Sholay

Sholay ( pronunciation , lit. Embers) is a 1975 Indian

Sholay
action-adventure film, written by Salim-Javed, directed by
Ramesh Sippy, and produced by his father G. P. Sippy . The
film is about two criminals, Veeru and Jai (played by
Dharmendra and Amitabh Bachchan, respectively), hired by a
retired police officer (Sanjeev Kumar) to capture the ruthless
dacoit Gabbar Singh (Amjad Khan) . Hema Malini and Jaya
Bhaduri also star, as Veeru and Jai's love interests,
respectively. Sholay is considered a classic and one of the
b e s t Indian films. It was ranked first in the British Film
Institute's 2002 poll of "Top 10 Indian Films" of all time. In
2005, the judges of the 50th Filmfare Awards named it the
Best Film of 50 Years.

The screenplay was written by screenwriter pair Salim- Javed,

consisting of Salim Khan and Javed Akhtar. Their screenplay
was initially rejected by several producers and directors, Theatrical release poster
before they met Ramesh Sippy and his father G. P. Sippy, Directed by Ramesh Sippy
both of whom liked the script and wanted to direct and
Produced by G. P. Sippy
produce it, respectively. The film was shot in the rocky terrain
o f Ramanagara, in the southern state of Karnataka, over a Written by Salim-Javed
span of two and a half years. After the Central Board of Film Starring Dharmendra
Certification mandated the removal of several violent scenes, Sanjeev Kumar
Sholay was released with a length of 198 minutes. In 1990, the Hema Malini
original director's cut of 204 minutes became available on Amitabh
home media. When first released, Sholay received negative Bachchan
critical reviews and a tepid commercial response, but Jaya Bhaduri
favourable word-of-mouth publicity helped it to become a box Amjad Khan
office success. It broke records for continuous showings in Music by R. D. Burman
many theatres across India, and ran for more than five years
Cinematography Dwarka
at Mumbai's Minerva theatre. The film was also an overseas
Divecha
success in the Soviet Union. It was the highest-grossing Indian
film ever at the time, and was the highest-grossing film in Edited by M. S. Shinde
India up until Hum Aapke Hain Koun..! (1994). By some Production United
accounts, Sholay remains the highest-grossing Indian film of company Producers
all time, adjusted for inflation. Sippy Films
Distributed by Sippy Films
The film is a Dacoit Western (sometimes called a "Curry
Western"), combining the conventions of Indian dacoit films Release date 15 August 1975
with that of Spaghetti Westerns along with elements of Running time 204
Samurai cinema. Sholay is also a defining example of the minutes[1][a]
masala film, which mixes several genres in one work. Scholars
have noted several themes in the film, such as glorification of Country India
violence, conformation to feudal ethos, debate between social
Language Hindi-Urdu[2]
order and mobilised usurpers, homosocial bonding, and the
film's role as a national allegory. The combined sales of the Budget ₹30 million[3]
original soundtrack, scored by R. D. Burman, and the Box office est.
dialogues (released separately), set new sales records. The ₹350 million
film's dialogues and certain characters became extremely (India)[4]
popular, contributing to numerous cultural memes and 60 million
becoming part of India's daily vernacular. In January 2014, tickets (USSR)[5]
Sholay was re-released to theatres in the 3D format.

Contents
Plot
Cast
Production
Development
Casting
Filming
Alternate version

Themes
Music
Reception
Box office
Critical response
Awards

Legacy
3D re-release
See also
Footnotes
References
Bibliography
External links

Plot
In the small village of Ramgarh, the retired policeman Thakur Baldev Singh (Sanjeev Kumar)
summons a pair of small-time thieves that he had once arrested. Thakur feels that the duo—Veeru
(Dharmendra) and Jai (Amitabh Bachchan)—would be ideal to help him capture Gabbar Singh (Amjad
Khan), a dacoit wanted by the authorities for a ₹50,000[b] reward. Thakur tells them to surrender
Gabbar to him, alive, for an additional ₹20,000 reward.

The two thieves thwart the dacoits sent by Gabbar to extort the villagers. Soon afterwards, Gabbar
and his goons attack Ramgarh during the festival of Holi. In a tough battle, Veeru and Jai are cornered.
Thakur, although he has a gun within his reach, does not help them. Veeru and Jai fight back and the
bandits flee. The two are, however, upset at Thakur's inaction, and consider leaving the village. Thakur
explains that Gabbar had killed nearly all of his family members, and cut off both his arms a few years
earlier, which is why he could not use the gun. He had concealed the dismemberment by always
wearing a shawl.

Living in Ramgarh, the jovial Veeru and cynical Jai find themselves growing fond of the villagers. Veeru
is attracted to Basanti (Hema Malini), a feisty, talkative young woman who makes her living by driving
a horse-cart. Jai is drawn to Radha (Jaya Bhaduri), Thakur's reclusive, widowed daughter-in-law, who
subtly returns his affections.

