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Synopsis After his family is murdered by a notorious and ruthless bandit, a former police officer enlists the services of two outlaws to capture the bandit. Sholay means embers in Hindi.

In this particular movie, a Police Officer, who's family was killed by a bandit named Gabbar Singh, decides to fight fire with fire and recruits two convicts, Jai and Veeru to capture Gabbar. He approaches them in jail, puts the proposal in front of them, and they agree to bring in Gabbar Singh alive - for a hefty price. After their discharge from jail, they travel by train to the village where the Police Officer lives - now with only his widowed daughter-in-law. The three band together to fight one of the most elusive and dreaded bandits of all time.

Will the two ex-cons be able to bring Gabbar alive to the Police Officer? Downloaded 1593 times 1/6/2017 8:40:29 AM. Reviewed by asksahil 10/10 I am shocked seeing that the IMDb ratings for this classic is just 6.6.Why? Because the movie is strongly influenced from the Westerns? Reviewed by (ahsen) 9/10 Great Movie. Everyone should have seen this movie at least one time!I bought this movie on DVD now, although I am not a big fan of elderfilms. I love this film, and especially the dialogs of GB!

For allAmitabh fans its a must have movie! The whole story is really good andthe movie has a flair of an American western. Even the sound of Sholayand the atmosphere which is given to the watcher are one of the best ihave seen in Bollywood. I have heard, there will be a remake of thisfilm, but I think it could not be as good as the original Sholay. Allbecause of the actors like Amjad Khan who was born for this role.

Thisfilm is one of bollywood's best movies ever.

Running time 204 minutes Country India Language Hindi-Urdu Budget ₹30 million Box office est. ₹150 million Sholay ( , meaning ') is a Indian - in language, written by, directed by, and produced by his father. The film follows two criminals, Veeru and Jai (played by and, respectively), hired by a retired police officer to capture the ruthless. And also star, as Veeru and Jai's love interests.

Sholay is considered a classic and one of the best. It was ranked first in the 's 2002 poll of 'Top 10 Indian Films' of all time.

In 2005, the judges of the named it the. The film was shot in the rocky terrain of, in the southern state of, over a span of two and a half years. After the mandated the removal of several violent scenes, Sholay was released with a length of 198 minutes.

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.

By some accounts, Sholay was the of all time, adjusted for inflation. The film is a, combining the conventions of Indian with that of, and is a defining example of the, 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, bonding, and the film's role as a national allegory. The combined sales of the original soundtrack, scored by, and the dialogues (released separately), set new sales records. The film's dialogues and certain characters became extremely popular, contributing to numerous cultural and becoming part of India's daily.

In January 2014, Sholay was re-released to theatres in the 3D format. Contents. Plot In the small village of Ramgarh, the retired policeman Baldev Singh summons a pair of small-time thieves that he had once arrested. Thakur feels that the duo— Veeru and Jai —would be ideal to help him capture Gabbar Singh , a wanted by the authorities for a ₹50,000 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. 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. Living in Ramgarh, the jovial Veeru and cynical Jai find themselves growing fond of the villagers. Veeru is attracted to Basanti , a feisty, talkative young woman who makes her living by driving a horse-cart. Jai is drawn to Radha , 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. Ramdevarabetta, near the town of Ramanagara; much of Sholay was shot in rocky locations such as this. Much of Sholay was shot in the rocky terrain of, a town near,. The filmmakers had to build a road from the Bangalore highway to Ramanagara for convenient access to the sets. 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. One part of Ramanagara was for a time called 'Sippy Nagar' as a tribute to the director of the film. As of 2010, a visit to the 'Sholay rocks' (where much the film was shot) was still being offered to tourists travelling through Ramanagara. Filming began on location on 3 October 1973, with a scene featuring Bachchan and Bhaduri.

The film had a lavish production for its time (with frequent banquets and parties for the cast), 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 Dosti', a 5-minute song sequence, took 21 days to shoot, two short scenes in which Radha lights lamps took 20 days to film because of lighting problems, and the shooting of the scene in which Gabbar kills the imam's son lasted 19 days. The train robbery sequence, shot on the Mumbai–Pune railway route near, took more than 7 weeks to complete.

Sholay was the first Indian film to have a soundtrack and to use the format. 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.

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.' The use of 70 mm was emphasised by film posters on which the name of the film was stylised to match the logo. Film posters also sought to differentiate the film from those which had come before; one of them added the: 'The greatest star cast ever assembled – the greatest story ever told'. 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, as was the scene in which Thakur's family is massacred. The Censor Board was concerned about the violence, and that viewers may be influenced to violate the law by punishing people severely.

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. 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. Since then, has released two versions on DVD. The of the film preserves the original full frame and is 204 minutes in length; the censored widescreen version is 198 minutes long. 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, notes that Sholay exhibits a 'sympathetic construction of 'rogue' masculinity' exemplified by the likeable outlaws Jai and Veeru. Banerjea argues during the film, the moral boundary between legality and criminality gradually erodes. Film scholar Wimal Dissanayake agrees that the film brought 'a new stage in the evolving dialectic between violence and social order' to Indian cinema.

