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Hindustan Times
3 days ago
- Entertainment
- Hindustan Times
Javed Akhtar reveals why he has not seen his film in decades: 'Those who are lost in their history...'
Sholay is a film that has transcended generations. Be it Gen Z, Millennials, or the Boomers (its original audience), it has found love among every age group over the years. Many have admitted to watching it several times on repeat. So, it is interesting that one of the co-writers of the film - the legendary Javed Akhtar - admits he has not seen the film in years, maybe decades. And he has a sound reasoning for that. Javed Akhtar co-wrote Sholay along with Salim Khan. On moving past Sholay's success On August 15, Sholay completes 50 years of release. The film is the biggest box office hit in the history of Indian cinema, according to footfalls and inflation-adjusted gross. Javed Akhtar wrote the film's script along with Salim Khan during their Salim-Javed days. In a chat with Hindustan Times, the screenwriter-turned-lyricist said he cannot take credit for the film's success. "You should be happy with the work you have done if it is appreciated. But that umbilical cord needs to be cut. You cannot take the full credit for it. And you shouldn't, too. Now, you should think of what you need to do now, because you are always as relevant as your latest work. You can stay in your dreams, but it won't help. Those who are lost in their history have no hope from their future," he said. When asked how many times he has seen Sholay over the years, Javed Akhtar responded, "When it was released, I watched it 5-6 times because the initial reports were bad. The film was supposed to be a flop initially, so I watched to see how it had turned out. Once it was re-released in 70mm, I watched it again. Since then, I haven't watched it. I don't like to watch my old films." All about Sholay Sholay featured a heavy-duty star cast led by Sanjeev Kumar and also featuring Amitabh Bachchan, Dharmendra, Amjad Khan, Jaya Bachchan, and Hema Malini. It became the highest-grossing Indian film of all time, breaking Mughal-e-Azam's record upon its release in 1975. It held the record for over a decade until Disco Dancer overtook it. But Sholay still holds the record for most tickets sold by an Indian film. Over the years, it has become a pop culture phenomenon in India, with its characters becoming household names and its lines becoming memes and quotable quotes. The Ramesh Sippy film has been re-released several times, with the last re-release in 2005, to mark the film's 30th anniversary. A 4k restored version of Sholay will screen at the 50th edition of the Toronto International Film Festival in September this year. The film has been restored in 4K by Film Heritage Foundation in association with Sippy Films Pvt. Ltd.
Hindustan Times
4 days ago
- Entertainment
- Hindustan Times
Javed Akhtar says film's success can't be explained: 'Mujhe maloom hota to doosri nahi likh leta'
On August 15, 1975, India celebrated 28 years of its freedom. It was a Friday, and quite a few films released in theatres, largely to bank on the Independence Day weekend. Among them was an action drama that initially fell flat at the box office, finding few takers. But over the next few weeks, months, and years, it redefined the cultural impact of cinema in India, emerging as arguably the most impactful and greatest Hindi film ever made. That was Sholay, the 'curry western' from Ramesh Sippy. Javed Akhtar co-wrote Sholay along with Salim Khan. The film completes 50 years this month. But before Sippy held the reins, Sholay originated in the minds of the superstar screenwriting duo Salim-Javed. Having already delivered a superhit in Zanjeer, Salim-Javed were on a high when they pitched Sholay to Sippy. As the iconic film completes 50 years of its release, Javed Akhtar, one-half of the writers of Sholay, discusses its birth, legacy, and inexplicable success. On the reason behind Sholay's success Ask him why Sholay was such a huge success, and the writer replies in his trademark style, "Agar mujhe maloom hota toh main doosri Sholay nahin likh leta (If I knew the formula, would I not write a second Sholay)." The veteran writer and lyricist explains, "Charisma can never be defined, whether in a person or in a piece of art, whether it's a film or a song. If you are able to solve and decode what it is, then it is no longer charisma. We try to rationalise and analyse everything, and find logic in things. But sometimes, there is none. You can analyse it and find reasons and rules for something working, but the same rules can apply to other things that did not work. Charisma is an unknown factor that is very difficult to understand." Sholay was not just a milestone for Hindi cinema, but proved to be a turning point in Salim-Javed's journey as well, turning them into Bollywood's most in-demand writers. "Two films of ours released that year - Deewar and Sholay. Naturally, our lives changed. We were able to earn money, make a name for ourselves, and build a standing in the industry. 1975 was a very important year in our lives," recalls Javed Akhtar. On not overanalysing Sholay Sholay went on to gross over ₹30 crore at the box office. If adjusted for inflation today, it would be over ₹3000 crore, making it Indian cinema's biggest hit. It sold more tickets than any other film, had the highest number of golden jubilees, and, before Dilwale Dulhania Le Jayenge began its love affair with Maratha Mandir, also held the record for being the longest-running Indian film. Others may analyse and even overanalyse Sholay's success, but Javed does not. "Reminiscing about old things too much is a waste," he says curtly, adding, "Your work is like your children. Whatever they achieved is not always because of you. These films become immortal not just because of you. Thousands and millions of people are involved in it. They liked it and connected with it, which is why it became so big. On paper or in camera, it was not this big. When millions of people identify with it, a work of art becomes big then." Sholay starred Sanjeev Kumar, Amitabh Bachchan, Dharmendra, Amjad Khan, Hema Malini, and Jaya Bachchan in the lead roles. A story of revenge and love, it remains one of the most oft-quoted and watched Indian films ever.