Skirmishes between Gabbar's gang and Jai-Veeru finally result in the capture of Veeru and Basanti by
the dacoits. Jai attacks the gang, and the three are able to flee Gabbar's hideout with dacoits in
pursuit. Fighting from behind a rock, Jai and Veeru nearly run out of ammunition. Veeru, unaware that
Jai was wounded in the gunfight, is forced to leave for more ammunition. Meanwhile, Jai, who is
continuing the gunfight singlehandedly, decides to sacrifice himself by using his last bullet to ignite
dynamite sticks on a bridge from close range.

Veeru returns, and Jai dies in his arms. Enraged, Veeru attacks Gabbar's den and catches the dacoit.
Veeru nearly beats Gabbar to death when Thakur appears and reminds Veeru of the promise to hand
over Gabbar alive. Thakur uses his spike-soled shoes to severely injure Gabbar and destroy his hands.
The police then arrive and arrest Gabbar. After Jai's funeral, Veeru leaves Ramgarh and finds Basanti
waiting for him on the train. Radha is left alone again.

Cast
Dharmendra as Veeru
Sanjeev Kumar as Thakur Baldev Singh, usually addressed as "Thakur"
Hema Malini as Basanti
Amitabh Bachchan as Jai (Jaidev)
Jaya Bhaduri as Radha, Thakur's daughter-in-law
Amjad Khan as Gabbar Singh
Satyen Kappu as Ramlaal, Thakur's servant
A. K. Hangal as Rahim Chacha, the imam in the village
Sachin as Ahmed, son of the imam
Jagdeep as Soorma Bhopali, a comical wood trader
Leela Mishra as Mausi, Basanti's maternal aunt
Asrani as the Jailor, a comical character modelled after Charlie Chaplin in The Great Dictator (1940)[7]
Keshto Mukherjee as Hariram, prison barber and Jailor's side-kick
Mac Mohan as Sambha, Gabbar Singh's sidekick
Viju Khote as Kaalia, another of Gabbar's men whom he kills in a game of Russian roulette
Iftekhar as Inspector Khurana, Radha's Father
Helen in a special appearance in song "Mehbooba Mehbooba"
Jalal Agha in a special appearance in song "Mehbooba Mehbooba"
Raj Kishore as a jail inmate with gayish mannerisms [8]
Production

Development
The screenwriter pair Salim-Javed, consisting of Salim Khan and Javed Akhtar, began narrating the
idea for Sholay as a four-line snippet to filmmakers in 1973. [9][10] The idea was rejected by two
producer/director teams, including directors Manmohan Desai and Prakash Mehra.[10] About six
months after the release of Zanjeer (1973), Salim- Javed got in touch with G. P. Sippy and his son
Ramesh Sippy,[9] and narrated the four-line snippet to them. [10] Ramesh Sippy liked the concept of
Sholay and hired them to develop it. The original idea of the film involved an army officer who decided
to hire two ex-soldiers to avenge the murder of his family. The army officer was later changed to a
policeman because Sippy felt that it would be difficult to get permission to shoot scenes depicting
army activities. Salim- Javed completed the script in one month, incorporating names and personality
traits of their friends and acquaintances.[10] The film's script and dialogues are in Hindi-Urdu,[2]
primarily Urdu.[11] Salim- Javed wrote the dialogues in Urdu script, which was then transcribed by an
assistant into Devanagari script so that Hindi readers could read the Urdu dialogues.[12]

The film's plot was loosely styled after Akira Kurosawa's 1954 Samurai cinema film, Seven
Samurai.[13][14] It is a defining example of the Dacoit Western film, combining the conventions of
Indian dacoit films, especially Mehboob Khan' s Mother India (1957) and Dilip Kumar' s Gunga Jumna
(1961),[15] with that of Westerns,[13][14] especially Sergio Leone's Spaghetti Westerns such as Once
Upon a Time in the West (1968) as well as The Magnificent Seven (1960).[14] It also some plot
elements borrowed from the Indian films Mera Gaon Mera Desh (1971) and Khote Sikkay (1973).[10] A
scene depicting an attempted train robbery was inspired by a similar scene in Gunga Jumna,[16] and
has also been compared to a similar scene in North West Frontier (1959).[17] A scene showing the
massacre of Thakur's family has been compared with the massacre of the McBain family in Once
Upon a Time in the West.[18] Sholay may have also been influenced by Sam Peckinpah's Westerns,
such as The Wild Bunch (1969) and Pat Garrett and Billy the Kid (1973), and George Roy Hill's Butch
Cassidy and the Sundance Kid (1969).[19]

