Before Sholay, there was Mera Gaon Mera Desh

When the comedian and television host Kapil Sharma recently welcomed the veteran screenwriter Salim Khan onto his show, he made a striking claim. India, he joked, has a national bird and a national animal; it ought also to have a national film. That film, he suggested, would surely be Sholay. Few would quarrel with the sentiment. Released in 1975 and directed by Ramesh Sippy, Sholay has long been treated as the Everest of Hindi popular cinema -quoted endlessly, revisited by generations and...

min read

Before Sholay, there was Mera Gaon Mera Desh

When the comedian and television host Kapil Sharma recently welcomed the veteran screenwriter Salim Khan onto his show, he made a striking claim. India, he joked, has a national bird and a national animal; it ought also to have a national film. That film, he suggested, would surely be Sholay. Few would quarrel with the sentiment. Released in 1975 and directed by Ramesh Sippy, Sholay has long been treated as the Everest of Hindi popular cinema -quoted endlessly, revisited by generations and dissected by critics. In 2025, the film marked its 50th anniversary, and the release of a digitally restored, uncut version introduced the classic to a new generation of viewers who discovered that its mixture of revenge drama, western pastiche and buddy comedy remains curiously durable. The film’s influences have been debated almost as much as its dialogues – from scenes taken by the Spaghetti westerns of Sergio Leone, particularly ‘Once Upon a Time in the West’ (1968) or to the narrative architecture of ‘Seven Samurai’ (1954) by Akira Kurosawa. Others note echoes of earlier Hindi films about bandits and frontier justice, such as ‘Khotey Sikke’ (1973) starring Feroz Khan. Yet, rewatching ‘Mera Gaon Mera Desh,’ directed by Raj Khosla, one cannot help noticing how many of the narrative bones of Sholay appear to have been assembled there first. Released in 1971, Mera Gaon Mera Desh was a major hit at the box office, notable for holding its own in a year dominated by the near-hysterical popularity of Rajesh Khanna. The thematic framework of the two films is strikingly similar. In Sholay , the retired policeman Thakur Baldev Singh recruits two petty criminals - Jai and Veeru - to help him avenge the terror inflicted upon his village by the bandit Gabbar Singh. In Mera Gaon Mera Desh , the set-up is not very different. A retired soldier, Jaswant Singh, seeks to protect his village from a ruthless dacoit and enlists the help of a small-time crook named Ajit. Even the villain’s name seems to echo across the two films. In Khosla’s drama, the marauding bandit played by Vinod Khanna is scene-stealing performance is called Jabbar Singh. In Sholay , the outlaw who would become one of Indian cinema’s most memorable antagonists was Gabbar Singh. There is an additional irony in the casting. In Mera Gaon Mera Desh , the retired soldier Jaswant Singh is played by Jayant - the real-life father of Amjad Khan, who would later immortalise Gabbar Singh in Sholay . The connective tissue between the two films becomes even clearer in the presence of Dharmendra. In Khosla’s film he plays Ajit, a charming rogue who gradually redeems himself while defending the village. Four years later, Dharmendra returned in Sholay as Veeru, a similarly exuberant petty criminal whose courage and irrepressible humour make him one half of Hindi cinema’s most beloved buddy duo alongside Amitabh Bachchan as Jai. Certain visual motifs also appear to have travelled intact. In Khosla’s film, Ajit finds himself bound in ropes in the bandit’s den during a dramatic musical sequence. A similar image appears in Sholay , where Veeru is tied up before Gabbar Singh while Basanti performs the now famous song ‘Jab Tak Hai Jaan.’ Other echoes are subtler but just as suggestive. Ajit’s pursuit of the village belle Anju, played by Asha Parekh, anticipates Veeru’s boisterous attempts to woo Basanti, portrayed by Hema Malini. Scenes in which Ajit teaches Anju to shoot recall the flirtatious gun-training sequence between Veeru and Basanti that became one of Sholay ’s most cherished moments. Even the famous coin motif has a precedent. Ajit frequently tosses a coin to make decisions - a flourish that would later appear in Sholay , where Jai’s coin toss becomes a running gag. Perhaps most intriguingly, the endings of the two films converge in their original form. In Mera Gaon Mera Desh , the villain is ultimately killed by the hero. The uncut version of Sholay reportedly ended in a similar fashion, with Gabbar Singh meeting his death at the hands of Thakur Baldev Singh. However, censors altered the climax before the film’s 1975 release, requiring that Gabbar be handed over to the police instead. All this does not diminish Sholay . Rather, it highlights the alchemy through which cinema evolves. The scriptwriting duo Salim–Javed took familiar ingredients and expanded them into a grander narrative populated by unforgettable characters and stylised action. On the 55 th anniversary of Mera Gaon Mera Desh , Raj Khosla’s rugged western deserves a renewed glance as the sturdy foundation on which a legend called Sholay was built. (The author is a political commentator and a global affairs observer. Views personal.)

