Sholay and the Western Genre: Exploring the Western influences in the film

Sholay is a classic Indian film released in 1975 that has become a cultural icon in India. The film, directed by Ramesh Sippy, was heavily influenced by the Western genre and transformed the Indian film industry by introducing a new style of storytelling and filmmaking.

Cowboys, gun battles, wild wild west: The Western genre has been a popular and enduring genre in cinema history, characterized by its depictions of the American West, cowboys, outlaws, and lawmen. Sholay incorporated several elements of the Western genre, including its setting in a small village in the Indian state of Uttar Pradesh, a story of revenge, and the portrayal of larger-than-life characters.

Nowhere do writers Salim-Javed copy any situation or scene for the Hollywood or the Sergio Leone classic westerns. The family execution scene has an echo from Leone's Once Upon a Time in the West (1968), that's it for any direct influences. The westerns impact is widely visible in the cinematography and minimal use of background score in key action sequences. 

The anti-hero: One of the most significant Western influences in Sholay was its use of the "anti-hero" archetype. In Western films, anti-heroes are often portrayed as flawed characters who possess qualities that make them less than heroic, such as greed or a lack of morality. Sholay's character of Gabbar Singh, played by Amjad Khan, was an anti-hero who was ruthless, violent, and lacked any redeeming qualities. Gabbar Singh was unlike any villain that Indian cinema had seen before, and his portrayal was groundbreaking in the context of Indian cinema.

Buddy system: Another Western influence in Sholay was its use of the "buddy film" trope. In Western films, the buddy film is a popular subgenre that typically features two protagonists who form an unlikely bond and work together to achieve a common goal. Sholay's protagonists, Veeru and Jai, played by Dharmendra and Amitabh Bachchan, respectively, were two very different characters who became friends and worked together to defeat the film's antagonist.

R.D. Burman: Sholay's use of music was also heavily influenced by Western cinema. Western films often use music to enhance the mood and atmosphere of a scene, and Sholay was no different. The film's iconic soundtrack, composed by R.D. Burman, was a fusion of Indian classical music and Western-inspired tunes. 

The use of music in Sholay was revolutionary and set a new standard for Indian cinema. My favourite is the opening credits score, that is at once western yet organically Indian. 

Sholay was a game-changer for the Indian film industry. It transformed the way Indian filmmakers approached storytelling and introduced a new level of technical excellence to Indian cinema. The film's success paved the way for a new era of Hindi cinema, and its influence can still be seen in Indian films today.

Sholay: A Cultural Phenomenon: The cultural impact of the film on Indian cinema and society

Sholay, a 1975 Indian action-adventure film, directed by Ramesh Sippy and produced by his father G. P. Sippy, is not only a cinematic masterpiece but a cultural phenomenon that has had an immense impact on Indian cinema and society. 

The film features a stellar ensemble cast, including Dharmendra, Amitabh Bachchan, Sanjeev Kumar, Hema Malini, Jaya Bachchan, and Amjad Khan, who brought to life some of the most iconic characters in Indian cinema history. Since its release, Sholay has been re-released several times, and its popularity continues to grow, making it one of the greatest Indian films ever made.

Sholay is not just a film, but a cultural phenomenon that has had an enormous impact on Indian cinema and society.

Released on 15 August 1975, Sholay was an instant box office success, becoming the highest-grossing Indian film of all time. The film's popularity continued to grow over the years, and it is still considered one of the greatest Indian films ever made. Sholay has been re-released several times, and it continues to draw audiences even today.

Memorable characters: One of the main reasons for Sholay's enduring popularity is its iconic characters. Each of the characters in the film is unique and memorable, from the heroic Jai and Veeru to the villainous Gabbar Singh. The film's dialogues have become part of the Indian lexicon, with lines like "Kitne aadmi the?" and "Yeh haath mujhe de de Thakur" being quoted and parodied in popular culture.

Grime and grittiness: Sholay also broke new ground in Indian cinema by introducing a more gritty, realistic style of filmmaking. The film's portrayal of violence and its depiction of the harsh realities of life in rural India was a departure from the escapist, romantic films that were popular at the time. Sholay's success paved the way for a new generation of filmmakers to explore more socially relevant themes in their films.