Mint
4 days ago
- Entertainment
- Mint
‘Sholay' at 50: Retaining a movie's magic in translation
Tu kya ladega mujhse,Thakur? Tere to haath kaatkar phenk chuka hoon main. (How can you fight me, Thakur? I cut off both your hands and threw them away.) Snaap ko haath se nahi, pairon se kuchla jaata hai,Gabbar. (You don't trample a snake with hands, you use feet, Gabbar.) Fifty years of Sholay have passed yet much of the film's dialogue still resonates with movie lovers, feeling as fresh as if it was heard yesterday. What makes for successful film dialogue? Lines that provide information while also suggesting the temperament of the characters. Dialogue can carry poetic weight, be replete with clever repartee, roll out unexpected punchlines, and carry forward the narrative. Alongside actors' performances, dialogue creates a deeper connection between story and viewer. Salim Khan is credited with writing the story and screenplay, and Javed Akhtar with the dialogue. Their masterly structure and arrangement of dramatic situations effortlessly lend themselves to original exchanges, as evident in countless scenes. So it is unsurprising that Sholay is among only a handful of films—like the epic Mughal-e-Azam— whose dialogue soundtrack was released on an LP in the 1970s. Audiences at the Il Cinema Ritrovato film festival in Bologna, Italy, this year were the first to see an excellently restored version of Sholay, undertaken by the Film Heritage Foundation and producer Shehzad Sippy. When I was asked to subtitle this version, which included the original ending, it proved both a delight and a challenge. I had certain hesitations about the translation, which were resolved during a conversation with Javed Akhtar, who happened to be in London. I explained I was unsure about the Urdu word karaare— which Gabbar uses to describe Basanti's body in the final scenes. Firm? Sturdy? He suggested 'toned"—so the subtitle now reads 'Look at her arms and legs. How toned they are". Many years earlier, I had asked Javed Akhtar about the purpose of creating Gabbar's sidekick Saambha who has only one memorable line in the film: 'Poore pachaas hazaar (Full fifty thousand)" in response to Gabbar's question about the bounty on his head. He explained that a man with an outsized ego like Gabbar's could not belittle himself by announcing the reward money, so the scene required a lackey. For the most part, when translating, I found it unnecessary to be too clever or find English turns of phrases that depart from the original Hindustani because Sholay's lines are full of simple power and imagery. Why would anyone mess with lines like these: Gabbar: Tera kya hoga, Kaalia? (What will become of you, Kaalia?) Kaalia: Sardar, maine aap ka namak khaaya (Chief,I have eaten your salt) Gabbar: Ab... goli khaa (Now... eat my bullet). Nasreen Munni Kabir is an author, a documentary filmmaker, curator and subtitler.
Time of India
4 days ago
- Entertainment
- Time of India
‘There was no Basanti or Radha': Javed Akhtar recalls how Sholay was born as it turns 50
Before Jai and Veeru became legends, before Basanti danced with Dhanno and Gabbar Singh ruled the ravines, Sholay started with a much simpler setup, two former army men dismissed for indiscipline. That's how the seed of the iconic film was first sown in the minds of Salim Khan and Javed Akhtar . Looking back at 50 years of Sholay, Javed Akhtar recalled that the original concept was quite different from the final version that achieved cult status. 'It was Salim sahab's idea that we should make a film about a retired major and two recruits from the army who have been removed because of indiscipline... But then we had limitations from the army and we couldn't take liberty, hence we changed the characters to a cop and (two) hoodlums,' he told PTI. 'We just had a dacoit in mind' There was no plan for Basanti, Radha or even a grand ensemble. Akhtar admitted that when they began writing, they were only thinking about a dacoit. 'At that point, we didn't think of Basanti or Radha, we just had a dacoit in mind. But gradually when the story got developed, a lot of characters came into the picture and we felt it could be a great multi-starrer. We did not plan it as a multi-starrer or a grand spectacle,' he said. No idea they were making history Directed by Ramesh Sippy , Sholay released on August 15, 1975, and featured Amitabh Bachchan, Dharmendra, Sanjeev Kumar, Hema Malini, Jaya Bachchan and Amjad Khan in unforgettable roles. Initially, the film struggled at the box office before gaining momentum and eventually becoming one of the most iconic films in Indian cinema. Yet, Salim-Javed had no clue they were creating something 'timeless.' 'I believe the canvas of the film was such that it just became timeless; it was not done intentionally. There was no deliberate attempt to do that,' Akhtar explained. He called Sholay a 'symphony of human emotions' that simply fell into place, from friendship and revenge to rural simplicity and urban wit. '1975 changed our lives' The year 1975 was a turning point for both Salim Khan and Javed Akhtar, with not just Sholay but also Deewar and Aandhi redefining Hindi cinema. 'With the release of Deewar and Sholay, we earned money, garnered recognition, and made a name for ourselves. So the year 1975 was an important year,' he added. Amitabh Bachchan Posts Preserved ₹20 Sholay Ticket; Fans Shower Love 'I would never rewrite Sholay' When asked if he would rewrite the story today, Akhtar was quick to refuse. 'I would not change anything in Sholay. I would never rewrite Sholay. We made it the way it is. I'm glad so many people appreciated the film, and still talk about it with fondness.' The original ending returns after 50 years In June this year, a restored version of Sholay was screened at an international film festival in Italy. The new cut included six minutes of extra footage, including the original ending where Thakur (Sanjeev Kumar) kills Gabbar (Amjad Khan)—a scene that was originally censored during the Emergency. 'At that time, I was unhappy and disappointed that the ending was being changed but we had no choice but to do it,' Akhtar revealed. If Jai and Veeru lived in 2025... And if the iconic duo were alive today, what would they be doing? Akhtar laughed and replied: 'They would be in the corporate world. They are so badmaash, where else would they go?'
