Rachel Newsham

Screening India

Professor Brueck

7 March, 2010

Sholay Film Review

In following the pattern of a “Masala” film, Ramesh Sippy’s Sholay is interwoven with a myriad of issues, each evoking a particular emotion while carrying a weighty message that either directly affirms or opposes the underlying values of Indian society. Through the lens of a strong friendship, the audience is taken for an adventurous ride that touches on several cultural issues and injustices suffered by Indians. Many of these issues are not firmly resolved, but the underlying message is that justice, in the end, will prevail for the greater good.

As a “buddy film,” the focus of this movie is on the relationship between Veeru and Jai, the two main male characters. Veeru and Jai, are brought to a rural village in India where Thakur Singh asks for their help in avenging the death of his family and the loss of both of his arms by going after Gabbar Singh, the villain. Gabbar Singh has set himself up to be a warlord-like figure in the village, demanding a share of their crops while claiming to provide them with protection. Veeru and Jai, common criminals, accept this adventure finding love, sacrifice, and revenge along the way. Although Jai dies in the end, the villain is destroyed and, as typical in Bollywood films, the order of society is restored.

The role of women in this film has been significantly reduced compared to the female roles in the “golden age” era, where women were often a central part of the film. Although their roles are moderate at best, Basanti and Radha contribute important themes to the movie. When they are younger, both female characters are said to be “chatterboxes:” chatty, playful, energetic, and shallow. As the film progresses, the simplicity of their lives is countered by trials and hardships that force them to mature and leave behind their carefree days. In the case of Radha, this is accomplished through her marriage and later through her widowhood. In Basanti’s case, her maturity is realized in the scene where she must keep dancing in order to keep her lover alive. Their roles lend the movie the needed female character that represents the stability of Indian culture and traditions through acts of renunciation and the ultimate protection of their laj, chastity.

Basanti’s role as a widow brings up a significant cultural and religious issue in India. During the Colonial Era, the British pointed out the act of Sati, a practice of a widow immolating herself on the funeral pyre of her husband, as being inhumane and barbarous. Although Sati is now illegal in India, widows are often spurned in Indian society and are rarely allowed to remarry. Jai, aware of the social stigma attached, loves Radha and wants to marry her. When discussing the situation with Veeru, Jai comments: “Even thugs and criminals are given a second chance in life… Radha has done nothing wrong. Has she no right to start life afresh?” Thakur Sing, while discussing the matter with Radha’s father comments further that: “The society and community are meant to save man from loneliness. They’re not meant to isolate someone.”

These statements seem to be very bold for Hindi films. The movie Water was recently banned in India for making too strong of a statement on widowhood in India. Perhaps Sippy is able to get away with this statement by not letting the characters realize their relationship. As Jai lies dying in the arms of Veeru, he looks up at Radha and comments on how their relationship is “yet another incomplete story.” After viewing Jai’s funeral pyre, the melancholy sound of the harmonica leads the gaze of the audience to Radha who closes the window of her house representing the idea that she will never be able to find “color” again.

Imman, as a devote Muslim, was the central religious character within the film. His ultimate purpose is to remind the villagers that they are a community, and to point out the injustices of the villainous characters. His climactic role comes with the murder of his son. Although he only had one son, he claimed that his death was worth sacrificing on behalf of the village and his only regret is that he did not have more sons to give. I thought it odd that the producer gave such a weighty role to a Muslim. I was under the impression that the underlying principal of Bollywood films was to affirm Hinduism as the foundational religion of India. Perhaps this principal is fulfilled by the death of his only son, leaving no kin to carry on his religion.

Marriage also plays an interesting role in Sholay. Unlike Western society, the couple’s fathers traditionally arrange marriages in India. Because Veeru did not have a family member to arrange the marriage for him, he turns to his friend to fill this role. Although this situation is not as modern as a “love-marriage,” it may still be seen as overstepping the traditional customs. Marriage for these two criminals is seen as a turning point in their lives. When discussing the idea of settling down, they mention how their marriage will help them lead “straight and simple” lives. When Veeru asks how they will learn how to wield a plow, Jai answers: “Our vices taught us to wield guns; our virtues will teach us this.” Marriage, having a wife and children, is depicted as the social norm for a man who desires to live a good life.

The songs in Sholay also contributed to “making meaning” within the film. The first song is a song of friendship between Veeru and Jai in which they confess their undying love and devotion to one another. Some have interpreted the different phrases and symbolism throughout the song as opening up a space for homoerotic interpretations. Nonetheless, it is a song that emphasizes the uniquely intimate relationship these two men have for each other. The third song, Mehbooba Mehbooba was an overly sexualized song complete with a profusion of suggestive movements, camera angles, and lyrics that eroticized the female body. Because this song takes place within the villains’ camp, the underlying message may be that villains are so separated from Indian culture to the point where the woman no longer represents traditional values, but is seen merely as a figure of pleasure for men.

I was not sure what to think about the film after watching it. Overall, I was upset by the loose-ended messages that were presented and my inability to understand the deeper meanings, but it was also a very enjoyable film. Although the film brought up many important issues, it seemed to quickly glance over them and move on. Perhaps this is the only acceptable avenue for Indian film producers to make a political statement. Regardless, I enjoyed the Western-like setting with the wide-open countryside, rough terrain, and musical addition of the harmonica. It added a special dynamic to this film of revenge, making it more accessible to those familiar with Westerns. I also appreciated the promotion of fulfilling one’s duty over getting carried away by one’s emotions. I would definitely recommend this film to others.