With no doubts, the Ramesh Sippy’s directorial “Sholay” is classic reprise of mass entertainer ever made in India
The new film adds bits of outtakes, most specifically the stretch that gives thakur his contending exorcism. But even otherwise, even with its minor flaws, ‘Sholay’ stays incredibly watchable after fifty years. The writing is tops and so is the direction. The
big-screen experience of the film is still something else.
Sholay is a collosal movie with a big starcast and if there’s one shot that shows why it belongs on the big screen is the ‘Mehbooba’ number that plays out in Gabbar Singh’s lair. Jai and Veeru blow up the freshly arrived stocks of ammunition in the bandit camp, thus weakening them. Jai is wounded, and the two of them ride their horses back to the thakur’s haveli. Radha – the widow – sees the horses from the window in her room upstairs. She sees Jai clutching a blood-stained arm, and instinctively, she begins to run. She has developed feelings for him, and her heart tells her to run. She runs to the end of the first floor, she runs down the first flight of stairs, then she runs down the second flight of stairs, and runs all the way to the main entrance, which is where she sees the thakur, her father-in-law, and suddenly she remembers who she is. The heart gives way to the head. She remembers that she is a widow in white. She pulls her sari up to cover her head. And the big screen takes us closer to her as a person. As they take in the size of the haveli, through that tracking camera, they realise what it must be like for her to be in that huge space all alone, the only woman. Before the arrival of Jai and Veeru, the only others around are a manservant and a thakur who cannot think beyond his Gabbar Singh obsession. But when Radha stops at that entrance, the thakur is shaken out of his monomania, if only for a second. He’s stunned by her action, her impulsiveness, and his expression suggests that he’s suddenly realised that there are other people in the household too, living people who have unfulfilled needs while he’s going about avenging the dead. It’s a big moment, with big emotions — and it plays out better than ever on the big screen.
The other highlight watching the remastered in 4k , with original ending version of SHOLAY at a theater in Delhi. Really enjoyed watching the full movie in one sitting after a long long time.
Except for the Asrani/ Jagdeep track it still feels so fresh , wholesome entertainment with great songs at the right times.
The Cigarette- Daaru PSA messages on the side screen looked so stupid in a 1975 film . LOL
The coin throwing scene still manages to give the feeling of coin being dropped right near you.
The original ending is good although TBH alternate ending was not bad either.
Choosing between Sholay and Dhurandhar One can’t wait to watch Dhurandhar now .
News Edit KV Raman