Breaking social taboos: Another reason for Sholay's cultural impact is the way it addressed issues of gender and class. The film's portrayal of the relationship between the upper-class Thakur and the lower-caste villagers was groundbreaking for its time. Similarly, the film's female characters were portrayed as strong and independent, challenging the traditional gender roles of Indian society.

Music, costumes: Sholay also had a significant impact on Indian fashion and style. The film's costumes, particularly Hema Malini's iconic white outfit, became hugely popular, and the film's music, composed by R. D. Burman, is still regarded as a classic.

Pop culture and Sholay: In addition to its impact on Indian cinema and society, Sholay has also influenced international pop culture. The film has been referenced and parodied in films and TV shows around the world, from Quentin Tarantino's Kill Bill to The Simpsons.

Sholay, the enduring classic: In conclusion, Sholay is a cultural phenomenon that has had an enormous impact on Indian cinema and society. Its iconic characters, realistic style, and portrayal of gender and class issues have made it a timeless classic. Sholay's enduring popularity is a testament to its relevance and importance, almost five decades since its release.

Amitabh Bachchan on Record: 40 Years of Sholay

Sholay: Black & White Stills II

Sholay: Black & White Stills I

SHOLAY Vintage Posters

Lead actors Dharmendra and Amitabh Bachchan are almost unrecognizable in these vintage hand-painted posters of SHOLAY.  

Another SHOLAY Poster

Sholay Director Ramesh Sippy's New Film: Shimla Mirchi

Nearly two decades after his last directorial venture, the Shah Rukh Khan starrer, Zamana Deewana (1995), Sholay director Ramesh Sippy is back. At the time of writing he is filming Shimla Mirchi, starring Basanti alias Hema Malini, the mercurial actor Rajkummar Rao and the refreshing Rakul Preet Singh. No spoilers here, the film is rumoured to be a romantic comedy. We await the release date. 

Sholay 3D: Cleared for Release

As on December 3rd 2013, the Bombay High Court discarded Ramesh Sippy's application for putting a hold on the release of Sholay 3D. Interestingly, the Sholay director sought the stay on the 3D version that has been incidentally produced by Sascha Sippy, his nephew. 

Ramesh Sippy's filed the appeal after the April 1 2013 Justice Kathawala judgement that lead to the rejection of a stay petition. Now that his latest appeal has been dismissed, we must expect that Sholay 3D will keep its appointment with cinema goers on January 3, 2014.    

Sholay Specials: Ramesh Sippy on 40 years of Sholay

It was on October 2, 1973 that Sholay was officially launched and exactly 40 years later Ramesh Sippy was interviewed at Ramanagaram, Karnataka by The Indian Express Editor-in-Chief Shekhar Gupta. Ramanagaram was where most of Sholay was shot. Here are some snippets from the interview, as we chronicle parts of what Ramesh Sippy said:

On Sholay remake, sequel, parodies and 3D

...I think a classic like Sholay should be where it is. In 40 years, it's still remembered. I know, you can make a lot of money doing so. But what is the point in making a film which has still not been forgotten. Somehow, it doesn't feel right.

I don't think there's anything wrong in people remaking or doing sequels or all that, but somehow I don't think that Sholay is a film that should be touched. 

On Sanjeev Kumar dying young 

It is true. It was, unfortunately, a family thing. Everyone in his family had died young. He was, of course, another great guy, who loved his work and was superb. 

Why Ramanagaram?  

All the films that had been made on dacoity and banditry before this were made in the Chambal valley - be it Ganga Jumna, Mujhe Jeene Do, even the Raj Khosla film, Mera Gaon Mera Desh. 

I felt, let's make it different. Ram Yedekar was our art director. Being influenced by western cinema, we talked about those big boulders and things like that. He said,"I think I know just the place." He came here, took a lot of photographs and showed them to us later.

On Gabbar

Although I would definitely say that every aspect of the film went into the making it an all-time classic, it cannot be denied that the iconic figure in the film has to be Gabbar. His dialogues sold more than the music of the film. People were mesmerised.

On the Sholay phenomenon 

It's almost impossible to explain what a phenomenon is. It happens. The entire team of Sholay went about trying to do their best. But for it to have turned into this...we could not have imagined it at that time. Today's generation is as much aware of Sholay, as of the other films around them.  

