‘The way Helen ma’am grooves, she’s so seductive.’
Celebrating Sholay‘s 50th anniversary on August 15 with a special series, where contemporary film folk analyse the cult classic.
Bosco Martis and Caesar Gonsalves have been together for 25 years, starting their journey with Vidhu Vinod Chopra’s Mission Kashmir and choreographing over 200 songs in 75 plus films, bagging a National Award for Senorita from Zindagi Na Milegi Dobara.
For them, Sholay has not only been an inspiration, but an aspiration.
Speaking to Rediff Senior Contributor Roshmila Bhattacharya, Caesar asserts, “Sholay is like vintage wine. You need to sip it slowly, savour it as it seeps into your soul.”
Only five songs, but each has a different flavour
Bosco: I don’t remember when I saw Sholay for the first time.
It must have been sometime in the ’80s, and since I don’t come from a family of film buffs, it was just another movie outing.
But I was thoroughly entertained by what is a wholesome cinematic experience.
Since then, I must have watched the film at least 10-12 times. With every viewing, enhanced by a better understanding of the medium, I have realised that what makes the 1975 classic so special is that it has everything in the right dose.
From action and drama to comedy, tragedy and naach-gaana, which is staple Bollywood fare, it caters to every palate which explains its mass appeal.
Since Sholay is an action-adventure, there are only five songs. But each has a different flavour, from the bromance of Yeh Dosti to the romance and drama of Koi Haseena and Jab Tak Hai Jaan.
Koi Haseena is memorable because of Dhanno
Caesar: From a festival song, Holi Ke Din, to what we would call an item number today, Mehbooba Mehbooba, what is commendable is that the songs don’t jar or stick out like a sore thumb. They have been seamlessly incorporated into the narrative with each one taking the story forward.
Bosco: Even a conventional romantic song like Koi Haseena is memorable because of Dhanno, who is not just Basanti’s horse, but also an important character in the film.
Emotionally, Jab Tak Hai Jaan is the polar opposite of Koi Haseena, which is light, cool and flirtatious, signaling a budding romance between Veeru and Basanti.
Jab Tak Hai Jaan, on the other hand, is tense, intense drama, with Basanti being forced by Gabbar to dance at gunpoint, barefoot on broken glass, under the blazing sun, knowing well that if she stops, Veeru will be shot dead.
The song has so many different layers, reflected as much in Hema Malini’s dazzling footwork as the myriad expressions flitting across her face.
Have always been intrigued by the Ferris Wheel in Holi Ke Din
Caesar: Jab Tak Hai Jaan marks an important turning point in the story and that’s true for Holi Ke Din too.
It’s a fast-paced song of celebration, full of colour and merriment, which ends with a plot twist.
Bosco: I have always been intrigued by the Ferris Wheel which moves in circles in the backdrop.
I have often wondered if they placed the camera in the Giant Wheel itself.
It is brilliant cinematography by Dwarka Divecha, the one person seeing the entire story unfold through his lens.
Mehbooba Mehbooba is a male-dominated song, owned by a woman
Caesar: Mehbooba Mehbooba is a cult song in the way it has been composed, rendered, visualised and executed.
The way Helen ma’am grooves, she’s so seductive, and yet, not for a moment do you squirm uncomfortably because it is beautifully executed by P L Raj.
Mehbooba Mehbooba is a male-dominated song, owned by a woman, making it bigger than the regular item number in the villain’s den.
It’s historic, no song can ever come close.
Bosco: Mehbooba Mehbooba is not just a choreography of dance moves, it’s a choreography of music and sound design, camera work and performances.
A song like this explains why the dance director is called the Director of Choreography today.
We don’t just give just dance steps; we help the director translate his vision on screen.
Yeh Dosti is the ultimate friendship anthem
My favourite song from the film is Jai and Veeru’s joyous, bumpy ride, Yeh Dosti.
Caesar: I love the way the driverless sidecar, midway through, separates from the bike and goes hurtling off on its own.
But then, it joins with it again to signify the unbreakable bond between these two.
It’s the ultimate friendship anthem with two versions, the sad one breaking your heart.
Bosco: Like Mehbooba Mehbooba, you can’t recreate a song like this.
While working on the Sonu Ke Titu Ki Sweety song, Tera Yaar Hoon Main, with Luv Ranjan (the film’s writer, director, producer), we realised that to make a good dosti song, you need to understand friendship first.
It is Ramesh Sippy’s love for bromance that makes Yeh Dosti so impactful.
You can’t perfect something so perfect, but you can aspire…
Caesar: Sholay is not a pill that you swallow, it is like vintage wine.
You need to sip it slowly, savour it as it seeps into your soul.
I know this may sound like hyperbole, but no hype is too much for this film and its director.
Would you believe Ramesh Sippy was still in his 20s when he made Sholay?
Bosco: It has become a textbook lesson for the film fraternity.
You can’t perfect something so perfect, but you can aspire to achieve the standard Sholay set which is what we have been doing for the last 50 years.
Caesar: The film is a national treasure, no matter how many times you watch it, you never tire of it.
Bosco: I’m looking forward to watching the restored print now when it re-releases on its golden jubilee.
