Many critics called the film Sholay (1975) directed by Ramesh Sippy the best film in the history of Bollywood, or the "Film of the Millennium". The critics praise it so much so that several critics insist that "innovation in Hindi films ends with Sholay and that everything after that is repetitious trash" (Banker 55). This picture is a mix of crime thriller with the elements of "Japanese samurai epics and American and Italian Westerns, most obviously The Magnificent Seven (which was based on Akira Kurosawa’s Seven Samurai)" (Banker 55). The director involved a number of best Indian actors and, together with a large crew, created a true masterpiece of the Indian cinematography. The storyline of the film precisely shows social and cultural problems of not only India, but also of any society. The relation of revenge and law allows considering the main problems that arose in India in the 1970s. The picture shows the social inequality, lawlessness, and impotence of the authorities to organized crime. The film Sholay is a good example of Indian cinema, which takes into account all the cultural traditions and shows the most pressing problems of the time.
The film starts with the moment where the police department succeeded in tracking down the gang leader and grabbing their leader, i.e. Gabbar Singh. However, none of cell rooms has such walls that could hold him. The criminal escapes from the prison and brutally spifflicates with the police inspector's family. To avenge the bloody tyrant and protect the peaceful countryside from the gang of robbers, the inspector Thakur hires two brave crooks and goes straight into the lair of the bandits. The film shows an amount of car chases, shootings, and fights, which disclose the most pressing social and moral problems. The main problems disclosed in the film plot can be attributed to socio-political issues, as they primarily relate to ordinary people who fall into unfair situation without assistance from the authorities. The fight of one man against all also plays an important role in the main issues of the picture. In addition, the film shows a hard fate of women, which has always been discussed by the cultural and political figures. As it is known, most of the Indian population is illiterate and lives in the countryside, so the film also shows the struggle of people with the corrupt officials and bandits. If one talks about the cinematic phase or period in which the film was shot, the Sholay can be safely called an example of the modern Indian cinema and the film of the post-independence. This picture has many differences from the movies of the "Golden Age of Indian cinema" period, but it does not lose its identity and tradition.
This film has been "the longest-running film in Hindi cinema", it had been running for five years without interruption in Bombay cinema; a little film can be compared with it in the display duration (Ganti 108). The main advantage of the film is that it makes a truly empathize with the film characters. The protagonist of the film is a former Commissioner of Police Thakur, played by Sanjeev Kumar. He is a bold, straightforward, but at the same time, a very ordinary person. His main desire and purpose of life is retribution for the death of his loved ones, and nothing can stop him from fulfilling his plan. In addition, the most current stars of Bollywood played in this picture: i.e. Amitabh Bachchan, a courageous and charismatic Jai, Dharmendra-Viru, who is a charming and courageous character with funny remarks, and Hema Malini. Amjad Khan plays the key villain Gabbar Singh; he is an impressive and powerful villain, and only a few details give the viewer ability to understand his cunning and dangerous character. There are many combat actions and a maximum of very subtle nuances. Moreover, it is almost the only one film that has the right to be called the very first Indian Western. This film comprises the complex characters, and elaborate and detailed plan, unexpected plot turns, philosophical subtext, pretentious speech, beautiful actors, battle scenes, and the main attribute of all Indian films, i.e. incendiary songs and dances.
It can be said that the film Sholay, like many other Indian films, clearly reflects the Indian world, which is primarily connected with family relationships, as well as the struggle of good and evil. "Even though the leading protagonists are thieves, Sholay is very clear-cut inits depiction of right and wrong" (Ganti 109). The first Indian films were shot as movie-legends, e.g. Raja Harishchandra (1913) (Banker 43). Their task was opposed to the national culture to the colonial patterns. Later, films about Gods caused the highest rating in Indian audience. In the second half of the 20th century, movies glorifying the exploits of the great Indian captains were very popular. These films are perceived as "a call to fight against the colonial authorities" (Ganti 29). However, in 1928, a law on the film, which prohibited promoting the struggle of the Indian people for socio-economic and political rights, came into effect (Banker 43). The film Sholay manifests the desire to maintain traditional values, that is the distinctive feature of Indian cinema. The idea of family life values and support of family members to each penetrates Indian cinema. Moreover, the film contains synthetic character, entertainment, mobility, lack of feedback between the spectator and the actors, wide coverage of life, and utilization of technology. Like most movies, Sholay is very entertaining; it contains a large number of battle scenes, as well as musical inserts. Music and dancing have always been the elements of "the national Indian chratcer" (Ganti 11). They organically entered in the cinema. Even today, it is difficult to imagine an Indian film without songs and dances. That is to say that almost every Indian movie has musical elements. The most dramatic moment of the story is interrupted by a dance or a song, as it is a tradition of the national theater, which has developed into a socio-cultural archetype.
The film reflects the problem of power, which is shown by the example of the common people relations, the governments, and the bandits. All power and authority belong to those who are stronger. Defenseless villagers are not able to resist the criminal groups, and the government does not want to defend them. The protagonist of the film represents the last hope; however, in addition to the legal basis, he also has a personal affair with the chief bandit. Thakur is the only person able to resist social injustice and lawlessness. Such an element of Indian cinema is borrowed from the Western tradition. According to Ganti, Sholay is a "good example of masala film with its episodic structure, song sequences, and alternating sequences of drama, comedy, action, and tragedy" (143). At the same time, it also has elements of colonial and post-colonial cinema. With regard to gender issues, the film shows a relationship between a man and a woman, in which a man definitely dominates.
The film Scholay filmed in 1975 is one of the most famous Bollywood films. It reveals a number of different socio-economic and political problems, which have been and are still relevant. It is worth noting that the new Indian films are not inferior to many European and American pictures. However, Indian films still do not lose their national identity; they still differ in chastity, patriotism, musicality, and in celebration of spiritual and moral values. This is the reason why Indian cinematography is close and clear to many nations of the world.
Works Cited
Banker, Ashok. Bollywood. Harpenden, GBR: Pocket Essentials, 2001. ProQuest ebrary. Web. 9 April 2016.
Ganti, Tejaswini. Bollywood: A Guidebook to Popular Hindi Cinema. Hoboken: Taylor and Francis, 2013. ProQuest ebrary. Web. 9 April 2016.
