Not Amjad Khan, Sanjeev Kumar, this actor was first choice for Gabbar and Thakur in Sholay, rejected the roles due to..., his name is...
Ramesh Sippy's 1975 cult classic film Sholay is all set to hit the theatres once again. The film starring, Amitabh Bachchan and Dharmendra in the lead roles, will have its worldwide premiere on June 27, at the prestigious Il Cinema Ritrovato Festival in Bologna, Italy. Well, what's interesting is that Sholay will have a re-release in a fully resorted and uncut version, showing some never-before scenes to the audiences. In association with the Film Heritage Foundation and Sippy Films, the screening will take place at 9:45 pm at Piazza Maggiore.
Elated by the news of Sholay's restoration, Dharmendra called the movie '8th wonder of the world.' Moreover, he was sure that the screening would too have the same humongous success as it had 50 years ago. Dharmendra was initially offered Gabbar and Thakur roles
Sharing an interesting anecdote about the film, Dharmendra revealed that he was initially offered the roles of Gabbar and Thakur, and said, 'but I was clear that I wanted to play the role of Veeru as he is so much like me.' Gabbar Singh was then played by Amjad Khan and Sanjeev Kumar portrayed the role of Thakur Baldev Singh, making the characters truly iconic till date. Sholay's terrific cast also included Hema Malini and Jaya Bachchan as 'Basanti' and 'Radha'. Dharmendra talks about his favourite scenes in Sholay
Dharmendra also recalled some of his favourite scenes from Sholay, and said, 'the tanki scene, the scene in the temple, and so many others, but the most powerful scene I feel was the death of Jai, which is still etched in my mind.'
To commemorate the film's 50 years, Sholay will have its special screening in Italy. The film will be re-released with its original ending and previously deleted scenes. Sholay will be released in 2.2:1 aspect ratio, with resorted sound and visuals.
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Indian Express
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Salim-Javed had to change Sholay's climax because of the Emergency, claims Farhan Akhtar: ‘It didn't make sense but they had no choice'
August 15 will mark the 50-year anniversary of the marquee film of Bollywood, Sholay. Directed by Ramesh Sippy, the film changed the career of everyone involved with the project, including writers Salim-Javed (Salim Khan and Javed Akhtar). The cast of the film was nothing short of an all-star team, with names like Amitabh Bachchan, Dharmendra, Hema Malini, Sanjeev Kumar, Amjad Khan, and Jaya Bachchan leading the charge. Remembering the impact of the film, actor Farhan Akhtar shared some anecdotes about the making of the film and how Sholay's climax was completely different from what was eventually kept in the film. Promoting his upcoming film 120 Bahadur on Prakhar Gupta's podcast, Farhan talked about why the film worked so well and said, 'The film just leaves a huge impact on you. The way it was mounted and all the characters were fun. It wasn't as if it was just Jai and Veeru who were exciting. The jailer, Surma Bhopali, Gabbar, and Basanti were all great characters. It was a massive hit.' He added that visually the film was head and shoulders above the rest, and the experience it created in the theatres was unforgettable. ALSO READ: Farhan Akhtar recalls mother Honey Irani toppling an auto, slapping a man who groped a woman in public: 'A key turning moment…' 'To me it was a very strong emotional movie, and it was sprinkled with such good entertainment. The direction and the shooting of the film were so great, and it was something which had never happened before apart from maybe Mughal-E-Azam. You look at the visuals, and it makes you think, 'How did they shoot this?' The experience it created in the theatres was amazing, and the technical prowess was just so far ahead of anything anyone else was doing at the time. It still stands the test of time, and people still don't make films like that. Everyone is so dependent on VFX, and that will never look as good as Sholay,' said Farhan. Talking about the climaz, Farhan revealed that his father, Javed Akhtar, and Salim Khan weren't happy with the advised changes they had to make to the script, but the two had no choice. He shared, 'The emotional core of the film was very strong, the entire narrative of Thakur plotting his revenge after his hands were cut. We get lost in the Jai Veeru conversation, but the spine of the film was the honest police officer who goes after a dacoit after he kills his family. He hires these two good-for-nothing people, and in the original ending he actually kills Gabbar. They had to change it due to the Emergency, and the original ending is now available. That is actually when he cries, after crushing Gabbar with his own feet.' He went on and described Javed and Salim's state of mind while making the changes and said, 'When Dad and Salim Sahab had to change the ending, they were wondering about everyone showing up, including the villagers, the police, and the protagonists. They joked that the only person missing now is a postman. The ending and the police showing up didn't make sense to them, but they had to change it; they had no choice.' Director Sippy also talked about the film and its changed climax during the Pune International Film Festival back in 2018. He told the audience, 'I had shot a different ending for Sholay, where Gabbar is killed by Thakur. But they (the Censor Board), didn't allow that. They were not happy about Thakur killing Gabbar with his feet. I was also caught in a sticky situation… how else would Thakur kill him? He couldn't have used a gun since he had no arms. They were also unhappy about too much violence… they said 'you have to change the end'. I wasn't happy, but I did that.'
