New Sholay - Ram Gopal Varma

Court’s axe has not just fallen on the title of Ram Gopal Varma’s tribute to SHOLAY that has now been renamed as RAM GOPAL VARMA KI AAG. The latest casualty is now the character played by Ajay which has been changed from Veeru to Heeru!

While Gabbar becoming Babban has made many raise an eyebrow already, the emergence of Heeru only takes the debate further on the naming controversy. One wonders if all hullabaloo is actually worth it because ever since the film was announced, it has been mired with controversies.

First it was the entire remaking of the film that caused fiery reactions from people within and outside the industry. Later the much used and abused word ‘inspiration’ came into picture. When the court proceedings started, newer arguments emerged. Now to stay away from trouble, the film is plain and simple being called as a tribute to the 70s classic.

All said and done, what the film has succeeded in is to be in news and make sure that audience checks out the film at least once due to the sheer curiosity factor.

This is the animated version of the sholay 2007 movie remake. This animation features the original gabbar singh, jay, veeru and the song mehbooba mehbooba.

RGV’s Sholay has been rechristened Ram Gopal Ki Aag. Calling it a Sholay remake would be incorrect as the characters have been modified, the names have been changed and now there is no mention of “Sholay” in the movie. Since most of us are dreading the Remake or whatever it has been reduced to, I thought we have some fun and here are two animated spoofs on the iconic movie!

Ram Gopal Verma’s Sholay might take time to hit the theatres, but the duo of Parth Shah and Tejas Gupte of Bombay Scottish have kicked off the football season in style.

The football team’s ‘Jai-Viru’ combination have been playing together for the last four years and the bonding was very much evident on the field on Tuesday. Fifteen-year-old Tejas admits with a smile: “Yes, we have the chemistry going.”

Their style also compliments each other as Parth is deft in shooting and in the box, when Tejas gets the ball, he finishes it in no time. In fact, the two goals scored in the first half depicts their partnership. After a solo effort, Tejas kicked straight into the St Mary’s ICSE goal-keeper, Manas Khandelwal, who failed to collect the ball, which in turn rolled in for a goal in the 5th minute. The second goal came from the efforts of ‘Jai-Viru’. From a move initiated in the mid-field through Ninad Sapale, Parth later lobbed the ball to Tejas who took the opportunity and slammed the ball past the St Mary’s keeper, who once again rushed out of the box and fumble to collect.

The two also used their bodies to the hilt. On one side, the slightly taller Parth tackles the opposition defenders while the smaller Tejas squeaks past the line of sturdy defenders.

The Scottish team looked in sync and settled on the field in quick time with their coach guiding them from the side line. Tejas says, “As soon as we saw that our opponents slow on the ball, we started playing the high balls.”

Talking about the duo, Scottish coach Anthony Fernandes points out, “The two have played under 12, 14 and now under 16 matches together in the same position. So there is a lot of understanding between them. Such a combination is an asset to any team.”

Viren Noronha increased the lead to 3-0 but as soon as the Mary’s boys saw their coach entering the ground, they seemed rejuvenated and Joshua Valladares reduced the margin to 1-3 for Mary’s ICSE.

Mohanlal was a school student when Ramesh Sippy’s Sholay was released in 1975, and like most of the kids at the time, he too was fascinated by it. Little did he realise then that 32 years later, he would be a part of its remake.

In this exclusive interview, Mohanlal talks about the experience of acting in Ram Gopal Varma’s version of the film called Ram Gopal Varma Ke Aag, in the role immortalised by Sanjeev Kumar.

Was there any difference in the image that you had of Sholay, the character Sanjeev Kumar portrayed, and the character you enacted in the remake?

I did not think of the original when I was acting in the film. I didn’t have any plans in my mind. I don’t prepare for my characters.

This is the first time you are playing a role previously portrayed by another actor.

Thirty two years is a long time. One does not remember the minute details in Sholay. Moreover, the backdrop is different. Here, the Mumbai underworld forms the background. That itself changes your costumes and the way you behave.

As this film has taken only the basic structure from the original, you cannot compare the characters of this film to those of Sholay. The name of the character I portray is Narasimha, and I am not doing it the way Sanjeev Kumar did. I have enacted the role of Narasimha the way I can. Like the name suggests, he is a South Indian with a wife and family.

What does Narasimha do in Mumbai?

He is an encounter specialist. At one point, he catches Gabbar Singh (played by Amitabh Bachchan). And unlike in Sholay, there are many reasons why Gabbar Singh is vengeful. I feel this film answers all the questions that we might have had when we saw Sholay. The loopholes in the story are plugged in this film.

