Dharmendra and Hema Malini in a scene in Sholay
Remember Dharmendra-Amitabh-Hema Malini’s blockbuster film Sholay, whose dialogues still raise their ears. The flash back takes to the time of 1975. A deserted area surrounded by hills, Gabbar Singh and Kalia of his gang carrying guns on high rocks. Terror of robber dacoits riding on horses, racing at speed of trains. In whose name, two and a half curses celebrate their children well- a village is in the same scope, Ramgarh, where Basanti lives. Equipped with courage, encouragement and consciousness of standing on her feet, she is a woman of a problem. His character is no less than a challenge in that situation. Today is the day to shock the flight of that Basanti or Basanti, which is known to blow the good consciousness.
Hema Malini had earlier become both Sita and Geeta in a film by Ramesh Sippy in 1972. Therefore, Basanti’s emotion could live well. He now made Basanti immortal. The courage and strength given to Basanti with her acting ability became the most cool character of women empowerment. She was two steps ahead of Geeta. Basanti runs a tanga in the area in 1975, which trembled with the fear of Gabbar Singh. The story is imaginary. The pair of Salim-Javed wrote on paper first, then landed on screen. In its imagination, not only did a woman live up to adventure, but also put an example of self -sufficiency in it.
Sholay’s Basanti Self -reliant woman’s symbol
The Basanti runs a Tanga to run the house. This is the basis of her and her aunt’s livelihood. He has to feed his, aunt and Dhanno. There is no male third character in the house. In this way, Basanti also becomes a symbol of self -sufficiency. The most amazing thing is that Sholay was not a female -oriented film, but women are full of empowerment. Then there was no such emphasis to celebrate national or international Women’s Day. Sholay was released on August 15, 1975. According to that, fifty years of that film will be completed this year.
The country was imposed a national emergency in June the same year. Sholay was released in the shadow of emergency. In real life, on the one hand, the woman’s rule used to speak on the pace of national politics, on the other hand, on the screen of cinema, Basanti, who told anyone on the screen, her dialogue with whip, rich in form of puberty, sharp-run wheels on the bumpy roads and the disciples of her dhanno were common.
Basanti of without parents took responsibility
The scholars of cinema still believe- three characters and artists of the artists provoked Sholay the most- Gabbar Singh became Amjad Khan, Thakur became Sanjeev Kumar and Basanti became Hema Malini. His supportive artists like Dharmendra-Amitabh Bachchan were in the form of Jai-Viru. Some scenes of the film are very cool. Jai-Viru gets off the train. Thakur goes out of the station to go to Baldev Singh’s house in Ramgarh. A beautiful young woman looks with Tanga in front. He is Basanti.
Basanti would tell both of them- Yes, Babuji-Where will you go, Belapur, Ramgarh Fatehgarh .. Where to go…
Jai-Viru is a hakka bakka. A beautiful girl is standing with a Tanga and is asking how courageously- where to go to Babuji! He is not even aware of the answer.
Then Basanti again speaks- What do you see, Babuji, haven’t you ever seen Tanga first… This village is Kheda Hai Saheb .. Here the motor train will not be found that you sit and walk from the garrrrar… Look here, I have a habit of talking about it, I am not a habit of talking about it… No, it is not a matter… Hey, it is not a matter… Oh, it is not a matter… Hey, it is not a matter of Basanti… Hey, it is a Tang of Basanti… And one and a half rupee of Ramgarh… Basanti, who said, said that he said… Yes ..
Further Jai-Viru rides on the tanga. Chal Dhanno… Basanti starts running with a hunk. On the way, Basanti speaks of some address in a very light manner, which needs to be noted- The parents were not already my already… After the warts, the responsibility of aunt and the tanga came on us… Now people also tell us that Basanti runs a Tanga as a girl- so we answer her that Dhanno can pull Tanga as a mare, then why can’t Basanti be a girl and run a tanga?
Now you will be surprised to know that not only the country but the first women’s train driver in Asia came out in 1989, named Surekha Yadav. This fact is recorded in the pages of history. The intention is to say that cinema is definitely entertained by melodrama, but the imagination here is not other than the social ground. Our life and the entire society are also full of melodrama colors.
Every form of woman is like power on the screen of cinema
We have seen many forms of women on the cinema screen. When Mehboob Khan, who made the woman, made bread, understood that she could not portray the working flight and struggle of an Indian woman properly, she formed Mother India. In whose role Nargis was called the greatest power of truth, courage and dedication. Radha of Mother India shook the entire Indian sub -continent in her melodrama by moving beyond films like untouchable girl, Duniya Na Mane or Sujata, Bandini.
Over time, we have seen how many rebellion women like rebel, Godmadar, chilli masala, Damul, Damini, SHAPAR and Dhakad have seen the saga of women. Even we have seen the form from fire, water to Gajgamini, then English-Vinglish, Lipstick Under My Burka and Bareilly’s Barfi. But Basanti looks different in all of them.
These women are not progressive only because they have coined bold female characters, but they become important because their presence is like an intervention in front of maleistic thinking society. They are not shy. They understand that being speechless is not a whole progressiveness. A silent retaliation gives its space sharp. Every form of a woman is the power of cinema.
Also read: Fly in the air, I am a 21st century girl, this slogan was the first to echo in cinema
