September 17, 2012

Sudden Rides Again

He rode a horse as black as night. He wore two guns tied low, the butts worn as smooth as the leather they nestled in. He was a tall, capable man heading into the Arizona badlands, moving towards trouble.

He was James Green: gunfighter, killer, and murderer — a man with the kind of reputation that made men flinch when his eyes met theirs, that stilled hands on their way to holstered Colts.

He was an outlaw, heading for a deadly double-agent's game in an outpost of hell itself!


In case you're figuring out who wrote those lines it was British writer Oliver Strange who, in my opinion, created one of the most memorable fictional characters of the Wild West—James Green alias Sudden, the Texas outlaw. I have read western fiction by numerous authors but nowhere have I come across a more romanticised western gunfighter than Strange’s quiet, brave hero. 

If I were to compare James Green to anyone, off the top of my head, it would be Flint (Louis L'Amour) and Shane (Jack Schaefer).

The above passage is the blurb on the back cover of the fifth book in the series Sudden Rides Again (1938) which begins thus, “It may be that I’m sending you to your death.”

What makes the novels of Oliver Strange so special is that the Englishman, apparently, never travelled to America and wrote about the daring exploits of Sudden from his imagination. As I said in an earlier post on Sudden, the author’s graphic description of the American landscape, its towns, its people, its cowboys, its ranches, and its gunfights is close to the real thing.

I remain fascinated by the Sudden series for another reason: the lingo, the slang, the colloquialism. I don’t know if English in the Wild West was spoken the way Strange tells it in his novels, but I have never come across anything quite like it in other western fiction.


Here are a few samples of conversation from Sudden Rides Again, courtesy Corgi Books:

[1]

“I said for yu to put yore paws up,” came a rough reminder.

“Shore yu did, but my hoss needs ’em—he ain’t no catamount,” the other retorted, as he picked a way down the decline. “Allasame, I’d as lief break my neck as be shot.”
 

[2]

(Young Holt to Sudden) “Bin lookin’ for you all over,” he began. “They aim to git you to-night in there—a gunman named Butch has come a-purpose. Muley got drunk this arternoon an’ he’s bin tellin’ everybody to come to yore funeral.”

[3]

(Frosty to Sudden) Any idjut can look an’ laff,” he greeted. “Why don’t yu do somethin’, yu perishin’—ornament?”

“The Double K has dispensed with my services,” Sudden reminded. “Anybody out here with you?”


[4]

(Sudden to his black stallion) “Nigger, it’s goin’ to be dead easy—to break my fool neck.”

[5]

“Ain’t leavin’ us, are you Jim” (the sheriff of Red Rock) asked (Sudden).

“Shore am, an’ sorry to be,” the puncher told him.

“They let you go?’


“It warn’t easy; the Colonel an’ Mart made me han’some offers, Jeff an’ Frosty damn near pulled guns on me, an’ Miss Joan cried, which was wuss’n all.”

“Then why in the nation…?”

“Somebody’s waitin’ for me in Tucson.”

Dealtry thought he understood. “An’ she’ll be anxious, huh?”

Sudden grinned, “Yo’re way off the trail, sheriff. The person waitin’ for me is a shortish, middle-aged fella, with grey hair an’ a persuasive manner. They call him ‘Bleke,’ an’ he can be—times.”

“The Governor?”

“Yeah, an’ he’ll be wonderin’ if he oughta send a wreath.”

“So you’re from him? You kept it mighty close.”

“I’m the third.” He told the fate of his predecessors. “I expect they talked too much.”

The sheriff breathed hard. “An’ we thought he was doin’ nothing,” he said. “I’ll bet he’ll be pleased with you.”

“Just a shake an’ a ‘Well done, Jim
 ,” but I reckon them’s the best words a man can hear in this li’l ol’ world.” 