Many films are remade in the world, and this is another filmmaker’s attempt to remake a film that is considered as the Bible of Indian films. The main story of Sholay was the rivalry between Gabbar Singh and Thakur. Similarly, this film also essays the rivalry between Gabbar Singh and Narasimha.

Like in Sholay, did Gabbar Singh chop off your hands too?

Not hands, only fingers. You see, Narasimha is an encounter specialist and without his fingers, he is useless as he cannot fire his weapon. This film is more crude and violent. Gabbar Singh is like a psychopath here.

For an actor who uses his hands a lot while acting, how was it portraying such a character? Did you have to control yourself a lot?

Yes. I use my hands a lot while acting. I think most of us use our hands even in our conversation. But in this film, I consciously avoided using my hands. Yes, I had to control myself.

As an actor, did it restrict you?

No, no. I know the character does not have fingers. So my mind prepares itself for that. Once I am aware that Narasimha does not have fingers, my body language changes. The way he reacts and moves becomes very different from what I do normally.

This man drinks coffee using his hands. He manages it by keeping the coffee mug close to his palm. He manages many things on his own. Actually, I do not have to use my hands much in the film. Most of the scenes are quite emotional where expressions are more important.

You are reluctant to accept projects from other languages. What made you accept this?

When someone asks you to do a role immortalised by Sanjeev Kumar, do you think any actor will say no? As an actor, I consider it my good fortune that I got such an offer. I have no idea how the film will come out or how the audience will react. I was only concerned about my role.

To me, only the filmmaker and the role matters. It is like me loving someone and that someone else denying my love. You may not like it but you can’t deny my love.

Similarly, you can’t deny Ram Gopal Varma’s right to make a film when he is ready to face the criticism. And whatever it may be, everybody is eager to watch his Sholay. Nobody can deny that.

Was shooting for the film an interesting experience for you?

My first shot was Amitabh Bachchan chopping my fingers off. I had to scream and I lost my voice the next day because of that.

I want to tell you something. I have done films with the legends like Prem Nazir, Sivaji Ganesan, Nageswara Rao, and now, Amitabh Bachchan. I was very close to Raj Kumar too, and he used to watch my films closely, and had a lot of love and affection for me. Had he been alive today, I might have done a film with him.

You didn’t have to struggle for anything in life. From your debut film to superstardom, everything came to you on a platter. Do you consider yourself lucky in life?

I never ever aspired for anything in life. I don’t believe in planning or yearning for something very strongly. If something has to happen, it will happen. I never wished that Ram Gopal Varma should make Sholay one day, and that I should get Sanjeev Kumar’s role. I don’t like to use words to describe the happenings in life. It’s not luck, it’s not destiny…

After acting in films like Vaanaprastham and Vaasthuhara, why do you act in silly commercial films? After Thanmatra, you haven’t done a single memorable role this year.

I have done a film called Paradesi in which I play an 80-year old man who doesn’t belong anywhere. I have also done a film called Aakasa Gopuram based on a play by Ibsen (Master Builder). Yes, as an actor, I have to do these kinds of films but not always.

After nearly 30 years in the film industry, do you have to act in films where your characters are not well etched?

So what if I do? I have done good films and memorable roles earlier. Does that mean I can act only in such films? What’s wrong in acting in commercial films? You can’t say that I should act only in films like Thanmatra. It is not possible.

It’s not that. The kind of commercial films you used to act in the late 1980s and 1990s were meaningful.

Only when you see silly commercial films, you will appreciate films like Thanmatra more. (laughs).

Does acting in less sensible films excite you?

As an actor, I should act in all kinds of films and enact all kinds of roles. Every film has something good about it. How can you say a film is not good when many people see it and the film becomes a hit?

See, we are doing films for the masses. Only once in a while can you do films that are appreciated by just a 100 people in a theatre.

To the question as to why I am acting in commercial films, my answer is popularity. I do other kinds of films also which you can watch. Let others watch the rest of my films. Along with films like Paradesi and Akashagopuramn, I have to do films like Hallo, Chotta Mumbai and Ali Bhai also. What is wrong in that? I feel as an actor, I am blessed to be acting in all kinds of films.

Do you enjoy doing films like Hallo and Chotta Mumbai?

Definitely. Otherwise, I wouldn’t be acting in them.

Great things indeed come in small packages. Meet Rajpal Yadav, the versatile actor from Shahjahanpur who is playing Soorma Bhopali in Ramu’s Sholay

You are playing Soorma Bhopali in Ramu’s Sholay. Don’t you think that’s really going too far, when it comes to playing the established characters?

When you see the film, you would realise that new Soorma Bhopali is very different from his earlier counterpart. Sholay is one of the finest films of Indian film industry , but it was made eons ago. Today’s Soorma Bhopali is a changed man, with different nuances, aspirations and idiosyncrasies . I am a fan of Jagdeep and people will certainly compare the two characters, but my portrayal will still retain its distinct flavour.

