Director Ramesh Sippy's Sholay hit the screens on August 15, 1975 to coincide with the celebrations of Independence Day. The film's poster played it up as the 'greatest story ever told' with the 'greatest star cast ever assembled'. Said to be inspired from Akira Kurosawa's Seven Samurai (1954) and Sergio Leone's Once Upon A Time In The West (1968), Sholay was a 204-minute tale of crime and punishment. But the initial dismissal of the film as 'a poor imitation of spaghetti Westerns' left Ramesh Sippy distraught. Debutant Amjad Khan as bandit Gabbar Singh was dubbed a nonconforming villain, his supposedly 'weak' voice dulling the thunder. Amitabh Bachchan's character Jai was bumped off in the climax leaving audiences disenchanted by the hero's unlikely exit. But a few days later, in an uncanny turnaround, the never-seen-before spectacle including its dialogue got the ticket windows working overtime.
Apart from the heroic characters played by Sanjeev Kumar, Dharmendra and Amitabh, Amjad's psychopathic Gabbar became an allegorical creature in film lore. "Jab bachcha raat ko rota hai, toh maa kehti hai bete so ja ... nahi toh Gabbar Singh aa jayega!" says he in a scene validating his myth. While Sholay was bullet-driven, the subtext was emotional and entertaining with the peripheral characters spawning spoofs and parodies till date. Sholay played for five years at Mumbai's Minerva cinema. Five decades later, it's seen as a pillar of Hindi cinema. Director Anubhav Sinha, who has been a Sholay buff all his life, fondly recalls the impact and influence the film had on his young mind. In his own words:Huge canvasI was around 10 when I watched Sholay in Allahabad. Naturally, I was blown over. Cinema, besides telling a story, should take you through an experience. Film watching is a collective community activity. Sholay was just that. For someone growing up in small-town Benaras, I was not exposed to Hollywood films. Sholay was the first motion picture to be advertised as a 70mm film. We didn't understand what it meant. But the icon on the poster indicated the blown-up canvas.
Engaging plotThe story was captivating. Hoodlums Jai (Amitabh Bachchan) and Veeru (Dharmedra) are hired by ex-police officer Thakur Baldev Singh (Sanjeev Kumar) to capture dacoit Gabbar Singh (Amjad Khan) alive. Thakur shares a violent past with Gabbar, who massacred his family and had cut off his arms. The film captivates you instantly. Dwarka Divecha's cinematography captures the hilly terrain, the rocks and the rustic topography right from the credits. The opening scene has a solitary man on a solitary station waiting for the train. As the train comes in... you feel it's coming on to you. Such is the camera work aided by the stereophonic surround sound.
Iconic leadsAll characters forge a special connection with you. Sanjeev Kumar as the beleaguered Thakur was not the classic hero for a 10-year-old. But I always adored him as an actor. Normally, he never played an angry man. His was a jolly countenance. But here he's all fury. Early into the film, Thakur's stoic stance where he says 'loha lohe ko kaatta hai (iron cuts iron) justifying his decision to hire Jai and Veeru... establishes his mission. When he briefs Jai and Veeru about their job, having the safe opened in front of them... his is a loaded demeanor.
Amjad Khan as Gabbar redefined the villain. He's terrifying, the masterful writing building up his fearful persona. The way it was executed and performed made Gabbar reach mythical proportions. His entry in the film in army green and boots striding up and down, swinging a belt as he climbs up a rock... remains unforgettable.A crucial scene is when Gabbar after gunning down Thakur's family turns his attention on his grandson. You saw everyone else fall and die. You can't bear to see him shoot the child. While Gabbar trains his gun at the boy, the scene immediately 'cuts' to the exhaust of a steam engine train. That moment remains frozen in memory. So is the sight of the empty swing as Thakur's family lies dead... its eerie swaying gives you gooseflesh.
Thakur is shocked to find his family in shrouds. Radha (Jaya Bachchan), his son's widow and the only survivor weeps in sorrow. The saree and red bangles he's brought her drop from his hands onto the ground... shattered like her dreams.
Also defining is the scene where Gabbar is informed that Imam Rahim chacha's (A K Hangal) son Ahmed (Sachin Pilgaonkar) would be travelling to another place for work. Just then Gabbar eyes an insect moving up his hand. In a sadistic gesture he squashes it symbolising the demolishing of Ahmed.
Romance galoreOn a lighter side, Basanti (Hema Malini) and Veeru's chemistry is playful. While Jai's nonchalant comments interspersing their conversation make them an engaging trio. I found the synergy between Basanti and Dhanno awesome too. Basanti's tonga being chased by dacoits is a remarkable scene with her urging Dhanno, "Chal Dhanno aaj teri Basanti ke ijjat ka sawal hai!"In contr