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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.)

Pawar’s Muslim Diplomacy

Updated: Nov 18, 2024

The NCP (SP) is banking on its Muslim faces to consolidate the community’s votes

Pawar’s Muslim Diplomacy

Mumbai: Last month when Fahad Ahmad’s name was announced by the NCP (SP) as its candidate from Anushaktinagar, it brought a sprinkling of stardust to the elections; Ahmad is known to most as actor Swara Bhaskar’s husband. The outspoken neta of the Samajwadi Party was now suddenly in the NCP (SP). He was the party’s best bet to counter Sana Malik who is fielded by Ajit Pawar’s NCP.


Sharad Pawar’s choice of candidates shows that he is putting faith in the party’s young faces, including young Muslim faces that can appeal to the electorate from the community. Anish Gawande, national spokesperson of the NCP (SP) had earlier stated that the party had declared that it would give a chance to new faces. “These young faces are a reflection of our society and what people want—these candidates are young, dynamic and agile,” he says.


According to the 2011 census, Maharashtra has 1.30 crore Muslims who account for around 11 per cent of the population. The party, as a leader says, does not want to be anathema to any community or religion and hence, wants representation of most. “Muslim will not pick BJP or its allies as their natural choice. Our party stands to gain from this consolidation of votes,” says a party leader.


It helps that most of the Muslim faces are relatively young. If Fahad is in Mumbai, Mahebub Shaikh is the state president of the youth wing of the party. He was a fiery voice during the recent Shivswarajya Yatra and is the party’s candidate from Ashti in Beed, the region that is facing intense quota unrest and is likely to go against the Mahayuti alliance.


The value of these leaders is evident from what Babajani Durrani said while returning to Sharad Pawar after a stint with Ajit Pawar’s NCP. “During the Lok Sabha elections, we saw that Muslims and Dalits did not vote for us only because we are in alliance with BJP, Shinde Sena. For the last ten years, despite India being a robust democracy, Muslims are being targeted,” the Parbhani leader had said when he returned to the party.


The NCP (SP) realises that it now stands to gain the Muslim and Dalit vote which is unlikely to go to Ajit Pawar ever since he forged an alliance with the BJP. An NCP (SP) leader explains that the party is banking on the MADHAV combination of Marathas, Dhangars, Vanjaris along with Muslims and Dalits to consolidate its votes. At such a time, having prominent Muslim leaders gives the community confidence that the party will work for its interests. “We also need to find a replacement for someone like Nawab Mallik and these young faces have a longer career ahead of them,” says the party leader.

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