If you’re familiar with James Green alias Sudden then you’ll know that he isn’t responsible for any of the crimes pinned on him. Folks call him Sudden because he’s fast with his guns and there’s always a gunslinger waiting to prove he isn’t. He is Mr. Dependable who goes from one town to another, one ranch to another, and helps good people fight injustice and evil-doers. You'll enjoy his sardonic humour. Sudden, endowed with boyish good looks, is an honest man who plays straight with friend and foe. He is cool headed and has a unique ability of getting out of a blind alley. He rarely says who he really is. Folks usually discover he is Sudden when he is forced to draw, the bullet from one of his twin guns travelling faster than the eyes can blink. He is often sheriff and seldom mentions that he is also Deputy Marshal United States, a troubleshooter for Governor Bleke of Arizona.  

Behind it all is his true mission: to get the two men who got the man who raised him...a promise he made to a dying man, a promise he keeps in The Range Robbers.

For the uninitiated, Oliver Strange wrote ten Sudden novels while English writer 
Frederick Nolan wrote five more books under the assumed name of Frederick H. Christian and did notable justice to Strange's writing style as well as to the legacy of the Texas outlaw.

September 14, 2012

BOOK REVIEW

A Prairie Infanta (1904) by Eva Wilder Brodhead

This short novel by Eva Wilder Brodhead is my contribution to Friday's Forgotten Books over at Patti Abbott's blog Pattinase. You'll find plenty of good reviews of good books over there.

“Life,” he wrote, was at best “a rough proposition.”

It’s certainly a rough proposition for the Texas-born Keene, who, upon the death of his lovely Mexican wife Margarita, leaves his young daughter Lola in the foster care of a stranger and goes away to a mountain camp, to prospect for coal and, some day, return a wealthy mine owner.

Eva Wilder Brodhead (1870-1915), the American writer and poet, has written a charming story about the love and sacrifice of Miss Jane Combs for the sake of the motherless child Lola, a precocious girl of ten or twelve.

Jane, who lives alone in a shack just outside the little Colorado mining town of Aguilar, is more than happy to take Lola under her wing. She accepts the girl as her own no sooner the local doctor, a kindly man, and Keene besiege her to look after Lola in the latter’s absence.

Understandably, Lola has a streak of rebellion in her—her mother has just passed away and her father has “abandoned” her. She refuses to move in with Jane whom she distrusts and whose house she finds ugly. Instead, she approaches Senora Vigil, a Mexican woman who lives next door with her large family. Being half-Mexican, the girl wants to be with her kind of people. It doesn’t help matters that the Vigils don’t get along with Jane because of a dispute over a piece of land. Jane wants to return it to the Vigils but the law won’t let her.

"I will not go with you," Lola cries.

The Senora, in spite of her affinity with Lola, is reluctant to take the girl in as she has been left in Jane’s care. Nowhere to go, Lola decides to follow her father and runs away from the town but she soon finds herself in trouble—trapped in a deep gorge and on the verge of being swept away in a thunder storm. However, local cowherd Bev Gribble rescues her and takes her back to town where she is restored to Jane.

The next fifty-odd pages of the ebook describes the relationship between Jane and Lola and how the girl eventually realises the true worth of the woman, a complete stranger, who loved and cared for her as she would her own daughter—to the extent that the girl, who grows up into a vibrant teenager, scarcely remembers her own mother and rarely talks about her father’s return.

"I hoped you'd be able to lend me a hand,"
Mr. Keene tells Miss Jane Coombs.

A Prairie Infanta is the tender story of a noble woman whose sacrifices for the well-being of the girl are never too much, a woman who does everything in her grasp and capacity to keep her “daughter” happy. Jane does more than feed Lola or clothe her in finest dress. She also sends the girl to a paid school by mortgaging her house. When Keene fails in his prospect and desperately writes to Jane for funds, which he believes his daughter earns through housework elsewhere, she sends him money from her own meager savings.