SHOLAY 3D: Arriving on January 3rd 2014

It is confirmed. Sholay 3D shall get an Indian release on January 3rd 2014. Watch the new trailer here: 

  
An epic movie has gone through an epic 3D treatment. Sholay, almost four hours long, is one of the longest films to be converted to this format. Pen India Pvt Ltd and Maya Studio worked together on the 3D treatment.

Earlier, talks were on with cinema owners for a release date, as Jayantilal Gada of Pen had stated. His reasoning for the January release - As Sholay is an 'old film', Gada needs a 'one-week window' during which time no other major release will be lined up. 

As an ardent fan I am a little worried by a press release that quotes Jayantilal Gada stating that the Sholay 3D version will have a 'new background score'. I like the present RD Burman background score fine enough.  

Considering many of us weren't born or conceived in 1975, we are all set to make it to the cinema screens on January 3rd 2014. 

More on Sholay 3D
Producer-Director Ketan Mehta owned Maya Digital Studios is the team behind Sholay 3D. They had no easy task at hand, considering the movie needed colour correction. Also, elements from each of the over 5000 shots were enhanced visually. A computer-generated shot that fans will notice - The oil barrels exploding in the train robbery sequence shall spark red instead of black. This is to go with the film's title, implying embers.

Sholay Fan Club: Amitabh Bachchan Posts on Twitter

Sholay in Posters

Sholay 3D Poster i

While the Sholay 3D release date is still a mystery, the poster is finally out! The latest rumours are that the film will release on Amitabh Bachchan's 71st birthday - October 11, 2013. Nothing is confirmed as yet.

Explaining the Unexplainable: Why I Love Sholay! VOL I

I have to admit, with a heavy heart and a freelance writer's objectivity that many films of the action adventure genre are cinematically...(Sholay fans, brace for impact!) better than Sholay. 

Sergio Leone's spaghetti western trilogy starring Clint Eastwood - A Fistful of Dollars (1964), For a Few Dollars More (1965) and the grand finale The Good, The Bad and The Ugly (1966) are clear inspirations for the Salim-Javed screenplay. Butch Cassidy and the Sundance Kid (1969) builds a believable, enduring chemistry between its two bank robbing outlaws.   

Sholay wedged between these half-a-dozen films, is an unlikely contender, a dark horse claimant to cinematic glory.

 

The love of Monologue

So why do I love Sholay? That despite the western garb, Sholay is the quintessential Hindi commercial film. Unlike the Leone films, Sippy's characters speak a lot, monologues are a fad. Gabbar Singh has his outraged sessions, Veeru does a drunken over the top, over the water tank slurring, Soorma Bhopali has a hapless exaggerated story to tell, Basanti elaborates breezily on her career choice and finally, Imam Sahab has the most poignant of all the monologues to deliver. 

Usually a film has a single engaging cameo, Sholay has a whole motley hoard of them, all in varied shades, much like the holi song lyrics - Holi ke din dil khil jaate hai, rangon mein rang mil jaate hai..(On the day of holi, hearts bloom, colours merge in to colours...) 

The late Indian writer RK Narayan may scowl from up there when I say that just like Malgudi, Ramgarh is a place where time stands still. That even in this age of cell phones, social networking narcissism and motor vehicles (Neigh?!Say the horses), the characters in Sholay are destined to play their parts over and over again. 

So here's to Gabbar lifting two menacing swords in sheer savagery, flirtatious Veeru shooting down mangoes and a wounded Jai flinging that stick of dynamite...one more time!    

Sholay Stills: The Thakur's Shoe...

It is a scene that lasts hardly a second in the censored version of Sholay. Pity for that, for how easily you can miss what the director and the cinematographer do with it. The dark sky is menacing, it is also a take on the day when Gabbar executed Thakur's (Sanjeev Kumar) family. Then there is the nail-stuck shoe and the expression on Thakur's face. 

Calm and composed all through his dealings with Jai and Veeru, rarely showing his wrath, he now bursts open all his accumulated hate. It is also a scene that brings revenge to the fore, and its blind rage of consequences. Also, since this is the censored version, it becomes all the more unbelievable that Thakur Baldev Singh repents and gives up Gabbar in the name of law and order. It is a sane, sombre end, but doesn't go with Thakur's character at all...

