I could go on and on about this.
A barren borrowed terrain, collective hoof beat thunder, distant hapless village, a tormenting larger than life bandit/dacoit, unlikely saviours - and an entire array of gun exchange running through it. Among many other things, Sholay is an Indian western and unabashedly so.
Yet there is the very Hindi cinema twang to it, spirit of the nautanki, a playful exaggeration, inexplicable change of heart and elements which we now identify as filmy. Yet, a sense of fortunate cinematic culmination pervades through the marathon running time.
Something extra has been put into Sholay, a wide frame throne that suits the epic treatment.We can clearly see how each scene stands out as an act. There is an attempt in arrangement, careful execution, lopsided bits are few here. Even now, it tells of a director who dared to take the leap. It is another thing that Ramesh Sippy hasn't yet made another film to equal or surpass it in the years to come. We are not complaining, merely playing the objectivity-ridden fan here.
Finally, Sholay's core are in the endearing characters - the main six and the memorable cameos. Salim-Javed dialogues are its blood and veins.The music is good accompaniment. But to unravel what makes it, after all these years, memorable, is still a mystery. Probably, at the first hint of oblivion, we will finally know - what it was all about.
Until then, long live Sholay.