Amitabh Bachan, Dharmendra, Sanjeev Kumar and Amjad Khan during the shooting of film Sholay (1975)

Generally accepted to be the greatest Hindi film of all time, this film appeals to everyone and is always a good choice to show to people who have never seen a Hindi film before, as it needs no cultural explanations (even though they can add to the meaning).

Jai (Amitabh Bachchan) and Veeru (Dharmendra) are petty crooks, hired by Thakur Baldev Singh (Sanjeev Kumar), a former police officer. He has lost his whole family to the evil Gabber Singh (Amjad Khan) in revenge for being sent to jail. Convinced that the law is inadequate, he is determined to take his own revenge, but Gabbar cuts off his arms. Veeru falls in love with the tonga-driver, Basanti (Hema Malini), while Jai is attracted to the Thakur’s widowed daughter-in-law (Jaya Bhaduri). But they have to fight Gabbar and his gang …

The film’s great foundation is its script and dialogue. Unforgettable scenes include the dismembering of Thakur, Jai’s meeting with Basanti’s aunt (Leela Mishra), and, of course, the episodes in Gabbar’s camp. It is not unusual for people still to quote the dialogues today (especially Gabbar’s ‘Kitne aadmi the?’ speech or his ‘Tera kya hoga Kaaliya? ‘and ‘Arre o Sambha’, but also Basanti’s ‘Chal Basanti!’ and her address to her horse, ‘Chal Dhanno, aaj teri Basanti ki izzat ka sawaal hai’, all of which were released on disk and now can be found on numerous websites).

The film also stands on the performances of the four major stars. Dharmendra as Veeru is the tough man with the soft heart, best remembered for his performance in the drunken scene. Jai is cool, quiet and composed but has a great sense of humour, as demonstrated in his meeting with Basanti’s aunt. Hema Malini shines as the chatterbox of a tonga-driver who is forced to dance for Gabbar’s sadistic enjoyment, while Jaya is silent apart from the flashback to the family’s Holi party. This film shows why Sanjeev Kumar is considered to be one of Indian cinema’s best actors. However, Amjad Khan as the evil Gabbar Singh has the best lines and is the baddie everyone loves to hate. The more evil he is, the more we are entertained.

The R. D. Burman songs include the hugely popular ‘Yeh dosti’, with its crazy sound effects and silly picturisation; the Holi song, ‘Holi ke din’, Basanti’s tortured dance, ‘Jab tak hai jean’, and the dance song performed by Helen, ‘Mehbooba’.

Sholay has been called a ‘curry Western’ (rather than a spaghetti Western), no doubt in part because of its stylish baddies (Jai’s resemblance to Clint Eastwood’s characters has been noted), its bleak locations and the characteristics it shares with films like The Magnificent Seven (1960). While it has features that are unusual in a Hindi film, such as the absence of family ties (apart from those of the Thakur, which have been destroyed) and the presence of evil rather than just a villain, it is still very much a typical Hindi film, with songs, comedy and romance, as is clear from a comparison with its antecedents, in particular Mera gaon mere desh.

Cast and Production Credits

Year – 1975, Genre – Crime, Action, Drama, Romance, Country – India, Language – Hindi, Producer – G. P. Sippy, Director – Ramesh Sippy, Music Director – R. D. Burman, Basu Manohari, Maruti Rao, Cast – Amitabh Bachchan, Dharmendra, Sanjeev Kumar, Hema Malini, Jaya Bachchan, Leela Misra, Sachin, Arani, Jalal Agha, Raj Kishore, Amjad Khan, A. K. Hangal, Satyen Kappu, Iftekhar, Vikas Anand, Mac Mohan, Geeta, Om, Rajan Kapoor, Birbal, Bhanumati, Habib

Rehan in Zinda Laash (1967)

In a day and age where even the mere mention of Lollywood elicits shudders of contempt, it is a relief to watch a resurrected classic Zinda Laash. Horror film buff and filmmaker Omar Khan decided to bring this desi gothic classic to life to show what Pakistani cinema was once capable of – and this effort culminated in the film being screened recently at the Lahore University of Management Sciences.

Boasting an impressive cast of the stars of yesteryears such as Nasreen, Deeba, Habib and our own answer to Christopher Lee – the exceedingly handsome Rehan – it also has the infamous Rangeela doing a cameo. Unfortunately these names may not strike a bell to the new generation, but they are icons of an industry that was once creative, successful and vibrant and garnered widespread respect and popularity. Zinda Laash belongs to an age where films and going to the cinema were very much the norm and diverse subjects from romance to humour to even horror were explored. Zinda Laash is a testimony to such creative expression and was an experiment of boldly delving into an unchartered genre of gothic cinema.

The term Desi Gothic implies blood, gore, women in burqas spinning spears out of control (akin to Omar’s debut Zibahkhana), yet despite being a horror classic, the 1967 Zinda Laash lacks all of the above. A remake of Bram Stoker’s renowned Dracula, this Pakistani version is an understated film that creates horror through actions and facial expression, since cinema in the 1960s was still in black and white. It may not appeal or compete with the technical effects that contemporary films of the same genre have but it certainly, to quote Omar Khan, ‘would have caused a few sleepless nights in its day’. It is also the first Dracula tale to have been modernized, where the vampire is seen to drive a car and offer a baby as fodder (a highly contentious issue) to his fellow vampire friend.

It must have been quite the challenge to create terror without gore, but Khwaja M Sarfaraz’s direction and the actors’ meticulously delivered expressions, lend this film that aura of mystery, murder and horror.

