top of page

By:

Rajeev Puri

24 October 2024 at 5:11:37 am

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...

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.)

India Needs a Credit Repair Framework—Not Permanent Financial Punishment

India’s financial system has made remarkable progress in expanding credit access. Yet, there is a quiet crisis unfolding beneath the surface—millions of otherwise responsible borrowers remain locked out of formal credit due to temporary financial distress experienced during extraordinary times.


The COVID-19 pandemic, followed by economic disruptions, medical emergencies, and employment instability, pushed many individuals into short-term loan defaults. These were not cases of wilful negligence, but of systemic shock. However, our credit reporting and scoring mechanisms continue to treat such defaults as permanent red flags, often without scope for contextual review or rehabilitation.


Recently, I submitted a proposal to the Reserve Bank of India (RBI) and the Ministry of Finance urging the introduction of a structured Credit Repair and Rehabilitation Framework—one that balances credit discipline with economic realism and human fairness.


Why Credit Repair Matters Now

India is aiming to become a $5 trillion economy, driven by consumption, entrepreneurship, and MSME growth. Yet, credit exclusion acts as a silent brake on this ambition. When salaried professionals, small entrepreneurs, and self-employed workers are denied access to loans years after a one-time crisis default, we unintentionally push them toward informal lending, higher interest rates, or economic stagnation.


A rigid “once-defaulted, always-risky” approach may protect balance sheets in the short term, but it undermines long-term credit expansion and trust in the formal system.


Learning from Global Practices

Globally, regulators are rethinking this approach. For instance, the People’s Bank of China (PBOC) has recently introduced a regulated credit repair mechanism allowing borrowers with limited, time-bound overdue records from crisis periods to restore creditworthiness. Importantly, this does not weaken credit discipline—it strengthens it by distinguishing temporary hardship from habitual default.


India, with its robust digital banking and credit infrastructure, is well-positioned to design an even more nuanced and accountable framework.


What a Balanced Framework Could Look Like


A well-regulated credit rehabilitation policy could include:

• Eligibility limited to crisis-period defaults, officially notified by regulators

• Caps on overdue amount and frequency

• Mandatory cooling-off periods and improved repayment behaviour

• Bank-led review and approval mechanisms

• Clear RBI guidelines for credit bureaus on data correction and updating


Such a framework would be conditional, transparent, and auditable, ensuring no dilution of systemic risk controls.


Economic Inclusion Is Economic Strength

Credit systems are not merely risk filters—they are economic enablers. A borrower who recovers, repays consistently, and rebuilds financial discipline should not remain excluded indefinitely due to a past crisis.


True financial inclusion is not just about opening accounts or issuing loans—it is about allowing recovery, rebuilding trust, and restoring dignity within the system.


The Way Forward

This is an opportune moment for RBI and the Finance Ministry to initiate a structured consultation with banks, NBFCs, credit bureaus, economists, and consumer representatives to explore a calibrated credit repair framework tailored for India.


Second chances, when governed responsibly, do not weaken economies—they strengthen them.


As India charts its next phase of growth, our credit policies must evolve from being purely punitive to progressively rehabilitative, without compromising prudence.

Comments

bottom of page