Lola, of course, doesn’t suspect a thing. It’s only in the end that the full scale of Jane’s sacrifice is revealed to her, by no less a person than her own father who one day returns as a wealthy mine owner and shares his fortune with Miss Jane Coombs, the “broad, heavy, rugged, middle-aged” gentlewoman of Aguilar.

Lola presents Jane with Tesuque,
the Rain God.

I liked A Prairie Infanta for two things: the characterisation of Jane with her dignified demeanour and the town of Aguilar with its coalmines, adobe church, dirt streets and deep gorges, tall cottonwoods, mud-houses, goat-corrals, and Mexican children. The short novel is also a western story because it is set in a mining town many of whose inhabitants depend on prospecting to become wealthy. The mysterious Eva Wilder Brodhead, whose The Eternal Feminine is also set in Colorado, has written a good story really well. 

Source for A Prairie Infanta: Project Gutenberg

September 13, 2012

BOOK BUYS

A Max Brand here, a Mack Bolan there

I haven't done a "Book Buys" post for a while now. For the past few weeks, I have been buying secondhand paperbacks faster than I can read them. I bet I said that the last time around, too. The novels I picked up are in good condition and cost Rs.10 to 20 each [$1 = Rs.50]. I bought multiples of Don Pendleton (Mack Bolan), Ed McBain, Lawrence Block, Elmore Leonard, John D. MacDonald, Ruth Rendell, J.R. Roberts (Robert J. Randisi), Colin Dexter, Max Brand, Leo Kessler, and Nick Carter. I bought a few other books too but that would be really stretching it, or showing off, wouldn't it?

Here are some of the paperbacks I couldn't resist buying. The Elmore Leornard cover is the only one that doesn't match. Mine is a Pan Books edition.







Have I started reading any of these or the ones I haven't showcased here? Not yet, because I'm still reading the books I bought the year before last. What's bothering me, though, are the novels I didn't pick up from the old bookstore I drop in on my way home every evening—you seriously don't want to know what I have left behind!

September 11, 2012

FILM REVIEW

The Flying Deuces (1939)

This Tuesday, I’m going to tempt you into watching a black-and-white Laurel and Hardy classic as part of Overlooked/Forgotten Films and Television at Todd Mason’s blog Sweet Freedom. Don't forget to read the other fascinating reviews over there.

Oliver: Shot at sunrise!
Stanley: I hope it's cloudy tomorrow! 
[After Stan and Ollie hear the verdict of their execution the next morning.] 

There are quite a few memorable scenes in The Flying Deuces (1939) starring the endearing pair of Stan Laurel and Oliver Hardy. The one I liked the most takes place towards the end when Stan and Ollie, who are enlisted in the Foreign Legion in France, sing Shine On, Harvest Moon and break into an impromptu tap-dance before the band and other uniformed members of the unit. 

There is nothing unusual about this scene except that Stan and Ollie do the jig while they are on the run from their commandant (Charles Middleton) and his men: the comic duo is wanted for desertion!

The ludicrous scene lasts just over a minute, as Ollie croons Shine On, Harvest Moon in his distinctive voice, but it’s the cherry on the cake for me. Click on the link below and see for yourself.



The song itself is a popular duet first sung by the husband-wife team of Jack Norworth and Nora Bayes in the Ziegfeld Follies in 1908. It has since been performed by others in film and television, and on stage. 


Stan and Oliver join the Foreign Legion in the hope that it will help Ollie forget Georgette (Jean Parker), the Parisian innkeeper’s daughter he is in love with. 

Stan Laurel, Oliver hardy and Jean Parker 

When Georgette tells him that she already belongs to someone else, Ollie is heartbroken and leaves the inn with a self-portrait, a bouquet of flowers and a box of chocolates he had gifted the girl.

Back in their hotel room, Stan sits next to his friend and soothes him with tender words of encouragement (imagine that!) even as he pops a few more of the chocolates into his mouth and bumps into things around the room in his inimitable style. The seriousness of any situation is lost on Stan.