The character Gabbar Singh was modelled on a real-life dacoit of the same name who had menaced
the villages around Gwalior in the 1950s. Any policeman captured by the real Gabbar Singh had his
ears and nose cut off, and was released as a warning to other policemen.[20][21] The character was
also inspired by Gunga Jumna, where Dilip Kumar's character Gunga is a dacoit speaking with a similar
dialect, a mix of Khariboli and Awadhi.[22] The character was also influenced by the villain "El Indio"
(played by Gian Maria Volonté) of Sergio Leone's For a Few Dollars More (1965). Sippy wanted to do
away with the cliched idea of a man becoming a dacoit due to societal issues, as was the case in other
films, and focused on Gabbar being an emblem of pure evil. To drive home the point of Gabbar being
a new type of villain, Sippy also did away with the typical tropes of dacoits wearing dhotis and pagris
and sporting a Tika and worshipping "Ma Bhavani"; Gabbar would be wearing army fatigues.[23] The
character of jailer, played by Asrani was influenced by Adolf Hitler, Javed Akhtar brought a book on
World War II which had several pictures of Hitler posing to set the typical posture of the character in
the film. Asrani spiced up his character with some ideas about Hitler's speech delivery he had heard
from a teacher in FTII. The trademark 'Ha Ha' at the end of his monologues was inspired by a similar
performance by Jack Lemmon in The Great Race.[24][25] Soorma Bhopali, a minor comic relief
character, was based on an acquaintance of actor Jagdeep, a forest officer from Bhopal named
Soorma. The real-life Soorma eventually threatened to press charges when people who had viewed
the film began referring to him as a woodcutter. [26] The main characters' names, Jai and Veeru, mean
"victory" and "heroism" in Hindi.[27]

Casting
The producers considered Danny Denzongpa for the role of bandit chief Gabbar Singh, but he could
not accept it as he was committed to act in Feroz Khan's Dharmatma (1975), under production at the
same time.[28] Amjad Khan, who was the second choice, prepared himself for the part by reading the
book Abhishapta Chambal, which told of the exploits of Chambal dacoits. The book was written by
Taroon Kumar Bhaduri, the father of fellow cast member Jaya Bhaduri. [29] Sanjeev Kumar also wanted
to play the role of Gabbar Singh, but Salim- Javed "felt he had the audience's sympathy through roles
he'd done before; Gabbar had to be completely hateful."[9]

Sippy wanted Shatrughan Sinha to play the part of Jai, but there were already several big stars signed,
and Amitabh Bachchan, who was not very popular yet, lobbied hard to get the part for himself. [10] He
was cast after Salim- Javed recommended him for Sholay in 1973; Bachchan's performance in their
first collaboration, Zanjeer, convinced Salim- Javed he was the right actor for the film.[30] Salim- Javed
were impressed with Bachchan's performance in Raaste Kaa Patthar (1972), and at Bachchan's
request, Dharmendra had personally put in a word for him. All these factors ensured that the role was
Bachchan's.[31]

As cast members had read the script ahead of time, many were interested in playing different parts.
Pran was considered for the role of Thakur Baldev Singh, but Sippy thought Sanjeev Kumar was a
better choice.[32] Initially, Salim- Javed approached Dilip Kumar to play Thakur's role, but he turned
down the offer; Dilip Kumar later said it was one of the few films he regretted turning down. [9] Initially,
Dharmendra was also interested to play the role of Thakur. He eventually gave up the role when Sippy
informed him that Sanjeev Kumar would play Veeru if that happened, and would be paired with Hema
Malini, who Dharmendra was trying to woo. Dharmendra knew that Kumar was also interested in
Malini.[33] Hema Malini was reluctant to play the role of a tangewali, more so after Sippy told her that
the film belongs to Sanjeev Kumar and Amjad Khan, but she trusted Sippy to give her a meaty role,
given that he had played a huge role in essaying her stardom.[34]

During the film's production, four of the leads became romantically involved.[14] Bachchan married
Bhaduri four months before filming started. This led to shooting delays when Bhaduri became
pregnant with their daughter Shweta. By the time of the film's release, she was pregnant with their
son Abhishek. Dharmendra had begun wooing Malini during their earlier film Seeta Aur Geeta (1972),
and used the location shoot of Sholay to further pursue her. During their romantic scenes,
Dharmendra would often pay the light boys to spoil the shot, thereby ensuring many retakes and
allowing him to spend more time with her. The couple married five years after the film's release.[35]

Filming
Much of Sholay was shot in the rocky terrain of Ramanagara, a town near Bangalore, Karnataka.[36]
The filmmakers had to build a road from the Bangalore highway to Ramanagara for convenient access
to the sets.[37] Art director Ram Yedekar had an entire township built on the site. A prison set was
constructed near Rajkamal Studio in Mumbai, also outdoors, to match the natural lighting of the on-
location sets.[38] One part of Ramanagara was for a time called "Sippy Nagar" as a tribute to the
director of the film.[39] As of 2010, a visit to the "Sholay rocks" (where much the film was shot) was
still being offered to tourists travelling through
Ramanagara.[40]

