While Basanti (Hema Malini) never stops chattering, Radha (Jaya Bhaduri) seldom speaks. There are two romantic tracks navigated by two very contrasting female characters.
Dharmendra and Amitabh Bachchan`s Veeru and Jai are to this day roguish mercenaries who seem to convey an endearing amorality in their conduct even as they emerge as unlikely heroes in the Thakur`s fight against an oppressively cartoonish outlaw. The characters show no sign of aging with time. This is a revenge story with a supremely sustained momentum. each of these and many others, have a throbbing autonomous life of their own.Īnd yet, here lies the magic of a monumental classic - all the accentuated episodes come together in a compelling cohesive screenplay which blows your mind. Hangal`s son`s poignant death scene, the widow `Radha` Jaya Bhaduri`s flashback into a colourful Holi when she accosts her future father-in-law with incessant chatter (Radha could have been Basanti), Jagdeep`s Soorma Bhopali and Asrani`s `angrezon ke zamaanein ka jailor` episodes. With the passage of time, we can view the film in episodes - the stunning train robbery sequence at the start, the massacre of `Thakur` Sanjeev Kumar`s family by Gabbar and his ragged henchmen, Dharmendra`s `suicide` drama from atop a water tower, `Jai` Amitabh Bachchan`s marriage proposal on behalf of his buddy `Veeru` Dharmendra, `Gabbar` Amjad Khan`s Russian roulette in the ravines with his trio of petrified henchmen, `Rahim Chacha` A.K.
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