According to screenwriter and cinema theorist Anjum Rajabali, the reason why Sholay continues to captivate Indian audiences across generations lies in its emotional architecture rooted in the navarasa tradition of Indian aesthetics. Speaking at the Museum of Goa in Pilerne during a recent MOG Sunday session celebrating 50 years of Sholay, Rajabali explained that the film’s lasting appeal cannot be attributed only to its stars, dramatic dialogue, or iconic action sequences. Instead, it’s the way the film embodies the nine rasas — love, laughter, sorrow, anger, courage, fear, disgust, wonder, and peace — that makes it emotionally complete. He described how the film’s emotional balance creates a connection with audiences that transcends time and familiarity.
Rajabali illustrated this through scenes such as Jai’s ultimate sacrifice, which embodies heroism, grief, and loyalty simultaneously. He pointed out that comedy in Sholay does not function as a break from tension but as an emotional counterbalance, seen through characters like Basanti and Soorma Bhopali. The laughter, he said, arises naturally from personality and circumstance rather than being forced. Discussing casting choices, he recalled how Amjad Khan’s portrayal of Gabbar Singh was designed to evoke terror and disgust subtly, with “dead eyes” that communicated menace without theatricality.
Rajabali emphasized that rasa is not an intellectual framework but an instinctive experience that audiences feel. Even without understanding the theory, viewers connect emotionally because the film operates through these timeless human essences. He believes that removing even one rasa would have weakened the story’s emotional harmony. Reflecting on modern cinema, he suggested that while some rasas like peace are underexplored today, Sholay achieved a rare equilibrium — a blend of drama, humour, tragedy, and tranquility — that continues to make it one of India’s most enduring films.