And it was clearly quite effective since Omar recalls a memorable moment of the film’s release back in the 60s – “a woman died of fright of watching Zinda Laash at a cinema in Gujranwala!” The film relies entirely upon the quiet menace that Rehan creates with an unparalleled finesse through his superbly nuanced acting skills and the dignified manner in which he walks in that long black stylishly donned overcoat. He certainly makes a most impressive Dracula. The film also boasts elaborate stylized sets that showcase the swinging 1960s and 1970s, grand bungalows and mansions, sprawling lawns, immaculate suits, boisterous singing, drinking and dancing. These were all characteristics of a fabulously fashionable and indulgently decadent era long gone.

However, Zinda Laash does have a few amusing features, like scenes of women luring men, that are a necessary evil of all films produced in the subcontinent. But these can be discounted for the seamless flow of the story, melodious score and the coherence in the direction. The finesse with which this film has been made leads one to automatically assume that it must have been pictured in Germany or Prague than in Murree or Lahore and a critical mind can detect very clear and tangible elements of German expressionism.

Zinda Laash also has the distinction of being the first ever horror film to be screened at two major film festivals abroad; the Sitges Fantastic Film Festival in Spain and the Neuchatel International Festival of Fantastic Films in Switzerland.

The film has been available abroad since 2003 and was mentioned in the ten best DVDs of the year in three American publications. The DVD is a definite collector’s item, which features newly filmed interviews with the cast and crew of the film, as well as a documentary on South Asian horror films.

Part of our lost filmi heritage, Zinda Laash is needed now more than ever to provide us with a sense of pride. It is a definite must watch, particularly for those studying film or gothic literature, or those without “irrational or persistent fears of ghosts and demons!” – Hani Taha Salim (Rating – 4 OUT OF 5)

Cast and Production Credits

Year – 1967, Genre – Horror, Country – Pakistan, Language – Urdu, Producer – Abdul Baqi Director – Sarfaraz, Music Director – Tassaduq Hussain, Cast – Rehan, Habib, Deeba, Nasreen, Yasmin, Asad Bokhari, Chham Chham, Allaudin

Habib

Starting from his 1956 film debut in director Luqman’s Lakht-e-Jigar, opposite Yasmeen, (with Noor Jehan and Santosh in the lead roles), right up to his declining popularity in Urdu films around 1966, (due to the soaring careers of Mohammad Ali and Waheed Murad), Habib himself was considered honestly hunky hero, who women didn’t mind cuddling up to. The hero worship was fueled by, and primped under tutelage of famed director Shabab Kiranvi. However, with the promising debut came a stench of failure, Lakht-e-Jigar was released the same time as another movie, Hameeda that had an almost identical plot. Needless to say, Hameeda was a super hit, while LJ was an unmitigated flop, only somewhat salvaged by the inclusion of its heroine, Noor Jehan’s melodious tunes. However, Habib’s career did not sink before it had a chance to begin. His roles in 1958’s Aadmi with Allauddin and Yasmeen, in which he played a double role, and 1960’s Suraiya, co-staring Nayyar Sultana, in which his character aged from a young man to geriatric, showed an actor with a broad emotional range. Other roles during the heyday’ 60s included Haboo with Husna; Khandan with Muhammad Ali and Akmal; Dil Ke Tukre again with Muhammad Ali, and co-staring Nayyar Sultana.

Ironically Habib was also a co-star in the debut film of an actor who would contribute to the decline in Habib’s own career. The actor was of course Waheed Murad and film was S.M Yusuf’s golden jubilee film, Aulad which premiered at Karachi’s Rivoli Cinema in August 1962. The film again had Habib with the elegant and graceful Nayyar Sultana. Naseem Begum’s ditty, Naam lay lay kay, tera hum tou jee ja-ain gay was one of the highlights of the film. Around this time Habib’s career in Urdu films was almost all over. And so like many of his fellow co-stars, he ventured into the more raucous realm of Punjabi films. From around 1966 till 1976 Habib made a slew of Punjabi films, most often paired with film actress Naghma whom he married in 1972. Soon Habib’s thirst for creative control egged him to venture into film production. Habib’s efforts as a producer included Pardes. The film, in which Habib also acted, was unique in that it had filmic scenes of the Khana-e-Ka’aba, through special arrangement with the Saudi government. Other producer/hero credits included 1978’s Mera Naam Raja with Naghma and Munawwar Zarif, memorable because it was Zarif’s last role before his death. Another film, rife with real life misadventures was Haar Giya Insaan, a saga that detailed the story of a father, played by Tariq Aziz (of Neelam Ghar fame) who loses his wealth and his three sons, played by Aslam Pervez, Nadeem and Habib, who are later reunited as adults. One of the highlights of this movie was the catchy tune, Dil Dara, Dil Dara sung by Muneer Hussain and Mala. The heroine of this drama was Naghma, whom Habib divorced in 1988. Habib’s life entered a difference phase and he didn’t appear on the big screen until 1993, when he acted in the Sultan Rahi-Hina Shaheen starrer, Baaghi, a tale about the cruel custom of karo kari (wife killing) that was first made in Punjabi and then later re-dubbed into Sindhi.

Intermittently Habib also acted on TV, most memorably in Mohammed Azim’s 1985 LTV serial Raheen, co-starring Saleem Sheikh. The Lollywood gossip mill recently reported that Habib may again venture into films (though one does not know in what capacity,) and continue in his Lahore-based TV career. Given his quite illustrious movie past, it would be a shame if he didn’t…