35 minutes agoAuthor: Umesh Kumar Upadhyay
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Actor and director Sachin Pilgaonkar had a special conversation with Dainik Bhaskar on the completion of 50 years of the film Sholay. He said that a film like ‘Sholay’ can be made only once. Its remake is not possible. Today this great film has been released 50 years, but its story, dialogue and feelings seem to be equally fresh today. I am very sure that this film will remain as effective and vibrant in the coming 50 years. Even today, ‘Sholay’ is mentioned everywhere. ‘Sholay’ is immortal and immortal will remain.
The film ‘Sholay’ came to offer, then I was 16 years old
I first met Ramesh Sippy ji in 1966, when I played an emotional child in his film ‘Brahmachari’. After this, in the year 1973, I received a call from Sippy Films. At that time I was 16 years old. I was neither a fully child artist, nor adult actor at that time.
I went to Ramesh ji’s office in Khar area of Mumbai with my father. Going there, it came to know that he is making a film ‘Sholay’. On seeing me, he became very happy and started saying that I wanted to see how you look now. He said that just as an emotional child was played in ‘Brahmachari’, similarly in ‘Sholay’ there is a emotional character of a teenage boy named Ahmed.
Ahmed is the son of Imam Saheb. He goes out in connection with the job. Then the man of the robber Gabbar Singh holds him and takes him to Gabbar. Gabbar kills Ahmed and his body is sent to the village. When the corpse reaches the village, the whole village is shaken. This is the turning point of the film. The incident causes the village to be against Jai and Veeru. But later, due to Imam Saheb, the whole village once again comes in his support. When Ramesh ji narrated this character to me, he asked my opinion. I said without hesitation, it would be a pleasure for me to work with you.
He played the role of Ahmed in Sholay.
Used to sit on the ground and observe Ramesh ji
Before doing ‘Sholay’, I had worked as a child artist in about 65 films. But what I experienced on the set of ‘Sholay’ was completely different. Seeing the hard work, dedication and professional manner, I was deeply impressed to see.
He often used to sit on a chair and directed them and I used to sit on the ground behind them and observe them quietly. His way of working, attention to the nuances of the scene and interaction with artists. When my first schedule was completed, I had to return to Mumbai from Bangalore. But I wanted to stop more. I pleaded with his managers, love and Rajan whether I could be allowed to stay two-three more days.
When he talked to Ramesh ji, he said that if he wants to stop, let it stop. I know why he wants to stop. When the manager told me this, I was shocked. How did Ramesh ji know why I want to stop?
One day when I was sitting on the ground as always, Ramesh ji asked, why are you sitting behind? Put a chair nearby and sit. I said that I am fine here. The next day he asked me directly, what are you trying to learn? What do you want to do in life? I replied that my dream is to become a director one day.
Hearing this, he smiled and said it is a very good thing. But have you learned things related to directions? I told them that I have worked in Rishikesh Mukherjee’s film ‘Fish’ and at his behest, I have also assisted in the editing room for about two and a half years. Ramesh ji was very happy to hear this. Perhaps he recognized my inner director that day.
Whatever he learned from Ramesh ji and Rishi Da, he was very useful for me
When I reached Bangalore for the second schedule of ‘Sholay’, Ramesh Sippy ji told me, Sachin I am making a second unit. He said that from this unit he needs shots that will not be the main artists, but will include action sequences, long shots, duplicate shots, train passing, and some scenes of bandits. It was also scheduled to attend the action director, technical team and an action director from abroad.
Ramesh ji further said that he himself will not be able to be present on the spot during the shooting of these scenes, so he needs at least two people who are present there on their behalf. Look at the shooting carefully and come and tell them what is happening there.
The responsibility of direction was given to the professionals who were specially hired by Ramesh ji for this work. Our job was just to observe, neither we had to direct anything, nor we did it. When Ramesh ji entrusted me this responsibility, I was very happy. On the one hand, he felt proud, on the other hand it was a little surprised that he expressed so much confidence in a 16-17 year old boy. This was a very important turn of my career.
Today, when I look back, I find how valuable that experience was for me. As a director, I have made 23 films so far and in every film, I have been very useful for Ramesh Sippy ji and Rishikesh Mukherjee Da. I believe that every day is a day to learn. I will always be grateful to him for the support and trust given by Ramesh ji in my early journey.
Director Ramesh Sippy.
No money from ‘Sholay’, then Ramesh ji gifted AC
When the shooting of ‘Sholay’ was completed, the production manager told me that you have not charged any fees for this film. We want to give you money. I smiled and replied that the experience and learning I have got in this film is the biggest income for me. I will not take money for this film.
When Ramesh Sippy ji came to know about this, he gifted me an air conditioner. In 1975, he was the first AC in my room. At that time being AC in the house was considered a big thing in itself. Gradually, I got the habit of AC so much that even today I could not sleep without AC, but in reality the coolness of that AC, as well as the blessings of Ramesh ji, the warmth within me is still with me today as fresh and inspiring.