Stricken with grief, Ollie decides to commit suicide by drowning himself and he insists Stan come along with him—“After all that I have done for you!” Stan strongly feels otherwise. He whimpers in panic as the two of them prepare to jump into a shark-infested body of water with one end of the rope tied around their waists and the other to a stone. 


But then, an unexpected thing happens. Francois (Reginald Gardiner), a dashing officer in the Foreign Legion, is on patrol duty when he spots Stan and Laurel bungling their way through their imminent suicide. When he hears Ollie’s sad tale, he suggests they join the Legion as it would make him forget Georgette who, as you might have guessed, happens to be Francois’ wife. An elated Stan quickly unties the rope around his waist and drops the heavy stone into the water unmindful of the rope still around his friend—a predictable but funny moment, nonetheless.

Stan and Ollie join the Foreign Legion but trouble erupts when Ollie manages to forget his love and he and Stan decide to call it quits and walk out of the cantonment, as if they were walking out of a restaurant after a hearty meal. The last half-hour of the film is hilarious as the commandant and nearly every man in the unit look for the fleeing pair. They are to be caught and charged with desertion and might possibly have to face a firing squad. But, like I said, the gravity of the situation is lost on Ollie as much as it is on Stan. 

Reginald Gardiner as Francois

There isn’t a Laurel and Hardy film that I haven’t enjoyed since childhood. The Flying Deuces, directed by Edward Sutherland, has all the comic stuff that L&H films are notoriously famous for even though the slapstick humour is along expected lines. Stan and Ollie generate ripples of laughter, unintentionally so, as they bungle their way in and out of situations of their own creation. The two comedians may lack the emotion and sentimentality of Charles Chaplin but they delight you with their shyness and innocence in everything that they do, no matter how adverse their circumstance. I love their way of life. 

Stan and Ollie "bully" the commandant (Charles Middleton)

September 10, 2012

Robert E. Howard
When Robert E. Howard
got a rejection letter

While Farnsworth Wright was a veteran of World War I and a music critic for the Chicago Herald and Examiner, he was best-known as the firebrand editor of the pulp magazine Weird Tales, a man who often thrust rejection slips into the hands of famous writers and showed them the door. 

Wright regularly published sf, fantasy and horror stories by Robert E. Howard, H.P. Lovecraft and Clark Ashton Smith in Weird Tales. However, he had a difficult relationship with the three authors, as this article tells you. It says, "Wright had a strained relationship with all three writers, rejecting major works by them, such as Lovecraft's At the Mountains of Madness and The Shadow Over Innsmouth, Howard's The Frost Giant's Daughter, and Smith's The Seven Geases (which Wright dismissed as just 'one geas after another')." He also published most of their stories that made them famous.


Here's what Farnsworth Wright thought of Robert E. Howard's story The Frost-Giant's Daughter (1932), an early short story about Conan the Cimmerian which, I believe, was not published in Howard's lifetime. It was published in The Coming of Conan in 1953, seventeen years after he passed away.

© Creative Commons

September 07, 2012

BOOK REVIEW

Anthologies: Best Ghost Stories, The Haunted Hour, and Devil Stories by various authors

These anthologies are my meagre contribution to Friday's Forgotten Books over at Patti Abbott's blog Pattinase.

"Mortal, mock not at the devil, life is short and soon will fail, and the 'fire everlasting' is no idle fairy-tale." — Heine (a reference to the 19th century German poet Heinrich Heine, I think.)
  
© www.library.sc.edu

I haven't done a serious review of a forgotten book since Friday, August 10. I have been taking the easy way out by reading and writing about vintage comic-books, in the main the economy series by the Federal Reserve Bank of New York (August 23) and To The Last Man by Zane Grey (August 31) and, more recently, a historical work, The Story of the Outlaw, by western author Emerson Hough (September 3). Varied stuff, nonetheless.

