Sholay (1975) - The First Review

It was a lot of fun translating this early review of Sholay from the Hindi, published in the Delhi based magazine Sarita in 1975. Sarita, a popular magazine since 1945 was always read for its serialized fiction, short stories, non-fiction pieces and articles based on social, and lifestyle issues and continues to thrive. In this review of the film that would later become iconic, the anonymous writer excoriates nearly everything he/she sees. There is neither pussyfooting nor excessive deference to the film and its makers and is a piece of history itself.

Review of Sholay in Sarita, 1975

Producer: G P Sippy

Director: Ramesh Sippy

Main Actors: Dharmendra, Sanjeev Kumar, Amitabh Bachchan, Hema Malini, Jaya Bhadhuri, A K Hangal, Satyen Kappoo, Leela Misra, Amjad Khan

Former police inspector Thakur Sahab (Sanjeev Kumar) is in need of two such thugs who could trounce fifteen or twenty assailants at a time. Thakur Sahab knows that Viru (Dharmendra) and Jai (Amitabh Bachchan) are such lowlifes, but they are full of courage and steeped in humanity (All hail writer duo Salim Javed). Both brave men reach Thakur's village. It's inevitable that there should be someone to ferry them to the village. So, this time, there is a 'tangewali', Hema Malini (Basanti), and Hema's mare 'Dhanno', who seems quite well-trained, and fills the role of Hema's sister or friend. The remaining story of the dacoit Gabbar Singh (Amjad Khan) is an Indian adaptation of a masala mix made up of bits of 'Butch Cassidy and the Sundance Kid', 'The Good, the Bad and the Ugly' and 'The Secret of Santa Vittoria'.

The film is just about OK until the interval, and, to an extent, entertaining. But after that, it seems that the director of this 'khichdi' film and its writer duo Salim Javed are afflicted with seizures of fights and violent bloodletting. But the fact is that these scenes of fighting and violence are both lifeless and unexciting. 

There are several sets inspired by Hollywood films, but these are largely ineffective. This is because Indian set designers have not yet learnt to mimic solid masonry with walls made out of paper. In the story, a water tank has a prominent role, but it is difficult to understand how water rises to the tank, as the village has neither electricity nor diesel engines. And where does the water go from this tank? There are several examples of such ridiculousness in the film.

Considering the kind of films that Sanjeev, Dharmendra and Amitabh are acting in today, it is difficult to take them seriously in their various roles in 'Sholay'. Dharmendra and Amitabh neither look like thugs nor horses for hire. Seeing Dharmendra's bare chest or his arms does not put you in mind of his character in 'Phool aur Patthar'. Now he looks like a Hindi-film actor quite full of himself. Amitabh is quite striking in his white clothes, and is even effective to an extent, but he most certainly does not look like a killer for hire.

Sanjeev is considered an actor with a remarkable 'range', but in 'Sholay' he completely fails in his efforts to become like (Hollywood's) Omar Sharif. The sounds emanating from his throat are like the characters speaking from those haunted house type of films.

And what can be said about Hema Malini and her constant 'Yaani ki' and 'Yunhi ki'? She neither looks like a young girl nor like a full-grown woman.

In other roles, Hangal and Satyen Kappoo reprise their usual crying/chest beating acts resembling fifty-year-old antique chachajis, mamajis and nanajis, with their cloying 'Kaise ho beti?' style. The new villain Amjad has not made up his mind whom to ape - his late father Jayant, or Dilip Kumar, or Pran or Premnath. Of course, his bellowing makes the 70mm stereophonic sound system quite meaningful.

There is a lot of strength in Dwarka Divecha's camerawork. In any case, Salim Javed take stock of all their earlier successful films to concoct a new screenplay. Director Ramesh Sippy has been quite effective in some portions of the film. But watching so many rubbish parts one does not feel that such a man (or woman) can be a film director at all. Rahul Dev Burman's music misses the point. Anand Bakshi's lyrics are more of the same old stuff.

In summary, 'Sholay' stands because of sone technical competence. Otherwise, it is quite a crime to spend a crore of rupees on this rubbish film, and all those who made these films are accomplices to this crime as also those who, goggle-eyed by its advertising campaign, went to see it with such enthusiasm and returned home wringing their hands in regret.