several people, including Salim-Javed.
The movie could have turned out very differently. Perhaps it would not have become the classic that it eventually became. It was fascinating to read how all these things fell into place.
And there were so many things that could have gone wrong. Sholay faced innumerable challenges before, during, and even after its release. From shooting in a remote location and creating an entire village in the middle of nowhere to dealing with technical limitations, budgetary pressures, and uncertainties surrounding the release, the makers had to overcome one challenge after another. The so-called critics and trade pundits had written off Sholay soon after its release. Such was the pessimism surrounding the movie that some even suggested changing the ending so that Jai would not die!
But after reading the book, one thing became very clear to me. Sholay became what it became because of one man, Ramesh Sippy.
Of course, he had the backing of his father, brilliant writers, a great cast, and some excellent technicians. But it was his attitude, his approach, and his unwillingness to compromise, even on seemingly trivial things, that made Sholay what it became. A true classic.
I am not sure whether Ramesh Sippy gets enough credit for Sholay, but this book certainly helped me understand and appreciate his contribution much more.
If he did not like something, he was not afraid to change it. But he would change something only if he himself was convinced. He listened to everyone, but did not simply go by what others were saying. When people questioned Amjad Khan's casting, particularly whether his voice was suitable for a larger-than-life character like Gabbar Singh, he stood by his decision. When he felt that the kind of action sequences he envisioned required expertise that was not readily available in India, he brought in experts from outside.
After all, it was his movie. His baby.
The only major compromise he made was one he was compelled to make because of the Censor Board. Otherwise, he made the movie he truly wanted to make. He knew how to shut out the external voices and follow his own conviction.
At one point, while considering certain suggestions, he expressed that his head agreed, but his heart did not. And he chose to follow his heart.
And that, to me, is what Sholay is. Something Ramesh Sippy created from his heart. And it truly shows.
After reading this book, my perspective on Sholay has changed. For me, Sholay is no longer just the movie of Jai and Veeru and their friendship, or Thakur, or Gabbar Singh. It is not even just the story by Salim-Javed.
It is truly Ramesh Sippy's movie.
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(This was supposed to be a book review, but I realize I have spent more time talking about Sholay than the book itself! 😂 Well, I guess that's what a good book does to you!)

