This Friday is going to be no different because I still haven't read a forgotten novel. I just finished reading Gun Man by Loren D. Estleman, am nearing the end of Harry Potter and the Half-Blood Prince, have read the initial ten pages of Black Dice by Mack Bolan (Don Pendleton), and am tempted to pick up a Lawrence Block, either A Walk Among the Tombstones or Like A Lamb to Slaughter.

Mack Bolan and his allies, Able Team and Phoenix Force, can be considered as forgotten books except for one thing: people like me still read them. Together with Nick Carter, Ian Fleming, Carter Brown, and James Hadley Chase.

So then, this week I bring you previews of three anthologies I discovered at Project Gutenberg and ManyBooks, which have been kind enough to reserve a permanent seat for me over at their ebook libraries. The anthologies by various authors pertain to ghost stories and they are Best Ghost Stories (1919) with an introduction by Arthur B. Reeve, the American mystery writer; The Haunted Hour (1920), a collection of ghost poems compiled by Margaret Widdemer who doesn’t require an introduction; and Devil Stories (1921) edited by Maximilian J. Rudwin who, I think, is a German writer of fantasy and horror.

All three anthologies have contributions by some of the finest writers known to you and me. Here’s how each of the collections stack up…

Best Ghost Stories
Man is incurably fascinated by the mysterious. If all the ghost stories of the ages were blotted out, man would invent new ones.
Arthur B. Reeve in his introduction


01. The Apparition of Mrs. Veal by Daniel Defoe
02, Canon Alberic's Scrap-Book by Montague Rhodes James
03. The Haunted and the Haunters by Edward Bulwer-Lytton
04. The Silent Woman by Leopold Kompert
05. Banshees
06. The Man Who Went Too Far by E.F. Benson
07. The Woman's Ghost Story by Algernon Blackwood
08. The Phantom Rickshaw by Rudyard Kipling
09. The Rival Ghosts by Brander Matthews
10. The Damned Thing by Ambrose Bierce
11. The Interval by Vincent O'sullivan
12. Dey Ain't No Ghosts by Ellis Parker Butler
13. Some Real American Ghosts

The Haunted Hour
I have not considered as ghost-poems anything but poems which related to the return of spirits to earth.
— Margaret Widdemer in her preface


The Far Away Country by Nora Hopper Chesson

“The Nicht Atween The Sancts An' Souls”
All-Souls Katherine by Tynan
All-Saints' Eve by Lizette Woodworth Reese
A Dream by William Allingham
The Neighbors by Theodosia Garrison
A Ballad of Hallowe'en by Theodosia Garrison
The Forgotten Soul by Margaret Widdemer
All-Souls' Night by Dora Sigerson Shorter
Janet's Tryst by George Macdonald
Hallows' E'en by Winifred M. Letts
On Kingston Bridge by Ellen M.H. Cortissoz
All-Souls' Night by Louisa Humphreys

“All The Little Sighing Souls”
Mary Shepherdess by Marjorie L.C. Pickthall
The Little Ghost by Katherine Tynan
Two Brothers by Theodosia Garrison
The Little Dead Child by Josephine Daskam Bacon
The Child Alone by Rosamund Marriott Watson
The Child by Theodosia Garrison
Such are the Souls in Purgatory by Anna Hempstead Branch
The Open Door by Rosamund Marriott Watson
My Laddie's Hounds by Marguerite Elizabeth Easter
The Old House by Katherine Tynan

Shadowy Heroes
Ballad of the Buried Sword by Ernest Rhys
The Looking-Glass by Rudyard Kipling
Drake's Drum by Henry Newbolt
The Grey Ghost by Francis Carlin
Ballad of Douglas Bridge by Francis Carlin
The Indian Burying Ground by Philip Freneau

