Sholay 1975
They shot furiously for the next two days. And then the sun popped out again. After a week of work, they had two versions of the same half scene, one against a bright sky and the other against an overcast one. But Ramesh was determined. It was going to be clouds or nothing. So they waited for the gods to do the lighting. With the sun playing hide and seek, there were days when they managed to get only one shot and some when they simply stared at the skies. Filming came to a complete halt. To speed up the process, Divecha asked Anwar to make a screen to bounce the light off. The screen had to be bigger than the house. Anwar ended up buying all the white cloth in the vicinity to create a seventy-foot-by- hundred-foot screen. He stitched it himself with strong canvas thread. With the huge screen in place, shooting was resumed, but there were shots for which the effect created by the screen wasn't good enough. The gods had to intervene and bring back the clouds. But it wasn't just the clouds. Nothing seemed to go right. As they neared the end of the sequence, the little boy playing Thakur's grandson, Master Alankar, had exams. He would lose an academic year if he didn't sit for them. Ramesh let him go. Then the propeller, which worked up an appropriate wind to blow dry leaves onto the dead bodies, decided to do its own thing. It wouldn't start when they needed it to. And once started, it would just keep going. Finally, an aeronautics unit near Bangalore built another propeller. It worked perfectly. The wind blew yellow-brown leaves onto the bodies and the white shroud off them, Thakur mounted his horse in a raging fury, ready to look for Gabbar.
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