Time of India
44 minutes ago
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Upset by the B-grade tag on his film investments, he called his son back from London and ended up creating the biggest blockbuster of the 1970s
The Unexpected Turn to Films The B-Grade Tag and a Father's Disappointment You Might Also Like: Dharmendra claims Amitabh Bachchan was not first choice for 'Sholay', another iconic action-hero was slated to play Jai A Son Called Back from London — FilmHistoryPic (@FilmHistoryPic) The Sholay Storm In 1947, Gopaldas Parmanand Sipahimalani, better known as GP Sippy , wasn't just a wealthy man—he was a patriarch of a prosperous Sindhi family in Karachi , owners of a grand mansion and a thriving business. But the Partition of India turned privilege into peril. The Sipahimalanis were forced to flee overnight, leaving behind everything they owned, including their palatial thousands of refugees pouring into Bombay with broken dreams and empty hands, Sippy arrived in the city with a new identity and a battered spirit. Though his family had some property and resources in India, the trauma of displacement cast a long shadow over his GP Sippy became a name etched into Bollywood history , he tried everything—selling carpets, launching a restaurant—only to face repeated failure. It was only when he stumbled upon an incomplete house in Colaba and saw its resale potential that destiny began to shift. Real estate turned out to be his breakthrough. Building after building, his construction business to a 2007 New York Times profile, Sippy's ventures in property not only secured his footing in post-Partition Bombay but also opened doors to the city's elite, many of whom nudged him toward a glamorous but risky venture—film first film Sazaa released in 1951. It featured Dev Anand and Nimmi and was moderately successful. But subsequent investments didn't match expectations. Despite his growing passion, he found himself branded as a 'B-grade' producer. Disheartened by lackluster returns and unsatisfied with the direction of his cinematic journey, Sippy made a decision that would rewrite not just his destiny, but that of Indian cinema Ramesh Sippy was studying at the London School of Economics when he got the call. His father wanted him back—not in business suits, but in film sets. With youthful energy and fresh perspective, Ramesh took charge. Under his stewardship, the Sippy banner delivered hits like Andaz (1971) and Seeta Aur Geeta (1972). Still, the game-changer was yet to 1975, Sholay hit theatres—and nothing was ever the same again. Made with an unprecedented budget of Rs 3 crore, the film was an ambitious bet. Starring Amitabh Bachchan, Dharmendra, Sanjeev Kumar, Hema Malini, and introducing Amjad Khan as Gabbar Singh, Sholay was an explosive blend of action, emotion, and by Salim-Javed and directed by Ramesh Sippy, the film initially had a lukewarm start. But word-of-mouth turned it into a cinematic phenomenon. It ran in theatres for five years, reshaped Bollywood storytelling, and made GP Sippy the most powerful producer in the country.
Economic Times
an hour ago
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Upset by the B-grade tag on his film investments, he called his son back from London and ended up creating the biggest blockbuster of the 1970s
Synopsis GP Sippy, a wealthy businessman displaced by the Partition, faced initial failures before finding success in real estate in Bombay. This venture opened doors to film production, though early efforts were disappointing. His son, Ramesh Sippy, joined the business and directed 'Sholay,' a groundbreaking film that transformed Indian cinema and solidified GP Sippy's position as a leading producer. GP Sippy (left), a refugee after the Partition, faced initial struggles in Bombay. He found success in real estate before venturing into film production. Early films didn't perform well. His son, Ramesh Sippy, joined and directed hits like Sholay. Sholay became a massive success. (Images: X/@FilmHistoryPic) In 1947, Gopaldas Parmanand Sipahimalani, better known as GP Sippy, wasn't just a wealthy man—he was a patriarch of a prosperous Sindhi family in Karachi, owners of a grand mansion and a thriving business. But the Partition of India turned privilege into peril. The Sipahimalanis were forced to flee overnight, leaving behind everything they owned, including their palatial home. Like thousands of refugees pouring into Bombay with broken dreams and empty hands, Sippy arrived in the city with a new identity and a battered spirit. Though his family had some property and resources in India, the trauma of displacement cast a long shadow over his future. Before GP Sippy became a name etched into Bollywood history, he tried everything—selling carpets, launching a restaurant—only to face repeated failure. It was only when he stumbled upon an incomplete house in Colaba and saw its resale potential that destiny began to shift. Real estate turned out to be his breakthrough. Building after building, his construction business soared. According to a 2007 New York Times profile, Sippy's ventures in property not only secured his footing in post-Partition Bombay but also opened doors to the city's elite, many of whom nudged him toward a glamorous but risky venture—film production. Sippy's first film Sazaa released in 1951. It featured Dev Anand and Nimmi and was moderately successful. But subsequent investments didn't match expectations. Despite his growing passion, he found himself branded as a 'B-grade' producer. Disheartened by lackluster returns and unsatisfied with the direction of his cinematic journey, Sippy made a decision that would rewrite not just his destiny, but that of Indian cinema. Ramesh Sippy was studying at the London School of Economics when he got the call. His father wanted him back—not in business suits, but in film sets. With youthful energy and fresh perspective, Ramesh took charge. Under his stewardship, the Sippy banner delivered hits like Andaz (1971) and Seeta Aur Geeta (1972). Still, the game-changer was yet to come. — FilmHistoryPic (@FilmHistoryPic) In 1975, Sholay hit theatres—and nothing was ever the same again. Made with an unprecedented budget of Rs 3 crore, the film was an ambitious bet. Starring Amitabh Bachchan, Dharmendra, Sanjeev Kumar, Hema Malini, and introducing Amjad Khan as Gabbar Singh, Sholay was an explosive blend of action, emotion, and innovation. Written by Salim-Javed and directed by Ramesh Sippy, the film initially had a lukewarm start. But word-of-mouth turned it into a cinematic phenomenon. It ran in theatres for five years, reshaped Bollywood storytelling, and made GP Sippy the most powerful producer in the country.
