Nuggets of Sholay — Fifteen: Baap ke Kandhe Pe Bete Ka Janaza

Nuggets of Sholay — Fifteen: Baap Ke Kandhe Pe Bete Ka Janaza

AK Hangal is an actor I deeply admire, and in Sholay, his portrayal of Imam Sahab was unforgettable. One line, delivered at a pivotal moment, captures the essence of duty and burden in a village torn between fear and responsibility.

Muhavra: Baap Ke Kandhe Pe Bete Ka Janaza (बाप के कंधे पे बेटे का जनाज़ा)

This line comes when Ahmed's body is brought back to the village. The villagers are quarreling over who will now protect the village from dacoits. Imam Sahab steps in and calmly says, "Do not carry this burden. Do you know which is the biggest burden? Baap ke kandhe pe bete ka janaza". Literally, it means the greatest burden is the death of a child, carried even by a father. In context, Imam Sahab emphasizes perspective: compared to such a tragedy, other disputes are small.

This phrase is rarely used outside of this scene but resonates deeply as a proverb about the weight of responsibility and human suffering.

Previous Nuggets

That was the nugget. Samjhe ke nahin? Agar achha laga to comment kijiye. Agar achha nahin laga to lament kijiye.

Goodbye, aadab and namaste.

Comments

Nuggets of Sholay: One - Oont Pahad Ke Neeche

Nuggets of Sholay #1: One Oont Pahad Ke Neeche Nugget of Sholay #1: One Oont Pahad Ke Neeche (ओँट पहाड़ के नीचे) I must confess, starting this series of Sholay nuggets has been immensely joyful. Every line I researched, every scene I analyzed, brought me closer to the genius of Salim–Javed. Muhavra: One Oont Pahad Ke Neeche (ओँट पहाड़ के नीचे) This proverb literally means “a camel under a mountain,” describing something impossible or absurd. In Sholay , this phrase was delivered with perfect comic timing. "One Oont Pahad Ke Neeche" – Sholay dialogue scene This phrase is used to exaggerate an absurd situation. Gabbar Singh’s use of hyperbole here made it a classic. For more Sholay nuggets, check out Post 2: Kala Akshar . That was the nugget. Samjhe ke nahin? Agar achha laga to c...

Nuggets of Sholay: Ten - Maine Aapka Namak Khaya Hai Sardar

Nuggets of Sholay #10 — Maine Aapka Namak Khaya Hai I must confess that bringing this series of Sholay nuggets to you has been an immensely joyful experience. The many hours and days of research, thinking, and writing have provided me an escape from the otherwise dull period of the wretched lockdown. And I hope you are enjoying reading it too! In this episode, I'm digging out a proverb that is neatly ensconsed in the famous ' Kitne Aadmi The ' scene. Muhavra: Kisika Namak Khana (किसिका नमक खाना) Did you realise that Gabbar Singh (the Late Amjad Khan) is introduced well after the first hour of the film? Surprising, considering the import and gravity of the character, but Salim-Javed were true masters at the art of storytelling. Anyway, when Gabbar is diabolically playing Russian Roulette with three hapless dacoits, at 1h 10m, Kaalia (the Late Viju Khote) stammers: ...

1/28: Why I loved Pather Panchali (1955)

Pather Panchali (1955) Review | Satyajit Ray’s Poetic Debut Pather Panchali (1955): Satyajit Ray’s Poetic Debut Why on earth had I not watched any Satyajit Ray film till now? Puzzles me. But I'm setting out to watch every film made by the great man. Pather Panchali is my kind of cinema. Simple, yet complex. Subtle, yet bold. Rambling, yet assertive. The story is quite loose and banal, but it is the telling of the story that makes an impact. What drew me to the film is the play of characters, and the attention to detail. Your heart goes out to each of the pivotal characters — Sarbajaya , the forced matriarch; Durga , the dreamy daughter; Apu , the boy turning into a man; and Indir , the penniless beggar. Each of them tells their own story, not through words, but through their eyes and body language. Usually, in a film, you can make out the star of the show, but you can't r...

What Sachit Thinks

Search This Blog