Filming began on location on 3 October 1973, with a scene

featuring Bachchan and Bhaduri.[41] The film had a lavish
production for its time (with frequent banquets and parties for
the cast),[42] took two and a half years to make, and went
over budget. One reason for its high cost was that Sippy re-
filmed scenes many times to get his desired effect. "Yeh
Ramdevarabetta, near the town of
Dosti", a 5-minute song sequence, took 21 days to shoot, two
Ramanagara; much of Sholay was
short scenes in which Radha lights lamps took 20 days to film shot in rocky locations such as this.
because of lighting problems, and the shooting of the scene in
which Gabbar kills the imam's son lasted 19 days.[43] The train
robbery sequence, shot on the Mumbai–Pune railway route near Panvel, took more than 7 weeks to
complete.[44]

Sholay was the first Indian film to have a stereophonic soundtrack and to use the 70 mm widescreen
format.[45] However, since actual 70 mm cameras were expensive at the time, the film was shot on
traditional 35 mm film and the 4:3 picture was subsequently converted to a 2.2:1 frame.[46] Regarding
the process, Sippy said, "A 70mm [sic] format takes the awe of the big screen and magnifies it even
more to make the picture even bigger, but since I also wanted a spread of sound we used six-track
stereophonic sound and combined it with the big screen. It was definitely a differentiator."[47] The use
of 70 mm was emphasised by film posters on which the name of the film was stylised to match the
CinemaScope logo. Film posters also sought to differentiate the film from those which had come
before; one of them added the tagline: "The greatest star cast ever assembled – the greatest story
ever told".[48]

Alternate version
The director's original cut of Sholay has a different ending in which Thakur kills Gabbar, along with
some additional violent scenes. Gabbar's death scene, and the scene in which the imam's son is
killed, were cut from the film by India's Censor Board, as was the scene in which Thakur's family is
massacred.[43] The Censor Board was concerned about the violence, and that viewers may be
influenced to violate the law by punishing people severely. [49] Although Sippy fought to keep the
scenes, eventually he had to re-shoot the ending of the film, and as directed by the Censor Board,
have the police arrive just before Thakur can kill Gabbar. [50] The censored theatrical version was the
only one seen by audiences for fifteen years. The original, unedited cut of the film finally came out in a
British release on VHS in 1990.[46] Since then, Eros International has released two versions on DVD.
Th e director's cut of the film preserves the original full frame and is 204 minutes in length; the
censored widescreen version is 198 minutes long.[1][46][51][a]

Themes
Scholars have noted several themes in the film, such as glorification of violence, conformation to
feudal ethos, debate between social order and mobilised usurpers, homosocial bonding, and the film's
role as a national allegory.

Koushik Banerjea, a sociologist in the London School of Economics, notes that Sholay exhibits a
"sympathetic construction of 'rogue' masculinity" exemplified by the likeable outlaws Jai and Veeru. [53]
Banerjea argues during the film, the moral boundary between legality and criminality gradually
erodes.[54] Film scholar Wimal Dissanayake agrees that the film brought "a new stage in the evolving
dialectic between violence and social order" to Indian cinema.[55] Film scholar M. Madhava Prasad
states that Jai and Veeru represent a marginalised population that is introduced into conventional
society.[56] Prasad says that, through the elements of revenge included in the plot and the application
of Jai and Veeru's criminality for the greater good, the narrative reflects reactionary politics, and the
audience is compelled to accept feudal order.[56] Banerjea explains that though Jai and Veeru are
mercenaries, they are humanised by their emotional needs. Such dualism makes them vulnerable, in
contrast to the pure evil of Gabbar Singh.[54]

Gabbar Singh, the film's antagonist, was well received by the audience, despite his pervasive sadistic
cruelty.[55] Dissanayake explains that the audience was fascinated by the dialogues and mannerisms
of the character, and this element of spectacle outweighed his actions, a first for Indian
melodrama.[55] He notes that the picturisation of violence in the film was glamourised and
uninhibited.[57] He further notes that, unlike earlier melodramas in which the female body occupies
the audience's attention as an object of male fetish, in Sholay, the male body becomes the
centrepiece. It becomes the battleground where good and evil compete for supremacy. [57]
Dissanayake argues that Sholay can be viewed as a national allegory: it lacks a comforting logical
narrative, it shows social stability being repeatedly challenged, and it shows the devaluation of human
life resulting from a lack of emotions. Taken together, these elements comprise the allegorical
representation of India.[58] The narrative style of Sholay, with its violence, revenge, and vigilante
action, is occasionally compared by scholars to the political unrest in India at the time of its release.
This tension culminated in the Emergency (rule by decree) declared by prime minister Indira Gandhi in
1975.[59]

Dissanayeke and Sahai note that, although the film borrowed heavily from the Hollywood Western
genre, particularly in its visuals, it was successfully "Indianised".[60] As an example, William van der
Heide has compared a massacre scene in Sholay with a similar scene in Once Upon a Time in the
West. Although both films were similar in technical style, Sholay emphasised Indian family values and
melodramatic tradition, while the Western was more materialistic and restrained in its approach. [18]
Maithili Rao, in Encyclopedia of Hindi Cinema, notes that Sholay infuses the style of the Western genre
into a "feudalistic ethos".[61] Ted Shen of the Chicago Reader notes Sholay 's "hysterical visual style"
and intermittent "populist message".[62] Cultural critic and Islamic scholar Ziauddin Sardar lampoons
the film in his book The Secret Politics of Our Desires: Innocence, Culpability and Indian Popular
Cinema, both for its caricature and stereotyping of Muslim and women characters, and for what he
calls mockery of innocent villagers.[63] Sardar notes that the two most prominent Muslim characters
in the film are Soorma Bhopali (a buffoonish criminal), and an impotent victim of the bandits (the
imam). Meanwhile, the sole function of one female character (Radha) is to suffer her fate in silence,
while the other female lead (Basanti) is just a garrulous village belle.[63]

