*"what makes a film, a classic ? "** were the thoughts howering in my mind, when I read patenik2’s review on SHOLAY.
is it the plot ?
is it the performances ?
is it the cinematic writing ?
or
is it the quotient of something never-seen-before ?
I stopped thinking when my thoughts came to the last sentence.
*a film that offers you something you have never experienced before makes it a CLASSIC.
*and well, do I need to say that SHOLAY justifies the afore-mentioned definition of a CLASSIC to the maximum ?
* The credit for it mostly goes to the legends of SALIM-JAVED** who took up the job of writing the screenplay for the story of an upright cop who decides to take help from JAI ’n’ VEERU, two smart thieves, to finish GABBAR SINGH, a vicious dacoit’s existence, after he ruthlessly destroys Thakur’s whole family, and his peace.
Though I grew up watching SRK’s films and all the similar romantic ’n’ family fluffy stuff, when I watched SHOLAY for the first time, it was as refreshing as any other contemporary movie.
RAMESH SIPPY blatantly played safe with a narrative with an unbelievable entertainment quotient.
*SHOLAY never bores you, even if you watching it for the 50th occasion.** [ ironically, many have actually seen it as many times ! ]
*have you ever thought that if SHOLAY is to be analysed by the tautness of the script, it proves to be nothing more than a mediocre piece of work**. sorry, but we wouldn’t have met our ANGREZON KE ZAAMAANE KE JAILOR [ HA HAA ! ], the non-stop chatter box BASANTI, or our pitiable IMAAM CHACHA then.
SHOLAY proves all those wrong who feel a good script is what it takes at first makes to make a good movie.
*Every line makes a mark, every character leaves a concrete impression.** VEERU’s suicide speech, him wooing basanti on a taanga, GABBAR SINGH’s 1o minute long intro speech, JAY playing mouth-organ late nights while RADHA turns off the lanterns. every frame of SHOLAY makes an unforgettable impression.
even the TRAIN-ROBBERY scene set a trend for how to shot ACTION-SCENES with horses.
technically, the film blazed a trail with a 70 mm cinemascope view, effective sound design and sleek editing. infact, the only award SHOLAY won at the FILMFARE was for its editing. needless to add, **R.D.BURMAN** maintains the pace of this thrilling revenge drama. be it "MEEHBOOBA" or "YE DOSTI", every song is as memorable as the film itself.
*DHARMENDRA, HEMA MALINI **and** AMZAD KHAN **gave their career defining performances while there are hardly any words to explain the prowess displayed by **AMITABH BACHCHAN** and **SANJEEV KUMAR.
A.K.HANGAL, ASRANI, SACHIN** and **JAYA BHADURI** contribute in their own way to make SHOLAY even more special a treat.
*SHOLAY is a trend setter in ways more than one.
it showed us that entertainment can be maxim without being tacky.
it showed us that criminals can be lovable too**.
*and mainly, it showed us that sometimes, VILLAINS can be more impactful than the HEROES.*
the JAI-VEERU bonding has become the epitome of male friendship, GABBAR is the zenith of viciousness, and THAKUR is next to none when it comes to patience and strength.
*SHOLAY may not be THE GREATEST STORY EVER TOLD [ as it claims to be ], but it is certainly the ideal entertaining cinema.
final rating - ****1/2
cheers
harsh