Time of India
5 days ago
- Entertainment
- Time of India
Celebrating 100 Years of Guru Dutt - Bollywood reflects on his legacy
To commemorate Guru Dutt's centenary, a theatrical retrospective of his restored iconic films is being showcased across 250 cinemas in India. Organized by NFDC and National Film Archive of India, the event commenced with prominent figures like Javed Akhtar and Sudhir Mishra sharing their profound memories and anecdotes about the legendary filmmaker and his influential work. As a part of the centenary celebrations of the legendary Guru Dutt, a three-day theatrical retrospective of his most iconic films, restored for today's audiences, is being shown in over 250 cinemas across the country. Organised by NFDC (National Film Development Corporation Ltd.) and National Film Archive of India, the event began with notable personalities from Hindi cinema, including Javed Akhtar, Sudhir Mishra, Hansal Mehta and R Balki sharing memories and anecdotes about Guru Dutt and his iconic films. Excerpts... Javed Akhtar: He was the first filmmaker who spoke through visuals In college, I used to see a lot of films and decided that after my graduation, I'd join Guru Dutt for a few years and then become a director. I thought I'd manage to meet him because Sahir saab (Sahir Ludhianvi) was a good friend of Guru Dutt, and he'd written songs for Pyaasa. Unfortunately, I came to Mumbai on October 4, 1964, and he passed away on October 10. While I never met him, he left a deep impression on me when I was a teenager. I think Guru Dutt was the first filmmaker who spoke through visuals; he taught us this skill. R Balki: After watching his films, I realised I'd never felt so happy about feeling sad One day, the Film and Television Institute of India (FTII) had organised a homage to Guru Dutt and wanted me to talk about him. I didn't know anything about him then, but in the next two weeks, I saw everything that Guru Dutt ever made and acted in. Due to an emergency, I was unable to speak at the event that day, but I was stunned by the repository of emotions within me. I'd never felt so happy about feeling sad. When I was writing Chup: Revenge of the Artist, I used all that I had watched and learnt. Hansal Mehta: Guru Dutt taught me that heartbreak is very cinematic I started knowing about Guru Dutt because my closest friend was his nephew. So, I used to hear stories about him. I discovered his films much later. Pyaasa is the first film I saw, and it left a lasting impression on me. I think I have had more heartbreak in love than the number of films I have made. Guru Dutt taught me that pitying oneself can actually be beautiful and that heartbreak is very cinematic. The very first time I shot a film was in 1994 in FTII. I fully plagiarised Guru Dutt's song sequence from Kagaz Ke Phool in colour, and it was the most vulgar replication. Fortunately, those negatives are destroyed! I will make a better tribute to him someday. Sudhir Mishra: Guru Dutt is an experience Guru Dutt never left me. I first saw him as a 12-year-old with my grandmother. I have watched Sahib Bibi Aur Ghulam about six or seven times. If there was a film that I could take with me to a desert island, it would be this one. Guru Dutt is an experience. You can see him again and again at different ages, and like a great poem, I keep revisiting him. There is nothing that I have done in my life that is not influenced by him. Guru Dutt has taught us how to make films, how to see a scene, how to take that blueprint which is the script and then rewrite it on film. The nationwide theatrical retrospective (Aug 8-10) includes: Baaz (1953) Aar Paar (1954) Mr. & Mrs. 55 (1955) Pyaasa (1957) Chaudhvin Ka Chand (1960) Some of the celebrities present at the event were: Kumud Mishra, Divya Dutta, Abhinay Deo, Vivek Vaswani, Siddharth Roy Kapur, Rituparna Sengupta, Vikramaditya Motwane, Nasir Khan