Some scholars have indicated that Sholay contains homosocial themes.[64][65] Ted Shen describes
the male bonding shown in the film as bordering on camp style.[62] Dina Holtzman, in her book
Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora, states that the death of
Jai, and resultant break of bonding between the two male leads, is necessary for the sake of
establishing a normative heterosexual relationship (that of Veeru and Basanti).[66]
Music
R. D. Burman composed the film's music, and the lyrics were
Sholay
written by Anand Bakshi. The songs used in the film, and
released on the original soundtrack are listed below. [67] Soundtrack album by R. D.
Following that is a list of unused tracks and dialogues which Burman
were released later on an updated soundtrack.[68] Released 1975
Recorded 1975
The song "Mehbooba Mehbooba" was sung by its composer, R.
D. Burman, who received his sole Filmfare Award nomination Genre Bollywood music ·
for playback singing for his effort. The song, which is often Feature film soundtrack
featured on Bollywood hit song compilations,[69] is based on Length 28:59
"Say You Love Me" by Greek singer Demis Roussos.[17] Label Universal Music India
Polydor Records)
"Mehbooba Mehbooba" has been extensively anthologised,
remixed, and recreated.[70] A version was created in 2005 by Producer R. D. Burman
t h e Kronos Quartet for their Grammy-nominated album R. D. Burman chronology
You've Stolen My Heart, featuring Asha Bhosle.[71] It was also
Kala Sona Sholay Dharam
remixed and sung by Himesh Reshammiya, along with Bhosle,
(1975) (1975) Karam
in his debut acting film Aap Kaa Surroor (2007). "Yeh Dosti" (1975)
has been called the ultimate friendship anthem.[72][73] It was
remixed and sung by Shankar Mahadevan and Udit Narayan for the 2010 Malayalam film Four
Friends,[74] and also in 2010 it was used to symbolise India's friendship with the United States during a
visit from President Barack Obama.[75]

Several songs from the soundtrack were included in the annual Binaca Geetmala list of top filmi
songs. "Mehbooba Mehooba" was listed at No. 24 on the 1975 list, and at No. 6 on the 1976 list. "Koi
Haseena" was listed at No. 30 in 1975, and No. 20 in 1976. "Yeh Dosti" was listed at No. 9 in 1976. [76]
Despite the soundtrack's success, at the time, the songs from Sholay attracted less attention than
the film's dialogue—a rarity for Bollywood. The producers were thus prompted to release records with
only dialogue.[77][78] Taken together, the album sales reached an unprecedented 500,000 units. [79]
By 1979, the soundtrack went Platinum [80] (equivalent to 1 million sales at the time),[81] becoming
one of the top-selling Bollywood soundtracks of the 1970s.[82]

Music critic Oli Marlow reviewed the soundtrack in 2013, calling it a unique fusion of religious, folk, and
classical music, with influences from around the world. He also commented on the sound design of
the film, calling it psychedelic, and saying that there was "a lot of incredible incidental music" in the
film that was not included in the soundtrack releases.[83] In a 1999 paper submitted to London's
Symposium on Sound in Cinema, film critic Shoma A. Chatterji said, "Sholay offers a model lesson on
how sound can be used to signify the terror a character evokes. Sholay is also exemplary in its use of
soundmatching to jump cut to a different scene and time, without breaking the continuity of the
narrative, yet, intensifying the drama."[84]

Original Motion Picture Soundtrack

No. Title Singer(s) Length
1. "Title Music (Sholay)" (Instrumental) 02:46
 2. "Yeh Dosti" Kishore Kumar and Manna 05:21
Dey
3. "Haa Jab Tak Hai Jaan" Lata Mangeshkar 05:26
4. "Koi Haseena" Kishore Kumar and Hema 04:00
Malini
5. "Holi Ke Din" Kishore Kumar and Lata 05:42
Mangeshkar
6. "Mehbooba Mehbooba" R. D. Burman 03:54
7. "Yeh Dosti" (sad version) Kishore Kumar 01:49

Bonus tracks — Released later

No. Title Singers / Speakers Length
8. "Ke Chand Sa Koi Chehra" (Qawwali) Kishore Kumar, Manna Dey, –
Bhupinder Singh, Anand
Bakshi
9. "Veeru Ki Sagai" (dialogues) Hema Malini, Dharmendra, –
Amitabh Bachchan
10. "Gabbar Singh" (dialogues) Amjad Khan, Sanjeev Kumar, –
Dharmendra

