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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 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. 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 and the film to receive maximum footfalls at the Box-office in India, ever.
Sholay is often regarded as one of the greatest and most influential Indian film of all time. 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.
The film's plot was loosely styled after Akira Kurosawa's 1954 samurai cinema film, Seven Samurai.[15][16] 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),[17] with that of Westerns,[15][16] especially Sergio Leone's Spaghetti Westerns such as Once Upon a Time in the West (1968) as well as The Magnificent Seven (1960).[16] It also has some plot elements borrowed from the Indian films Mera Gaon Mera Desh (1971) and Khote Sikkay (1973).[13] A scene depicting an attempted train robbery was inspired by a similar scene in Gunga Jumna,[18] and has also been compared to a similar scene in North West Frontier (1959).[19] 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.[20] 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).[21]
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.[22][23] Gabbar Singh was also influenced by larger-than-life characters in Pakistani author Ibn-e-Safi's Urdu novels,[24] Dilip Kumar's dacoit character Gunga from the film Gunga Jumna who speaks with a similar mixed Khariboli and Awadhi dialect,[25] and villains from Sergio Leone's films.[26] Sippy wanted to do away with the clichéd 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.[27] 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.[28][29] 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.[30] The main characters' names, Jai and Veeru, mean "victory" and "heroism" in Hindi.[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.[36] 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.[12] 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.[37] 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.[38]
During the film's production, four of the leads became romantically involved.[16] 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.[39]
Much of Sholay was shot in the rocky terrain of Ramanagara, a town near Bangalore, Karnataka.[40][41] The filmmakers had to build a road from the Bangalore highway to Ramanagara for convenient access to the sets.[42] Art director Ram Yedekar had an entire township built on the site. A prison set was constructed near Rajkamal Studios in Bombay, also outdoors, to match the natural lighting of the on-location sets.[43] One part of Ramanagara was for a time called "Sippy Nagar" as a tribute to the director of the film.[44] As of 2010[update], a visit to the "Sholay rocks" (where much of the film was shot) was still being offered to tourists travelling through Ramanagara.[45]
The director's original cut of Sholay has a different ending in which Thakur kicks Gabbar onto a nail on one of the two poles that Gabbar had used to chain Thakur when he had cut off his arms, stabbing him in the back and killing him, 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.[48] The Censor Board was concerned about the violence, and that viewers may be influenced to violate the law by punishing people severely.[54] 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.[55] 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.[51] Since then, Eros International has released two versions on DVD. The 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][51][56][a]
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.[58]
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.[59] Banerjea argues during the film, the moral boundary between legality and criminality gradually erodes.[60] Film scholar Wimal Dissanayake agrees that the film brought "a new stage in the evolving dialectic between violence and social order" to Indian cinema.[61] Film scholar M. Madhava Prasad states that Jai and Veeru represent a marginalised population that is introduced into conventional society.[62] 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.[62] 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.[60] 2ff7e9595c
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