Art Beyond Spaces

Mamta Chitnis-Sen
Mar 5, 2025
3 min read

Updated: Mar 6, 2025

Internationally acclaimed artist Sujata Bajaj’s exhibition of paintings revolving around the cosmos are a treat. The Perfect Voice deciphers the inspiration behind her works.

**Stellar Alchemy 2 Acrylic on canvas with Gold & Silver**

Mumbai is all set to welcome artist Sujata Bajaj back with an exhibition of her works Spacescapes at Jehangir Art Gallery that began on March 4. Taking inspiration from the cosmos, the art show is an ongoing series of abstract paintings that embrace colour in its unrestrained form.

The Europe based artist will be in Mumbai to showcase some brilliant paintings revolving around the cosmos and its beauty.

Seeking escape from the restrictions imposed by the Coronavirus, Bajaj returned to her longstanding childhood fascination with astronomy, when she would be pulled out of her bed before dawn and taken outside and introduced to stargazing.

Between the seen and the unseen, where dreams and constellations collide, Sujata creates worlds that shimmer with the essence of life itself. She is not just an artist; she is a voyager of the infinite, capturing the pulse of creation with a palette of fire, starlight, and cosmic whispers.

Her work flows like a river of memory—carrying fragments of her childhood skies, where her father’s quiet presence guided her eyes to the stars. Those stars became her first teachers, speaking to her of vastness, mystery, and the silent poetry of the universe. Years later, as the world stood still in the echoing silence of a pandemic, those early lessons resurfaced, igniting her soul with a fresh purpose. The stars called her again, and this time, she answered with brushes dipped in light.

“These are not maps of galaxies or scientific renderings of space—they are symphonies of color and movement, where nebulae unfurl like celestial dancers and black holes hum with the secrets of existence. I aim to bring my canvases alive, vibrating with energy, capturing the moment when the universe first dreamed itself into life,” she cites further adding that this is her first major showing of abstract works of 17 years!

“Spacescapes is also the title of my new book which will be launched simultaneously. They mark a significant and exciting departure from my earlier works. I have been completely immersed in this project for the last five years,” she says.

The series wields color like a poet wields words—bold, fearless, and with a sense of rhythm that defies gravity. The fiery blush of a nebula, the electric greens of auroras, the cool blues of infinite horizons—all dissolve into each other, creating a language that speaks directly to the soul. There are no boundaries here, no lines to confine the imagination. Sujata invites us to lose ourselves, to drift into the boundless, where the cosmos whispers secrets to those who dare to listen.

While her earlier works were contained, structured—bold lines harnessing the chaos of her thoughts, in the present paintings the lines have dissolved, and what remains is pure freedom. It is as though she has surrendered to the universe, allowing its vastness to flow through her.

Sujata’s art is not an escape from reality; it is an elevation of it. She reminds us that the universe is not just out there—it is within us. Every burst of light, every swirl of energy on her canvas mirrors the galaxies spinning in our souls. Through her work, we become stargazers again, looking not just at the heavens but into ourselves, rediscovering the infinite that resides in the heart of every being.

The exhibition opens at the Jehangir Art gallery on March 4, 2025 and will remain open till March 10.

Before Sholay, there was Mera Gaon Mera Desh

Art Beyond Spaces

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