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It has been 35 years since “Sholay” – the most popular and celebrated film in the history of India Cinema got released, but I watched it for the first time, only a week before. I saw Sholay without an iota of innocence and with complete ignorance of Hindi Cinema that came before “Sholay” or even after it. I belong to the Lagaan era of Hindi cinema. I have been watching Hindi films, regularly, only since 2000. That explains why the some of the sentences that should have ended with an exclamatory mark ends with a question mark in this article.

Everyone has a story behind when, where, why and how they watched Sholay for the first time. Wii wads. Here, is mine. The urge to watch Sholay came when I saw “Pancham Unmixed: Mujhe Chalte Jaana Hai’, a documentary on R.D.Burman. The interest in the film grew bigger when I read the book “Behind the Curtain: Making Music in Mumbai’s Film Studios”. Both the book and the documentary film have lots of fascinating tidbits of information and anecdotes gathered from the musicians, who played in R.D.Burman’s orchestra, when R.D.Burman was recording the background score of 'Sholay'. I bought a “Sholay” DVD from Moser Baer, but somehow, I never found time to watch the film.

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A week ago, I saw someone’s tweet about celebration of 35th anniversary of Sholay, and I wanted to watch the film immediately to see what the fuss is all about and, I saw the film. I immensely liked R.D.Burman's background score in the film. Ilaiyaraaja, whom I consider the god of film scoring, became a film composer, in 1978. 'Sholay' got released in 1975, and its background score has most of the qualities that I admire in Ilaiyaraaja's film scores. Silence - Though the full-throttled orchestral pieces work so well for the grandeur and energy in all chase and action sequences, the film and therefore the film score’s impact is most felt in the moments of silence. It is surprising that the score has such acutely measured stretch of silence in some parts of the film and it is the same film, which has the most massive of orchestras playing for some of the other parts. Silence and soaring music complement each other in Sholay.

Be it the tense, heart-ticking moments or the emotional, heart melting moments, silence works brilliantly in both. The entire episode, in which Gabbar Singh kills Thakur’s family, is accompanied by just the sound of a swing in the wind and a musical silence that instantly brings a lump in our throat.

In the following scene, there is a sudden entry of massive string section rushing in to evoke the intensity of anger with which Thakur hops onto his horse and rides up to kill Gabbar Singh. If were continuously played in the preceding scene, the rush of the string section would not have created a strong impact on us. We would not have felt Thakur's anger as much as we do now. The “Tera Kya Hohga Kaliya” episode also has ample scope for putting music that matches with every scream, every turn and every action of Gabbar Singh, but the complete episode is filled with an intimidating silence in the soundtrack.

It creates a mild fear about Gabbar Singh even in the audience’s minds. The final combat between Jai and Gabbar Singh’s goons is again filled with silence, creating a storming restlessness and anticipation in our minds about what is going to happen. In this episode also, there are ample shots where music could be played, but until Jai gets up, with just one bullet in his pistol, to fight against the goons, there is no music and that made the music, that plays after the long silence, sound extremely heroic. Gabbar Singh theme is the chilling Cello theme that sounds like a wily Cat's meow (came to know that it is a cello from the book 'Behind the Curtain'). It plays even before we see the face of Gabbar Singh in the film. This theme invariably plays in all the scenes in which Gabbar Singh appears, but what amazes me the most is the timing of introduction of the theme in all of these scenes. We already observed the silence throughout the scene in which all in the Thakur family are killed.