Film scholar M. Madhava Prasad states that Jai and Veeru represent a marginalised population that is introduced into conventional society. 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. 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. Gabbar Singh, the film's antagonist, was well received by the audience, despite his pervasive sadistic cruelty. 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.

He notes that the picturisation of violence in the film was glamourised and uninhibited. 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. 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. The narrative style of Sholay, with its violence, revenge, and action, is occasionally compared by scholars to the political unrest in India at the time of its release. This tension culminated in declared by prime minister in 1975.

Dissanayeke and Sahai note that, although the film borrowed heavily from the Hollywood Western genre, particularly in its visuals, it was successfully 'Indianised'. 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. Maithili Rao, in Encyclopedia of Hindi Cinema, notes that Sholay infuses the style of the Western genre into a 'feudalistic ethos'. Ted Shen of the notes Sholay 's 'hysterical visual style' and intermittent 'populist message'. Cultural critic and scholar 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. 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. Some scholars have indicated that Sholay contains themes. Ted Shen describes the male bonding shown in the film as bordering on. 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). Music Sholay by Released 1975 ( 1975) Length 28: 59 Universal Music India Pvt. (originally ) composed the film's music, and the lyrics were written. The songs used in the film, and released on the original soundtrack are listed below.

Following that is a list of unused tracks and dialogues which were released later on an updated soundtrack. The song 'Mehbooba Mehbooba' was sung by its composer, R. Burman, who received his sole for his effort. The song, which is often featured on Bollywood hit song compilations, is based on 'Say You Love Me' by Greek singer. 'Mehbooba Mehbooba' has been extensively anthologised, remixed, and recreated.

A version was created in 2005 by the for their -nominated album You've Stolen My Heart, featuring. It was also remixed and sung by, along with Bhosle, in his debut acting film (2007). 'Yeh Dosti' has been called the ultimate friendship anthem. It was remixed and sung by and for the 2010 Malayalam film, and also in 2010 it was used to symbolise India's friendship with the United States during a visit from President.

Several songs from the soundtrack were included in the annual list of top songs. 'Mehbooba Mehooba' was listed at No. 24 on the, and at No. 6 on the. 'Koi Haseena' was listed at No. 30 in 1975, and No. 20 in 1976. 'Yeh Dosti' was listed at No. 9 in 1976. 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.

Taken together, the album sales totalled an unprecedented 500,000 units, and became one of the top selling of the 1970s. 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. 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.' Original Motion Picture Soundtrack No. Title Singer(s) Length 1. 'Title Music (Sholay)' – 02:46 2. 'Yeh Dosti' and 05:21 3. 'Haa Jab Tak Hai Jaan' 05:26 4. 'Koi Haseena' Kishore Kumar and 04:00 5.

'Holi Ke Din' Kishore Kumar and Lata Mangeshkar 05:42 6. 'Mehbooba Mehbooba' R. 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' Kishore Kumar, Manna Dey, – 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, 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. 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. After being helped additionally by a soundtrack release containing dialogue snippets, Sholay soon became an 'overnight sensation'. The film was then released in other distribution zones such as, and on 11 October 1975. It became the highest-grossing film of 1975, and film ranking website has given the film a verdict of 'All Time Blockbuster'. Sholay went on to earn a still-standing record of 60 golden jubilees across India, and was the first film in India to celebrate a silver jubilee at over 100 theatres.

It was shown continuously at Mumbai's Minerva theatre for over five years. Sholay was the Indian film with the longest theatrical run until (1995) broke its record of 286 weeks in 2001. Exact figures are not available on the budget and box office earnings of Sholay, but film trade websites provide estimates of its success. According to Box Office India, Sholay earned about 150 million net gross (valued at about US$16,778,000 in 1975) in India during its first run, which was many times its ₹30 million (valued at about US$3,355,000 in 1975) budget.

Those earnings were a record that remained unbroken for nineteen years, which is also the longest amount of time that a film has held. Its original gross was increased further with re-releases during the late 1970s, 1980s, 1990s, and early 2000s. It is often cited that after adjusting the figures for inflation, Sholay is one of the in the history of Indian cinema, although such figures are not known with certainty. In 2012, Box Office India gave ₹1.63 billion (US$24 million) as Sholay's adjusted net gross, whereas Times of India, in a 2009 report of business of Indian films, reported over ₹3 billion (US$44 million) as the adjusted gross.

Critical response Initial critical reviews of Sholay were negative. Among contemporary critics, K.L.

Amladi of called the film a 'dead ember' and 'a gravely flawed attempt'. Said that the film was an unsuccessful mincing of Western style with Indian, making it an 'imitation western—neither here nor there.'

Others labelled it as 'sound and fury signifying nothing' and a 'second-rate take-off' of the 1971 film Mera Gaon Mera Desh. Trade journals and columnists initially called the film a flop.

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'. Over time, the critical reception to Sholay greatly improved; it is now considered a classic, and among the greatest Hindi-language films. 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.

