They are portraits in contrasts done up in colours that have acquired deeper shades and relevance with the passage of time.ĭissertations, thesis, textbooks and essays have been written on the impact of 'Sholay' on commercial Indian cinema. While Basanti (Hema Malini) never stops chattering, Radha (Jaya Bhaduri) seldom speaks. There are two romantic tracks navigated by two very contrasting female characters. Dharmendra and Amitabh Bachchan`s Veeru and Jai are to this day roguish mercenaries who seem to convey an endearing amorality in their conduct even as they emerge as unlikely heroes in the Thakur`s fight against an oppressively cartoonish outlaw. The characters show no sign of aging with time. This is a revenge story with a supremely sustained momentum. each of these and many others, have a throbbing autonomous life of their own.Īnd yet, here lies the magic of a monumental classic - all the accentuated episodes come together in a compelling cohesive screenplay which blows your mind.

Hangal`s son`s poignant death scene, the widow `Radha` Jaya Bhaduri`s flashback into a colourful Holi when she accosts her future father-in-law with incessant chatter (Radha could have been Basanti), Jagdeep`s Soorma Bhopali and Asrani`s `angrezon ke zamaanein ka jailor` episodes. With the passage of time, we can view the film in episodes - the stunning train robbery sequence at the start, the massacre of `Thakur` Sanjeev Kumar`s family by Gabbar and his ragged henchmen, Dharmendra`s `suicide` drama from atop a water tower, `Jai` Amitabh Bachchan`s marriage proposal on behalf of his buddy `Veeru` Dharmendra, `Gabbar` Amjad Khan`s Russian roulette in the ravines with his trio of petrified henchmen, `Rahim Chacha` A.K.

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