“Rank On Rank Of Ghostly Soldiers”
The Song of Soldiers by Walter De La Mare
The Blockhouse on the Hill by Helen Gray Cone
Night at Gettysburg by Don C. Seitz
The Riders by Katherine Tynan
The White Comrade by Robert Haven Schauffler
Ghosts of the Argonne by Grantland Rice
November Eleventh by Ruth Comfort Mitchell

Sea Ghosts
The Flying Dutchman by Charles Godfrey Leland
The Phantom Ship by Henry Wadsworth Longfellow
The Phantom Light of the Baie Des Chaleurs by Arthur Wentworth Hamilton Eaton
The Sands of Dee by Charles Kingsley
The Lake of the Dismal Swamp by Thomas Moore
The Flying Dutchman of the Tappan Zee by Arthur Guiterman
The White Ships and the Red by Joyce Kilmer
Featherstone's Doom by Robert Stephen Hawker
Sea-Ghosts by May Byron
Fog Wraiths by Mildred Howells

Cheerful Spirits
Cape Horn Gospel by John Masefield
Legend of Hamilton Tighe by Richard Harris Barham
The Supper Superstition by Thomas Hood
The Ingolds Penance by Richard Harris Barham
Pompey's Ghost by Thomas Hood
The Ghost by Thomas Hood
Mary's Ghost by Thomas Hood
The Superstitious Ghost by Arthur Guiterman
Dave Lilly by Joyce Kilmer
Martin by Joyce Kilmer

Haunted Places
The Listeners by Walter De La Mare
Haunted Houses by Henry Wadsworth Longfellow
The Beleaguered City by Henry Wadsworth Longfellow
A Newport Romance by Bret Harte
A Legend by May Kendall
A Midnight Visitor by Elizabeth Akers Allen
Haunted by Amy Lowell
The Little Green Orchard by Walter De La Mare
Fireflies by Louise Driscoll
The Little Ghost by Edna St. Vincent Millay
Haunted by Louis Untermeyer
Ghosts by Madison Cawein
The Three Ghosts by Theodosia Garrison

“You Know The Old, While I Know The New”
After Death by Christina Rossetti
The Passer-By by Edith M. Thomas
At Home by Christina Rossetti
The Return by Minna Irving
The Room's Width by Elizabeth Stuart Phelps Ward
Haunted by Don Marquis

“My Love That Was So True”
One Out-Of-Doors by Sarah Piatt
Sailing Beyond Seas by Jean Ingelow
Betrayal by Aline Kilmer
The True Lover by A.E. Housman
Haunted by G.B. Stuart
The White Moth by Sir Arthur Quiller-Couch
The Ghost by Walter De La Mare
Luke Havergal by Edwin Arlington Robinson
The Highwayman by Alfred Noye Noyes
The Blue Closet by William Morris
The Ghost's Petition by Christina Rossetti
He and She by Sir Edwin Arnold

Shapes Of Doom
The Dead Coach by Katherine Tynan
Deid Folks' Ferry by Rosamund Marriott Watson
Keith of Ravelston by Sydney Dobell
The Fetch by Dora Sigerson Shorter
The Banshee by Dora Sigerson Shorter
The Seven Whistlers by Alice E. Gillington
The Victor by Theodosia Garrison
Mawgan of Melhuach by Robert Stephen Hawker
The Mother's Ghost by Henry Wadsworth Longfellow
The Dead Mother by Robert Buchanan

Legends And Ballads Of The Dead
The Folk of the Air by William Butler Yeats
The Reconciliation by A. Margaret Ramsay
The Priest's Brother by Dora Sigerson Shorter
The Ballad of Judas by Iscariot Robert Buchanan
The Eve of St. John by Walter Scott
Fair Margaret's Misfortunes, Anon.
Sweet William's Ghost, Anon.
Clerk Saunders, Anon.
The Wife of Usher's Well, Anon.
A Lyke-Wake Dirge, Anon.