On the film's 35th anniversary, the 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.' In 2006, The described Sholay as 'an extraordinary and utterly seamless blend of adventure, comedy, music and dance', labelling it an 'indisputable classic'. Chicago Review critic Ted Shen criticised the film in 2002 for its formulaic plot and 'slapdash' cinematography, and noted that the film 'alternates between and melodrama'.

In their obituary of the producer G.P. Sippy, the said that Sholay 'revolutionized Hindi filmmaking and brought true professionalism to Indian script writing'. Awards Sholay was nominated for nine, but the only winner was, who won the award for. The film also won three awards at the 1976 (Hindi section): 'Best Actor in Supporting Role' for Amjad Khan, 'Best Cinematographer (Colour)' for Dwarka Divecha, and 'Best Art Director' for Ram Yedekar. Sholay received a special award at the 50th Filmfare Awards in 2005:. Legacy Sholay has received many 'Best Film' honours. It was declared the 'Film of the Millennium' by in 1999.

It topped the 's 'Top 10 Indian Films' poll of 2002, and was voted the greatest Indian movie in a poll of one million British Indians in 2004. It was also included in 's 'Best of Bollywood' list in 2010, and in 's list of the '100 greatest Indian films of all time' in 2013. Sholay inspired many films and, and spawned a genre of films, the 'Curry Western', 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 (1957) and (1961).

It was also an early and most definitive, and a trend-setter for 'multi-star' films. The film was a watershed for '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. The has described Sholay as the ' Star Wars of Bollywood', comparing its impact on Bollywood to the impact that (1977) later had on, while comparing Gabbar Singh to. A line of Gabbar Singh ( Tera kya hoga, meaning, 'What will happen to you?'

) and a picture of him is painted on the back of an, a common mode of public transport. Dialogues and characters from the film have contributed to many cultural tropes in India's daily life. 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. These and other popular dialogues entered the people's daily vernacular. Characters and dialogues from the film continue to be referred to and parodied in popular culture. Gabbar Singh, the sadistic villain, ushered in an era in Hindi films characterised by 'seemingly omnipotent oppressors as villains', who play the pivotal role in setting up the context of the story, such as Shakal (played by ) of (1980), Mogambo of (1987) and Bhujang (Amrish Puri) of (1989). Filmfare, in 2013, named Gabbar Singh the most iconic villain in the history of Indian cinema, and four actors were included in its 2010 list of '80 Iconic Performances' for their work in this film.

The film is often credited with making Amitabh Bachchan a 'superstar', two years after he became a star with (1973). Some of the supporting actors remained etched in public memory as the characters they played in Sholay; for example, continued to be referred to as 'Sambha', even though his character had just one line.

Major and minor characters continue to be used in commercials, promos, films and sitcoms. Amjad Khan acted in many villainous roles later in his career.

He also played Gabbar Singh again in the 1991 spoof, and reprised the role in commercials. The British Film Institute in 2002 wrote that fear of Gabbar Singh 'is still invoked by mothers to put their children to sleep'. The 2012 film, named after the character, became the highest grossing up to that point. Comedian, 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, in which Dharmendra and Bachchan had cameos. 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. An attempt to remake Sholay, 's film (2007), starring Amitabh Bachchan as the villain, was a commercial and critical disaster.

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 television channel, where it drew the highest ratings ever for an Indian film broadcast. 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. 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.

's (2000) provides an inside look at the film's production based on interviews with the director, stars, and crew members. 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, and has been called the greatest Hindi film of all time. It belongs to only a small collection of films, including (1943), (1957), (1960) and (1994), which are repeatedly watched throughout India, and are viewed as definitive Hindi films with cultural significance. 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'. In the 2000 book Sholay: The Making of a Classic, the noted director 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'.

The film was jointly released in Pakistan by and Mandviwalla Entertainment on 17 April 2015, almost 40 years after its theatrical release. The film's premiere in the country was held in. 3D re-release Filmmaker Ketan Mehta's company Maya Digital was responsible for converting Sholay into the format. Mehta was approached by G. Sippy's grandson, Sasha Sippy, about the project in 2010. In March 2012, Shaan Uttam Singh, the grandson of producer G. Sippy, said that he would sponsor a conversion of the film to 3D, and release it in late 2012; this was later postponed to late 2013, and eventually finalised for 3 January 2014.

It took ₹250 million (US$3.6 million) to convert Sholay to 3D. 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, colour-corrected and re-composited in 3D to match the depth. 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 views of Gabbar's hideout in the caves. The theatrical trailer and release date were unveiled by the original script-writers Salim Khan and Javed Akhtar.

The two original leads, Bachchan and Dharmendra, were also involved in promoting the re-release. The film was released in 1,000 screens in India, and additional screens overseas. It earned approximately ₹100 million (US$1.5 million) during its re-release, not enough to recover its conversion cost. ^ The (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. ^ The exchange rate in 1975 was 8.94 Indian rupees ( ₹) per 1 US dollar (US$). A golden jubilee means that a film has completed 50 consecutive weeks of showing in a single theatre. A silver jubilee means that a film has completed 25 consecutive weeks of showing in a single theatre.

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