'Sholay' at 50: retaining a movie's magic in translation

Copyright © HT Digital Streams Limit all rights reserved. ‘Sholay’ is one of only a handful of films-like the epic ‘Mughal-E-Azam’ who’s dialogue soundtrack in the 1970s was released on an MP. Summary author Nasreen Munni Kabir discusses Salim-Javed’s letter about ‘Sholay’ and how she tried to retain his sharp power as she subtinth the restored film Tu Kya Ladega Mujhse, Thakur? Tere to Hateh Kaatkar Phenk Chuka Hoon Main. (How can you fight against me, Thakur? I cut off both your hands and threw away.) Snap Ko Hath’s Nahi, Pairon’s Kuchla Jaata Hai, Gabbar. (You do not trample a snake with hands, your use of feet, Gabbar.) Fifty years of Sholay have passed. Much of the film’s dialogue still echoes with film lovers, feels as fresh as if it was heard yesterday. What provides successful film dialogue? Lines that provide information while also representing the temperament of the characters. Dialogue can carry poetic weight, be full of smart repart tea, roll out unexpected punchlines and produce the narrative. Along with the performances of actors, dialogue creates a deeper connection between story and viewer. Salim Khan is credited with writing the story and screenplay, and Javed Akhtar with the dialogue. Their masterful structure and arrangement of dramatic situations lend themselves effortlessly to original exchanges, as evidenced by numerous scenes. So it is surprising that Sholay is among only a handful of films-as the epic Mughal-E-Azam-Wie’s dialogue soundtrack in the 1970s was released on an MP. Audiences on the Il Cinema Ritrovato Film Festival in Bologna, Italy, this year was the first to see an excellent version of Sholay, undertaken by the film Heritage Foundation and producer Shehzad Sippy. When I was asked to sub -title this version, which included the original end, it was a pleasure and a challenge. I had certain hesitations about the translation, which was resolved during a conversation with Javed Akhtar, who happened to be in London. I explained that I was uncertain about the Urdu word Karaars – who used Gabbar to describe Basanti’s body in the final scenes. Firm? Firmly? He suggested ‘tinted’ – so the subtitle now reads: “Look at her arms and legs. How tinted they are”. Many years before, I asked Javed Akhtar about the goal of creating Gabbar’s sidekick together that has only one memorable rule in the film: “Poore Pachaas Hazaar (full fifty thousand)” in response to Gabbar’s question about the amount on his head. He explained that a man with a big ego like Gabbar couldn’t reduce himself by announcing the rewards money, so the scene needed a lackey. For the most part, when I am translated, I find it unnecessary to be smart or find English turns of phrases that deviate from the original Hindustani, because Sholay’s lines are full of simple power and footage. Why would someone with lines like this waste: Gabbar: Tera Kya Hoga, Baldia? (What will become of you, Baldia?) Balds: Sardar, Maine Monkey Ka Namak Kahaya (Chief, I ate your salt) Gabbar: AB … Goli Khaa (now … eat my bullet). Nasreen Munni Kabir is a writer, a documentary filmmaker, curator and subtitler. Catch all the business news, market news, news reports and latest news updates on Live Mint. Download the Mint News app to get daily market updates. More Topics #Features Read Next Story