Reception

Box office
Sholay was released on 15 August 1975, Indian Independence Day, in Mumbai. Due to lacklustre
reviews and a lack of effective visual marketing tools, it saw poor financial returns in its first two weeks.
From the third week, however, viewership picked up owing to positive word of mouth.[85] During the
initial slow period, the director and writer considered re-shooting some scenes so that Amitabh
Bachchan's character would not die. When business picked up, they abandoned this idea.[86] After
being helped additionally by a soundtrack release containing dialogue snippets,[54] Sholay soon
became an "overnight sensation".[45] The film was then released in other distribution zones such as
Delhi, Uttar Pradesh, Bengal, and Hyderabad on 11 October 1975.[87] It became the highest-grossing
Bollywood film of 1975, and film ranking website Box Office India has given the film a verdict of "All
Time Blockbuster".[88]

Sholay went on to earn a still-standing record of 60 golden jubilees[c] across India,[45] and was the first
film in India to celebrate a silver jubilee[d] at over 100 theatres.[45] It was shown continuously at
Mumbai's Minerva theatre for over five years.[13] Sholay was the Indian film with the longest theatrical
run until Dilwale Dulhania Le Jayenge (1995) broke its record of 286 weeks in 2001.[89][90]

Exact figures are not available on the budget and box office earnings of Sholay, but film trade sources
provide estimates of its success. According to Box Office India, Sholay earned about ₹150 million in
net income[e] (valued at about US$16,778,000 in 1975)[b] in India during its first run,[92] which was
many times its ₹30 million (valued at about US$3,355,000 in 1975)[b] budget.[3][92] Those earnings
were a record that remained unbroken for nineteen years, which is also the longest amount of time
that a film has held the record. Its original gross was increased further with re-releases during the late
1970s, 1980s, 1990s, and early 2000s.[93] The film's total gross revenue in India amounted to
₹350 million[4] ($39.15 million).[b] Box Office India estimates the film's total footfalls in India as over
100 million tickets sold.[94] The film was also an overseas success in the Soviet Union, where it was
released in 1979.[95] The film sold 48.4 million tickets during its initial run at the Soviet box office,[96]
before eventually selling 60 million tickets including re-runs.[5] The film was also released in China, as
two parts in 1988.[97]

It was the highest-grossing Indian film ever up until Disco Dancer (1982),[98] and the highest-grossing
film in India up until Hum Aapke Hain Koun..! (1994).[4] It is often cited that, after adjusting the figures
for inflation, Sholay remains one of the highest-grossing films in the history of Indian cinema, although
such figures are not known with certainty. [99] Box Office India estimated ₹1.63 billion as Sholay's
adjusted domestic net income in 2008,[e][100] while Times of India estimated over ₹3 billion as the
adjusted domestic gross in 2009.[101] Mid Day estimated the film's total adjusted gross as ₹15 billion
($246 million) in 2014.[102] In terms of footfalls, the film is estimated to have sold over 100 million
tickets in India,[94] in addition to 60 million tickets in the Soviet Union.[5] In 1985, India Today
estimated that the film drew a total audience of 250 million,[103] which is comparable to the number
of tickets sold by some of the world's highest-grossing films of all time adjusted for inflation.[104]

Critical response
Initial critical reviews of Sholay were negative. Among contemporary critics, K.L. Amladi of India Today
called the film a "dead ember" and "a gravely flawed attempt".[105] Filmfare said that the film was an
unsuccessful mincing of Western style with Indian milieu, making it an "imitation western—neither here
nor there."[105] Others labelled it as "sound and fury signifying nothing" and a "second-rate take-off" of
the 1971 film Mera Gaon Mera Desh.[90] Trade journals and columnists initially called the film a
flop.[106] In a 1976 article in the journal Studies: An Irish Quarterly Review, author Michael Gallagher
praised the technical achievement of the film, but otherwise criticised it stating, "As a spectacle it
breaks new ground, but on every other level it is intolerable: formless, incoherent, superficial in human
image, and a somewhat nasty piece of violence".[107]

Over time, the critical reception to Sholay greatly improved; it is now considered a classic, and among
the greatest Hindi-language films.[14][108] In a 2005 BBC review, the well-rounded characters and
simple narrative of the film were commended, but the comical cameos of Asrani and Jagdeep were
considered unnecessary.[109] On the film's 35th anniversary, the Hindustan Times wrote that it was a
"trailblazer in terms of camera work as well as music," and that "practically every scene, dialogue or
even a small character was a highlight."[110] In 2006, The Film Society of Lincoln Center described
Sholay as "an extraordinary and utterly seamless blend of adventure, comedy, music and dance",
labelling it an "indisputable classic".[111] Chicago Review critic Ted Shen criticised the film in 2002 for
its formulaic plot and "slapdash" cinematography, and noted that the film "alternates between
slapstick and melodrama".[62] In their obituary of the producer G.P. Sippy, the New York Times said
t h a t Sholay "revolutionized Hindi filmmaking and brought true professionalism to Indian script
writing".[13]

