The film was shot in the rocky terrain of Ramanagara, in the southern state of Karnataka, over a span of two and a half years. After the Central Board of Film Certification mandated the removal of several violent scenes, Sholay was released as a 198-minute long film. In 1990, the original director's cut of 204 minutes became available on home media. When first released, Sholay received negative critical reviews and a tepid commercial response, but favourable word-of-mouth publicity helped it to become a box office success. It broke records for continuous showings in many theatres across India, and ran for more than five years at Mumbai's Minerva theatre. The film was also an overseas success in the Soviet Union. It was the highest-grossing Indian film ever at the time, and was the highest-grossing film in India up until Hum Aapke Hain Koun..! (1994). By numerous accounts, Sholay remains one of the highest-grossing Indian films of all time, adjusted for inflation.
Sholay is often regarded as one of the greatest and most influential Indian films of all time. 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 film is a Dacoit Western (sometimes called a "Curry Western"), combining the conventions of Indian dacoit films with that of Spaghetti Westerns along with elements of Samurai cinema. Sholay is also a defining example of the masala film, which mixes several genres in one work. 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. The combined sales of the original soundtrack, scored by R. D. Burman, and the dialogues (released separately), set new sales records. The film's dialogues and certain characters became extremely popular, contributing to numerous cultural memes and becoming part of India's daily vernacular. In January 2014, Sholay was re-released to theatres in the 3D format.
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After reaching Ramgarh, Veeru falls for Basanti, a feisty talkative horse-cart driver. Jai meets Thakur's widowed daughter-in-law Radha and falls for her, who later reciprocates his feelings. The two thwart Gabbar's dacoits, who came to extort money. During the festival of Holi, Gabbar's gang attacks the villagers where they corner Jai and Veeru, but the duo manage to attack and chase them away from the village. The duo are upset at Thakur's inaction (when Jai and Veeru were cornered, Thakur had a gun within his reach, but did not help them) and consider calling off the mission. Thakur reveals that a few years ago, Gabbar had killed his family members (except Radha and Ramlal), and had both his arms cut off; he concealed the dismemberment by always wearing a shawl, which was the sole reason he could not use the gun.
Realizing this, Jai and Veeru take an oath that they will capture Gabbar alive. After learning the duo's heroics, Gabbar kills the local imam Rahim Chacha's son Ahmed and forces the villagers to make Jai and Veeru surrender to him. The villagers refuse and instead get the duo to kill a few of Gabbar's henchmen. Gabbar retaliates by having his men capture Veeru and Basanti. Jai arrives and attacks the hideout, where the trio are able to flee Gabbar's hideout with dacoits in pursuit. Shooting from behind a rock, Jai and Veeru nearly run out of ammunition. Unaware that Jai was wounded in the gunfight, Veeru is forced to leave for more ammunition and also to drop Basanti at a safe place.
Jai sacrifices himself by using his last bullet to ignite dynamite sticks on a bridge from close range, killing Gabbar's men. Veeru returns, and Jai dies, leaving Radha and Veeru devastated. Enraged, Veeru attacks Gabbar's den and kills his remaining men where he catches Gabbar and nearly beats him to death. Thakur appears and reminds Veeru of the vow to hand over Gabbar alive. Thakur uses his spike-soled shoes to severely injure Gabbar and his hands. The police arrive and arrest Gabbar for his crimes. After Jai's funeral, Veeru leaves Ramgarh and finds Basanti waiting for him on the train.
The film's plot was loosely styled after Akira Kurosawa's 1954 samurai cinema film, Seven Samurai.[14][15] Sholay is a defining example of the Dacoit Western film, combining the conventions of Indian dacoit films, especially Mehboob Khan's Mother India (1957) and the Dilip Kumar and Nitin Bose film Gunga Jumna (1961),[16] with that of Westerns,[14][15] especially Sergio Leone's Spaghetti Westerns such as Once Upon a Time in the West (1968) as well as The Magnificent Seven (1960).[15] It also has some plot elements borrowed from the Indian films Mera Gaon Mera Desh (1971) and Khote Sikkay (1973).[11] A scene depicting an attempted train robbery was inspired by a similar scene in Gunga Jumna,[17] and has also been compared to a similar scene in North West Frontier (1959).[18] 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.[19] 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).[20]
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.[21][22] Gabbar Singh was also influenced by larger-than-life characters in Pakistani author Ibn-e-Safi's Urdu novels,[23] Dilip Kumar's dacoit character Gunga from the film Gunga Jumna who speaks with a similar mixed Khariboli and Awadhi dialect,[24] and villains from Sergio Leone's films.[25] Sippy wanted to do away with the clichd 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 emphasise the point of Gabbar being a new type of villain, Sippy avoided the typical tropes of dacoits wearing dhotis and pagris and sporting a Tika and worshipping "Ma Bhavani"; Gabbar would be wearing army fatigues.[26] The character of the 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.[27][28] 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.[29] The main characters' names, Jai and Veeru, mean "victory" and "heroism" in Hindi.[30]
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.[31] 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.[32] 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."[10]
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.[11] 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 part.[33] Salim-Javed were also 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.[34]
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.[35] 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.[10] 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 thus be paired with Hema Malini, who Dharmendra was trying to woo. Dharmendra knew that Kumar was also interested in Malini.[36] 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 through their previous collaborations.[37]
During the film's production, four of the leads became romantically involved.[15] Bachchan married Bhaduri four months before filming started. This led to shooting delays when Bhaduri became pregnant with their daughter Shweta. By the time the film released, she was pregnant with their son Abhishek. Dharmendra had begun courting Malini during their earlier film Seeta Aur Geeta (1972), also directed by Sippy, 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 which would allow him to spend more time with her. The couple married five years after the film's release.[38] 152ee80cbc
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