It was make up! Call it reinventing the wheel, but Bachchan Sr is always in character and his make-up avatars just as mixed.

Be it the pony-tailed chef in Cheeni Kum or the Jack Sparrow look in Jhoom Barabar Jhoom , Big B is happy reinventing his roles and his looks with every passing film. And the man who has been tirelessly working on these looks for 36 years now is make-up artiste Deepak Sawant. From doing make-up of the original Sholay to Ram Gopal Varma Ke Sholay , Sawant has come a full circle. And even as he gets busy in Hyderabad to make Big B play an aged Sarkar in Sarkar II, he admits that it’s the half burnt face of the star in Rituparno Ghosh’s The Last Lear that’s given him the most creative satisfaction in the recent past.

Talking about this closely guarded burnt look of Big B, Sawant says, “Amitji is doing a role where his character gets burnt. Initially, I was told that this look would be required for only one or two days. Imagine my surprise when I heard that this look would continue for a whole one week! It would take an hour to do that make-up . I’d mix four pieces and then add latex and wax to get the right consistency. The edges had to be blended seamlessly into areas of the face to make it look realistic . Removal of this make-up would take 20 minutes,” he recalls.

Big B’s menacing look in Ramu’s Sholay is no less interesting. “The original Sholay didn’t need much experimentation, except for the blast scene where the iron scraps leave a clot effect of dry blood on Amitji’s face. For Ramuji’s film, I was asked to give a rough look. That’s why I gave a dark make-up and got that cut mark on his nose,” adds Sawant.

Ask him about his career’s most difficult work and Sawant mentions Black. “Amitji sported a beard that I had to weave out of the hair that people donate when tonsured at Tirupati. It took five days for me to make two pieces of the beard and attach the same to Amitji’s original French cut beard. Each day, I’d spend four hours to match the wig’s texture and colour with the natural hair. For Cheeni Kum, I extended some strands from a wig for that cute ponytail,” he recalls.

Sawant insists that using the imported latex and rubber doesn’t harm Big B’s skin at all. “His skin is slightly oily and that suits all kinds of costume textures and make-up . Amitji usually reads his scenes when I’m working. Normally, I do a scenewise make-up . For action scenes, I go for a reddish make-up . For dramatic and romantic scenes, the make-up is never too loud. That’s how it has been ever since I started working with him for Raaste Kaa Patthar.” Back then, he used to earn Rs 80 per day. Today, Sawant travels the world over with Big B and has also produced a Bhojpuri film that had Big B playing a thakur. He has also done the make-up for Abhishek Bachchan on the first day’s shoot of Refugee. Coming up are the two interesting looks in Bhootnath, one of which is a sinister ghost-like get-up . As a parting shot, Sawant says, “I’ve seen so many stars. Amitji is the only star who gets under the skin of a character the moment he has his hairdo, make-up and costume on.”

If it was just about the name, then the whole fracas between Ram Gopal Varma and the Sippys would have been understandable. After all, it was director Ramesh Sippy who had changed producer GP Sippy’s working title of ‘Shole’ — named after a 1953 movie directed by BR Chopra that GP had distributed — to the more iconic ‘Sholay’. And since Varma has been quite outspoken about his version being a homage as well as an update of the 1975 blockbuster, one would have thought that the Sippys would be touched.

But there is the matter of trademark violations and brand equity. The same way that Marvel Comics realised that it made better sense to own popular characters like Spiderman than to publish unpopular comics, the Sippys have figured that Ram Gopal Varma ke Sholay — with the same story and the same characters with the same names — could have walked away with a substantial monetary as well as artistic chunk of the classic pie. And since it’s Varma in the director’s seat — as opposed to Farhan Akhtar, who was behind the 2006 remake of another Salim-Javed script, Don — chances are Ram Gopal Varma ke Sholay could have divided the audience, not to mention future DVD sales. Whatever be the case, Sascha Sippy, director of Sippy Films Pvt Ltd, has stated that the son of the late GP Sippy, Ajit Sippy, did not have the copyright himself to the characters of the original film that would have allowed it to be transferred to Varma. He wants only one Gabbar Singh, one pair of Veeru and Jai, one Basanti….

So Varma’s homage will now be called Ram Gopal Varma ke Aag — and all of us will have to pretend that Babban Singh is not Gabbar Singh, Ghungroo is not Basanti… and the original Sholay wasn’t lifted from the Sergio Leone 1968 classic, Once Upon A Time in the West. Not that any of the Leones will be knocking on the door of the Sippys.