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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.)

National Rebellion or Threat? Populism and the EU’s Crisis of Democracy

Updated: Oct 22, 2024

EU’s Crisis of Democracy

The rise of right-wing populism in Europe, often characterized by figures like Viktor Orbán in Hungary and Jörg Haider in Austria, is not merely a reaction to domestic discontent but a broader challenge to what many view as an increasingly authoritarian European Union. The real conflict, it seems, lies between national sovereignty and a supranational body that increasingly dictates policy to its member states often without democratic accountability. For critics, the EU has become a ‘hyperstate’ of unelected officials who meddle in everyday life, from immigration quotas to economic policy, and even the limits of free speech.


Italian writer Ignazio Silone, reflecting on fascism’s many faces, famously remarked, “If fascism returns, it will not say, ‘I am fascism.’ No, it will say, ‘I am anti-fascism.’” Silone, who had experienced the Stalinist purges firsthand, coined the term “red fascism” to describe how authoritarianism could emerge under the guise of liberation or even democracy. His insight is eerily prescient today, as governments and institutions weaponize the rhetoric of anti-fascism to silence dissent.


Austrian author Thomas Glavinic, reflecting on modern European politics, argues that elections offer little real choice. National policies, from immigration to digital censorship, are increasingly dictated by the EU’s technocrats - individuals who are not accountable to voters but whose decisions shape the lives of millions. As Glavinic cynically observes, elections are little more than a “collective hallucination” of democracy, a spectacle in which the electorate’s influence is negligible.


For many Europeans, this erosion of national sovereignty has created a backlash, particularly among those who feel that traditional values and local interests are being sacrificed at the altar of a distant, unaccountable bureaucracy. The rise of populist movements, whether it is Orbán’s Fidesz party in Hungary or the FPÖ in Austria, is seen as an “earthquake” shaking the foundations of European politics. Yet, instead of engaging with the legitimate concerns of these movements - immigration, economic inequality or the erosion of national identity - the political establishment has often resorted to vilifying them as proto-fascist threats to democracy.


Jörg Haider’s rise in Austria, for example, was met with widespread condemnation by the European elite, who painted him as a new Hitler. His nostalgia for pre-war Austria and critique of unchecked immigration provided an easy narrative for his detractors to frame him as an extremist. Yet Haider’s appeal lay precisely in his ability to speak for the ‘little people’— those who felt alienated by a political system dominated by technocrats and entrenched elites. Instead of addressing these grievances, the establishment used moral panic to delegitimize popular discontent, a tactic that has since become standard across Europe in dealing with right-wing populists.


This moral framing has allowed the EU and its defenders to present themselves as the guardians of liberal democracy while systematically stripping away the very freedoms they claim to protect. The EU’s push for regulations against disinformation and hate speech on digital platforms is a prime example. Under the guise of protecting public discourse, the EU has given itself the power to decide what constitutes acceptable speech.


The rise of conservative and nationalist movements across Europe is thus framed as a rebellion against this creeping technocratic authoritarianism. These movements are often described as anti-democratic, yet their core message is one of reclaiming national self-determination. As in Austria, where the FPÖ’s victory was described as an “earthquake,” the populist surge is not a simple matter of left versus right. It is a revolt against the patronizing paternalism of a Brussels elite that increasingly governs Europe in a top-down, neo-feudal manner.


Looking at the antics of functionaries like Thierry Breton or Ursula von der Leyen, the EU has no longer anything to do with popular rule of whatever kind. And against this background, the alleged anti-fascism in an anti-racist guise is just a sham, through which mighty apparatchiks justify their ever more comprehensive claim to power.


The need to be counted among the ‘good guys’ and to generate moral capital by elevating oneself above the alleged ‘bad guys’ is as old as the hills, often achieved by demeaning others based on race, religion, or worldview. It is much more strenuous to proceed according to traditional rules, discuss conflicts openly and resolve contrary interests through compromise. But I prefer that, as it is the only way that allows the dignity of all parties concerned to be respected.


Two years after the bloody defeat of the Italian fascists and the German Nazis, on 11 November 1947, Winston Churchill said: “Many forms of government have been tried, and will be tried in this world of sin and woe. No one claims that democracy is perfect or all-knowing. Indeed, it can be said that democracy is the worst form of government, apart from all the others that have been tried from time to time.”

The future of Europe will be determined not by whether it can stamp out the populist right, but whether it can restore faith in democracy itself. If it fails, the continent risks sliding into the very authoritarianism it claims to oppose.


(The author is an historian and novelist who writes historically-aware crime fiction. He is currently working on a book on Germany’s migration crisis. Views personal.)

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