Awards
Sholay was nominated for nine Filmfare Awards , but the only winner was M. S. Shinde, who won the
award for Best Editing.[112] The film also won three awards at the 1976 Bengal Film Journalists'
Association Awards (Hindi section): "Best Actor in Supporting Role" for Amjad Khan, "Best
Cinematographer (Colour)" for Dwarka Divecha, and "Best Art Director" for Ram Yedekar. [113] Sholay
received a special award at the 50th Filmfare Awards in 2005: Best Film of 50 Years.[114]

Legacy
Sholay has received many "Best Film" honours. It was declared the "Film of the Millennium" by BBC
India in 1999.[13] It topped the British Film Institute's "Top 10 Indian Films" of all time poll of 2002,[115]
and was voted the greatest Indian movie in a Sky Digital poll of one million British Indians in 2004.[116]
It was also included in Time Magazine's "Best of Bollywood" list in 2010,[117] and in CNN-IBN's list of
the "100 greatest Indian films of all time" in 2013.[118]

Sholay inspired many films and pastiches, and spawned a genre of films, the "Curry Western", [119]
which is a play on the term Spaghetti Western. A more accurate label for the genre is the Dacoit
Western, due to its roots in earlier Indian dacoit films such as Mother India (1957) and Gunga Jumna
(1961).[15] It was also an early and most definitive masala film,[120][121] and a trend-setter for "multi-
star" films.[122] The film was a watershed for Bollywood's scriptwriters, who were not paid well before
Sholay; after the film's success, its writing duo Salim- Javed became stars in their own right and script
writing became a more respected profession.[45] The BBC has described Sholay as the "Star Wars of
Bollywood", comparing its impact on Bollywood to the impact that Star Wars (1977) later had on
Hollywood, while comparing Gabbar Singh to Darth Vader.[123]

Certain scenes and dialogues from the film earned iconic

status in India, such as "Kitne aadmi the" (How many men
were there?), "Jo dar gaya, samjho mar gaya" (One who is
scared is dead), and "Bahut yaarana laagta hai" (Looks like
you two are very close) – all dialogues of Gabbar
Singh.[14][124] These and other popular dialogues entered the
people's daily vernacular. [125] Characters and dialogues from
the film continue to be referred to and parodied in popular
culture.[126] Gabbar Singh, the sadistic villain, ushered in an
A line of Gabbar Singh (Tera kya
era in Hindi films characterised by "seemingly omnipotent
hoga, meaning, "What will happen to
oppressors as villains", who play the pivotal role in setting up you?") and a picture of him is painted
the context of the story, such as Shakal (played by on the back of an auto rickshaw, a
Kulbhushan Kharbanda) of Shaan (1980), Mogambo (Amrish common mode of public transport.
Puri) of Mr. India (1987) and Bhujang (Amrish Puri) of Tridev Dialogues and characters from the
film have contributed to many
(1989).[127] Filmfare, in 2013, named Gabbar Singh the most
cultural tropes in India's daily life.
iconic villain in the history of Indian cinema,[128] and four
actors were included in its 2010 list of "80 Iconic
Performances" for their work in this film.[129][130][131][132]

The film is often credited with making Amitabh Bachchan a "superstar", two years after he became a
star with Zanjeer (1973).[120][133] Some of the supporting actors remained etched in public memory
as the characters they played in Sholay; for example, Mac Mohan continued to be referred to as
"Sambha", even though his character had just one line.[134] Major and minor characters continue to
be used in commercials, promos, films and sitcoms.[45][135] Amjad Khan acted in many villainous
roles later in his career. He also played Gabbar Singh again in the 1991 spoof Ramgarh Ke Sholay,
and reprised the role in commercials.[136] The British Film Institute in 2002 wrote that fear of Gabbar
Singh "is still invoked by mothers to put their children to sleep".[137] The 2012 film Gabbar Singh,
named after the character, became the highest grossing Telugu film up to that point.[138] Comedian
Jagdeep, who played Soorma Bhopali in the film, attempted to use his Sholay success to create a
spinoff. He directed and played the lead role in the 1988 film Soorma Bhopali, in which Dharmendra
and Bachchan had cameos.[139]

In 2004, Sholay was digitally remastered and shown again to packed theatres in India, including
Mumbai's Minerva, where it had run successfully 29 years earlier. [140] An attempt to remake Sholay,
Ram Gopal Varma's film Aag (2007), starring Amitabh Bachchan as the villain, was a commercial and
critical disaster. [141] Because of television and home media, Sholay is widely available and still
popular. Twenty years after its release, Sholay was first shown on the Indian DD National television
channel, where it drew the highest ratings ever for an Indian film broadcast.[142] Video game producer
Mobile2win released the "Sholay Ramgarh Express" game for mobile phones in 2004, along with other
Sholay themed content such as wallpapers, video clips, and ringtones.[143]

