 Koushik Banerjea , a sociologist in the London School of Economics , notes that Sholay exhibits a " sympathetic construction of ' rogue ' masculinity " exemplified by the likeable outlaws Jai and Veeru . Banerjea argues during the film , the moral boundary between legality and criminality gradually erodes . Film scholar Wimal Dissanayake agrees that the film brought " a new stage in the evolving dialectic between violence and social order " to Indian cinema . Film scholar M. Madhava Prasad states that Jai and Veeru represent a marginalised population that is introduced into conventional society . Prasad says that , through the elements of revenge included in the plot and the application of Jai and Veeru 's criminality for the greater good , the narrative reflects reactionary politics , and the audience is compelled to accept feudal order . Banerjea explains that though Jai and Veeru are mercenaries , they are humanised by their emotional needs . Such dualism makes them vulnerable , in contrast to the pure evil of Gabbar Singh . 
 Koushik Banerjea , a sociologist in the London School of Economics , <a href='uninflect' title='1'><mark>notes</mark></a> that Sholay <a href='uninflect' title='2'><mark>exhibits</mark></a> a " sympathetic construction of ' rogue ' masculinity " exemplified by the likeable outlaws Jai and Veeru . Banerjea <a href='uninflect' title='3'><mark>argues</mark></a> during the film , the moral boundary between legality and criminality gradually <a href='uninflect' title='4'><mark>erodes</mark></a> . Film scholar Wimal Dissanayake <a href='uninflect' title='5'><mark>agrees</mark></a> that the film brought " a new stage in the evolving dialectic between violence and social order " to Indian cinema . Film scholar M. Madhava Prasad <a href='uninflect' title='6'><mark>states</mark></a> that Jai and Veeru represent a marginalised population <a href='null_relcl' title='7'><mark>that</mark></a>is introduced into conventional society . Prasad <a href='uninflect' title='8'><mark>says</mark></a> that , through the elements of revenge included in the plot and the application of Jai and Veeru <a href='null_genetive' title='9'><mark>'s</mark></a>criminality for the greater good , the narrative <a href='uninflect' title='10'><mark>reflects</mark></a> reactionary politics , and the audience is compelled to accept feudal order . Banerjea <a href='uninflect' title='11'><mark>explains</mark></a> that though Jai and Veeru <a href='drop_aux' title='12'><mark>are</mark></a>mercenaries , they are humanised by their emotional needs . Such dualism <a href='uninflect' title='13'><mark>makes</mark></a> them vulnerable , in contrast to the pure evil of Gabbar Singh . 
Koushik Banerjea , a sociologist in the London School of Economics , note dat Sholay exhibit a " sympathetic construction of ' rogue ' masculinity " exemplified by the likeable outlaws Jai and Veeru . Banerjea argue during the film , the moral boundary between legality and criminality gradually erode . Film scholar Wimal Dissanayake agree that da film brought " a new stage in tdaevolving dialectic between violence and social order " to Indian cinema . Film scholar M. Madhava Prasad state tdatJai and Veeru represent a marginalised population is introduced into conventional society . Prasad say that , through thdalements of revenge included in the plot and the application of Jai and Veeru  criminality for thedaeater gud , the narrative reflect reactionary politics , and the daience is compelled to accept feudal order . Banerjea explain that though Jai and Veeru mercenaries , they are humanised by their emotional needs . Such dualism make them vulnerable , in contrast to the pda evil of Gabbar Singh .