- Paperback: 200 pages
- Publisher: Penguin Books (31 Aug 2000)
- Language English
- ISBN-10: 014029970X
- ISBN-13: 978-0140299700
- Product Dimensions: 21.8 x 14 x 1 cm
- Amazon Bestsellers Rank: 427,775 in Books (See Top 100 in Books)
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Synopsis
National Award Winner: 'Best Book on Film' Year 2000 Film journalist Anupama Chopra tells the fascinating story of how a four-line idea grew to become the greatest blockbuster of Indian cinema. Starting with the tricky process of casting, moving on to the actual filming over two years in a barren, rocky landscape, and finally the first weeks after the film's release when the audience stayed away and the trade declared it a flop, this is a story as dramatic and entertaining as Sholay itself. With the skill of a consummate storyteller, Anupama Chopra describes Amitabh Bachchan's struggle to convince the Sippys to choose him, an actor with ten flops behind him, over the flamboyant Shatrughan Sinha; the last-minute confusion over dates that led to Danny Dengzongpa's exit from the fim, handing the role of Gabbar Singh to Amjad Khan; and the budding romance between Hema Malini and Dharmendra during the shooting that made the spot boys some extra money and almost killed Amitabh.
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2 reviews
1 of 1 people found the following review helpful
Nice book if you have seen the movie Sholay
11 Jan 2011
Format:Paperback
It is a nice short book and if you are a Sholay fan then it is hard to put down when you start reading. I started it at night, read most of it before sleep and read the remaining few pages as soon as I got up in the morning. It is a must have if you belong to Sholay cult.
Author being the daughter of the director of the Sholay has a Godly admiration of Ramesh Sippy and her grand father G. P Sippy. Due to that, there is some deficit when it comes to giving credit where it is due. For example, as it is evident to who has seen both movies, this movie owes a lot more to an earlier movie "Mera gaon mera desh". That Ramesh Sippy helped Dharmendra by getting Hema malini interested in him, is shown in positive light when in reality, he acted as a house breaker for an already married Dharmendra. It also sounds curious that as director and essentially the producer as well, he did not find it objectionable when Dharmendra was spoiling the shooting by bribing technicians to screw up during shoot so that he can hold Hema malini longer in his arm. I do not think any director will like it if it is done at his own expense and time. There are a few places where the credits are not rightly attributed. For example, the name Gabbar Singh is just a variation of "Jabbar Singh" of mera gaon mera desh which inspired it. Outcome of a flipping of the coin plays a crucial event in both movies. The pivotal characters in both movies (Jayant vs. Sanjiv Kumar) have both lost either one or both arms. The Dharmendra's suicide scenes are lifted right from an old and obscure Kishore Kumar's comedy film (I think "Half ticket").
The book claims that MacMohan had only one dialogue in the entire movie, namely, "poore pachaas hazaar" and became famous because of it. It is inaccurate. The other dialogue attributed to him is "Yeh le chidi ki rani" just before Ahmed (Sachin) is kidnapped.
Despite all these, it is a book you will closely relate to if you are a Sholay fan.
Author being the daughter of the director of the Sholay has a Godly admiration of Ramesh Sippy and her grand father G. P Sippy. Due to that, there is some deficit when it comes to giving credit where it is due. For example, as it is evident to who has seen both movies, this movie owes a lot more to an earlier movie "Mera gaon mera desh". That Ramesh Sippy helped Dharmendra by getting Hema malini interested in him, is shown in positive light when in reality, he acted as a house breaker for an already married Dharmendra. It also sounds curious that as director and essentially the producer as well, he did not find it objectionable when Dharmendra was spoiling the shooting by bribing technicians to screw up during shoot so that he can hold Hema malini longer in his arm. I do not think any director will like it if it is done at his own expense and time. There are a few places where the credits are not rightly attributed. For example, the name Gabbar Singh is just a variation of "Jabbar Singh" of mera gaon mera desh which inspired it. Outcome of a flipping of the coin plays a crucial event in both movies. The pivotal characters in both movies (Jayant vs. Sanjiv Kumar) have both lost either one or both arms. The Dharmendra's suicide scenes are lifted right from an old and obscure Kishore Kumar's comedy film (I think "Half ticket").
The book claims that MacMohan had only one dialogue in the entire movie, namely, "poore pachaas hazaar" and became famous because of it. It is inaccurate. The other dialogue attributed to him is "Yeh le chidi ki rani" just before Ahmed (Sachin) is kidnapped.
Despite all these, it is a book you will closely relate to if you are a Sholay fan.
1 of 1 people found the following review helpful
Entertaining & lavish account of the making of a great film
25 Sep 2006
Format:Hardcover
This book is not very hefty as far as coffee table books go but it's lavishly decorated with tons of stills from the movie, including double-page spanning frames that give you the full widescreen perspective and reproductions of all the posters made. It also has stills of paintings done by several artistes on he theme of Sholay. Not surprisingly, most of them deal with Gabbar Singh.
As for the text, Anupama Chopra's prose is breezy...breezy enough to finish reading the book in one session, but still it's worth going back to several times, to feast upon the lovely artwork and relive the many entertaining anecdotes that pepper this account.
Definitely a great buy for afficionados of Hindi films.
As for the text, Anupama Chopra's prose is breezy...breezy enough to finish reading the book in one session, but still it's worth going back to several times, to feast upon the lovely artwork and relive the many entertaining anecdotes that pepper this account.
Definitely a great buy for afficionados of Hindi films.
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