Sholay has been the subject of two books and many articles. Wimal Dissanayake and Malti Sahai's
Sholay, A Cultural Reading (1992) attempts a comprehensive scholarly study that sets the film within
the broader history of popular cinema in India. Anupama Chopra' s Sholay: The Making of a Classic
(2000) provides an inside look at the film's production based on interviews with the director, stars, and
crew members.[49][120]

Sholay has been labelled by Chopra as the gold standard in Indian cinema, and a reference point for
audiences and trade analysts. Over the years, the film has reached a mythic stature in popular
culture,[108] and has been called the greatest Hindi film of all time.[144] It belongs to only a small
collection of films, including Kismet (1943), Mother India (1957), Mughal-e-Azam (1960) and Hum
Aapke Hain Koun..! (1994), which are repeatedly watched throughout India, and are viewed as
definitive Hindi films with cultural significance.[145] The lasting effect of Sholay on Indian cinema was
summarised by Anupama Chopra, when in 2004 she called it "no longer just a film, [but] an
event".[146] In the 2000 book Sholay: The Making of a Classic, the noted director Shekhar Kapur
stated "there has never been a more defining film on the Indian screen. Indian film history can be
divided into Sholay BC and Sholay AD".[147] The film was jointly released in Pakistan by Geo films and
Mandviwalla Entertainment on 17 April 2015, almost 40 years after its theatrical release. The film's
premiere in the country was held in Karachi.[148]

3D re-release
Filmmaker Ketan Mehta's company Maya Digital was responsible for converting Sholay into the 3D
format.[149] Mehta was approached by G. P. Sippy's grandson, Sasha Sippy, about the project in
2010.[149] In March 2012, Shaan Uttam Singh, the grandson of producer G. P. Sippy, said that he
would sponsor a conversion of the film to 3D, and release it in late 2012;[150] this was later postponed
to late 2013,[151] and eventually finalised for 3 January 2014.[152] It took ₹250 million (US$3.5 million)
to convert Sholay to 3D.[153]

Under the leadership of computer animator Frank Foster, 350 people worked to convert the film into
the digital 3D format, for which every scene had to be individually restored, colour-corrected and re-
composited in 3D to match the depth.[f][149] New set-pieces, particularly those suited to the new
format were also included, such as digital logs which scatter in the direction of the camera during the
first half of the film when the train collides with them, the gunshot scene which frees Jai and Veeru
from their handcuffs, and panoramic views of Gabbar's hideout in the caves.[149]

The theatrical trailer and release date were unveiled by the original script-writers Salim Khan and Javed
Akhtar.[156] The two original leads, Bachchan and Dharmendra, were also involved in promoting the
re-release.[157] The film was released in 1,000 screens in India, and additional screens overseas.[154]
It earned approximately ₹100 million (US$1.4 million) during its re-release, not enough to recover its
conversion cost.[158]

See also
List of highest-grossing Indian films

Footnotes
a. The British Board of Film Classification (BBFC) notes three running times of Sholay. The version that was
submitted in film format to BBFC had a running time of 198 minutes. A video version of this had a running
time of 188 minutes. BBFC notes that "When a film is transferred to video the running time will be shorter by
approximately 4% due to the differing number of frames per second. This does not mean that the video
version has been cut or re-edited." The director's cut was 204 minutes long. [52]
b. The exchange rate in 1975 was 8.94 Indian rupees (₹) per 1 US dollar (US$). [6]
c. A golden jubilee means that a film has completed 50 consecutive weeks of showing in a single theatre.
d. A silver jubilee means that a film has completed 25 consecutive weeks of showing in a single theatre.
e. According to the website Box Office India, film tickets are subject to "entertainment tax" in India, and this
tax is added to the ticket price at the box office window of theatres. The amount of this tax is variable
among states. "Nett gross figures are always after this tax has been deducted while gross figures are before
this tax has been deducted." Although since 2003 the entertainment tax rate has significantly decreased, as
of 2010, gross earnings of a film can be 30–35% higher than nett gross, depending on the states where the
film is released. [91]
f. The 3D version of the film has a run-time of 198 minutes and the original shots were of standard film frame
rate, i.e. 24 frames per second, therefore this version has 285,120 frames which were digitised, upscaled to
High Definition (HD) and element mapped. [154][155]

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External links
Sholay (https://www.imdb.com/title/tt0073707/) on IMDb
Sholay (https://www.rottentomatoes.com/m/sholay) at Rotten Tomatoes
Sholay (http://www.bollywoodhungama.com/moviemicro/cast/id/540372/Sholay) at Bollywood Hungama
Sholay (https://www.allmovie.com/movie/v145555) at AllMovie
Sholay (http://www.bfi.org.uk/films-tv-people/4ce2b6b5c1aff) at the British Film Institute
Sholay (http://www.tcm.turner.com/tcmdb/title/title.jsp?stid=439079) at the TCM Movie Database
Sholay 30th Anniversary site (http://www.bbc.co.uk/asiannetwork/sholay/) at BBC Asian Network

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