Devil Stories
The reader will find between the covers of this book Devils fascinating and fearful, Devils powerful and picturesque, Devils serious and humorous, Devils pathetic and comic, Devils phantastic and satiric, Devils gruesome and grotesque. I have tried, though, to keep them all in good humour throughout the book, and can accordingly assure the reader that he need fear no harm from an intimate acquaintance with the diabolical company to which he is herewith introduced.
Maximilian J. Rudwin in his introduction


01. The Devil in a Nunnery: A Mediaeval Tale by Francis Oscar Mann
02. Belphagor, Or The Marriage of the Devil by Niccolò Machiavelli
03. The Devil and Tom Walker by Washington Irving
04. From the Memoirs of Satan by Wilhelm Hauff
05. St. John's Eve by Nikolái Vasilévich Gógol
06. The Devil's Wager by William Makepeace Thackeray
07. The Painter's Bargain by William Makepeace Thackeray
08. Bon-Bon by Edgar Allan Poe
09. The Printer's Devil, Anon.
10. The Devil's Mother-In-Law by Fernán Caballero
11. The Generous Gambler by Charles Pierre Baudelaire
12. The Three Low Masses: A Christmas Story by Alphonse Daudet
13. Devil-Puzzlers by Frederick Beecher Perkins
14. The Devil's Round: A Tale of Flemish Golf by Charles Deulin
15. The Legend of Mont St. Michel by Guy De Maupassant
16. The Demon Pope by Richard Garnett
17. Madam Lucifer by Richard Garnett
18. Lucifer by Anatole France
19. The Devil by Maxím Gorky
20. The Devil and the Old Man by John Masefield

Since I haven’t reviewed the anthologies here, as I should have, the least I can do is provide you with the links to all three, at Manybooks, right here—Best Ghost Stories, The Haunted Hour and Devil Stories. You can download them in any format you like. Hurrah for Creative License!

September 04, 2012

MUSIC & LYRICS

Say You Love Me and Mehbooba, Mehbooba

This week I have two classic audio-video songs for you as part of Tuesday’s Overlooked/Forgotten films and television over at Todd Mason’s blog Sweet Freedom.

When I first heard Say You Love Me by Greek singer Demis Roussos, I was struck by its musical resemblance to Mehbooba, Mehbooba from the Hindi cult film Sholay (1975) which many consider to be the greatest Indian film ever made. Roussos, himself, appears to have borrowed the musical score of Say You Love Me from Ta Rialia sung by another Greek singer Michalis Violaris. I haven't heard his version yet.

Sholay, produced and directed by the father-son duo of G.P. Sippy and Ramesh Sippy, was influenced by spaghetti westerns and particularly by John Sturges' The Magnificent Seven (1960), or Akira Kurosawa's Seven Samurai (1954) if you like. I intend to write about Sholay someday. It was called  Embers in English.

Mehbooba, Mehbooba, which means my love or my beloved, was composed and sung by the late R.D. Burman, one of India's most versatile musicians, in his trademark soul-filled baritone voice. You can picture an RD song the moment you hear the opening lines. His fan following has grown since he passed away in 1994.

In Sholay, the song is pictured on Indian character-actor Jalal Agha and dance queen Helen who, as a couple of wandering gypsy musicians, sing Mehbooba, Mehbooba before Gabbar Singh (Amjad Khan) who plays a dreaded dacoit from Chambal Valley, the once-notorious bandit hideout in central India.

Most Indians, I'm sure, have never heard Say You Love Me and I don't think they really need to, because Mehbooba, Mehbooba outscores Demis Roussos' solo number which sounds tame in comparison. The Hindi song is vastly superior in musical texture, thanks to the use of a wide array of musical instruments by R.D. Burman.

It's the kind of song you'll enjoy even if you don't fathom the lyrics but then Mehbooba, Mehbooba is about RD’s score and Helen’s dance, and little else. I suggest that you listen to Say You Love Me first and then its near Hindi copy. It was plagiarism at its best, as so many Hindi films and film songs have been over the years. Let me know what you think.