Sholay: The Original Cut (Part II)

The most famous Sholay scene that most of you have not yet seen has to unanimously be: The killing of Gabbar Singh. For those who came in late, the censored Sholay saw Thakur pressing his nail sole shoes on Gabbar's arms even as the villain pleads for mercy. The police then inexplicably arrive. That is not how it ended though. In the uncut, 'ready for censor viewing' Sholay, Thakur gets his revenge and Gabbar Singh doesn't make it alive to the end credits.

Why change the ending? 

Sholay was incidentally set for release during the time of the emergency. In such volatile times the ruling government found it improper than an Indian citizen is depicted as defying the law. Therefore, Ramesh Sippy was forced to shoot the milder version with the law arriving to restrain Thakur. Now, how good is the original version? 

Original Cut 

Well, the police do not arrive at the scene at all. Thakur and Gabbar face each another at Gabbar's deserted den. What follows has its bits of credibility and incredulity - more of the latter. The scenes of Thakur somersaulting in the air to kick the hell out of Gabbar needed a sub plot - like he trained in the 36th Chamber of the Shaolin Temple for it or something. Also, Gabbar's death is a gruesome convenience rather than cinematic. The only saving grace is Veeru reappearing with a shawl, and Thakur breaking down in tears - thus depicting the hollow consequence of revenge. 

Sholay: The First Scene

The first scene of Sholay is again reminiscent of Sergio Leone's western trilogy, especially the use of the railroad in The Good, The Bad and The Ugly (1966). Yet it would be unfair to say that it is an inspired scene. 

It is a short scene, not meant to be lingering, so we do not wonder who is waiting for whom - our queries are answered in a matter of seconds, at least a part of it. A policeman alights from the train and in an otherwise deserted station, he easily chances upon a man clearly waiting for him. 

The camera gives us a distant gaze, neither character is in clear view. There is the sound of the steam engine locomotive coming to a slowing halt, spewing black smoke and we hear the stationary breathlessness of the engine even as the policeman turns around, sees no one around and asks the waiting man, "Ah, Thakur Saab?" (Ah, Thakur Sir?) to which the waiting man replies politely, leading the way,"Aaeye Jailer Saab, aaeye." (This way, Jailer Sir, this way.). Midway, the Jailer gives his assent with an authoritative, "Hmm." A higher authority assenting to a servant's request, there's the class system for you.

Both men are seen walking outside the old derelict station and mounting two horses. We hear the train leave the station even as the men ride the horses with seasoned comfort. 

The RD Burman guitar theme matches the opening credits that says - SIPPY FILMS PRESENT. We fade out to the next scene where against the backdrop of a rocky terrain and two riders passing by the film title - SHOLAY shows up - first in English, and then simultaneously in Hindi and Urdu.   

Sholay Cast: Sachin Pilgaonkar as AHMED

  

Barely 18 when he did Sholay, Sachin Pilgaonkar had already done ample roles as a child artist. He debuted at the incredible age of five in the Marathi movie Ha Maaza Marg Eekla (This is only my path) in 1962. In the classic 1967 Vijay Anand thriller Jewel Thief we can presume that Sachin is the child kidnapped in the opening minutes, a plot that forms the crux of the story. He is seen with Dev Anand and Vyjayanthimala in later parts of the film. The 1968 film that won Shammi Kapoor his only Filmfare Best Actor Award  - Brahmachari, had Sachin among the adopted children, apart from another child artist Junior Mehmood.

In the same year as Sholay released, Sachin played the lead in the surprise Rajashri Productions' hit Geet Gaata Chal. After a brief period of success in Hindi, his last major solo lead hit was the 1982 Bhojpuri hit  Nadiya Ke Paar. As roles became few and far between, Sachin drifted to Marathi films. In the 90's he directed his talented wife Supriya as one of the protagonists on the popular comedy TV series Tu Tu Main Main.

As Ahmed, Sachin plays son to a blind father. The father, played with great pathos by A.K.Hangal, coaxes him to join his uncle's business in the city. Ahmed is adamant on his refusal, he wants to stay and care for his father.Later in the film, Ahmed's character acts as a catalyst for the film's epic gun-booming climax. Like you didn't know all that, fellow Sholay-ites, but then there is always somebody who hasn't seen the film. For that rare specimen, the explanation.        

An undated recent photo of Sachin

Nasreen Munni Kabir’s 1989 documentary on Amitabh Bachchan...

Here are the youtube link to the 1989 documentary on 
Amitabh Bachchan...

FOLLOW THAT STAR (The Entire Documentary)

Enjoy!