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The golden year half a century ago

The golden year half a century ago

K Balachander's Apoorva Raagangal (Rare Melodies) is a landmark Tamil film often cited for being the breakthrough lead role for Kamal Haasan, the debut vehicle for Rajinikanth and the bearer of one of the most melodic soundtracks of Indian cinema. What's more, it's a milestone in radically positing that love knows no barriers of age.
The film turned the idea of romance on its head with its focus on an unusual, complex relationship dynamic where a young man falls in love with an older woman, while her daughter gets attracted to his father. Its ambiguous open-endedness notwithstanding, Apoorva Raagangal feels liberal not just for its own times.
The film completes 50 years this August 15, the day that saw the release of one of the most commercially successful Indian films, Ramesh Sippy's Sholay. While this much mythologised film will expectedly be the cause of many celebrations this year, it would be appropriate to also acknowledge the other cinematic saplings born that year that have grown in relevance since.
While 1957 is often called the highpoint in Indian cinema's golden age, 1975 was noteworthy in its own way. If it signalled a turning point in Tamil cinema with the arrival of a new generation of accomplished male stars, to eventually take the baton from Sivaji Ganesan and M G Ramachandran, filmmakers like Balachander and later Bharathiraja made mainstream Tamil cinema soar to new heights in the following years.
In Telugu cinema, 1975 marked the continuation of the domination of N T Rama Rao. However, Dasari Narayan Rao's Balipeetam is a significant pick from the year's crop, exploring the still-relevant issue of tensions in an inter-caste marriage between a Dalit boy and a Brahmin girl.
In Malayalam cinema, the year was one of the most fecund for actor Prem Nazir, with more than a dozen releases. But more important was the arrival of G Aravindan as a force to reckon with in the parallel cinema movement. Though his debut feature Uttarayanam won the national and Kerala state film awards in 1974, its year of release is often attributed as 1975.
Aravindan dealt with the crucial issue of unemployment in the 1970s and how it was driven by conflicting ideologies—varied means geared towards the same end. With experiments with storytelling and form, Aravindan made a strong comment on political opportunism and the corruption seeping into the individual and the system.
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Farhan Akhtar's 120 Bahadur rekindles the forgotten bravery of the Battle of Rezang La: The story of PVC awardee Major Shaitan Singh Bhati
Farhan Akhtar's 120 Bahadur rekindles the forgotten bravery of the Battle of Rezang La: The story of PVC awardee Major Shaitan Singh Bhati

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Farhan Akhtar's 120 Bahadur rekindles the forgotten bravery of the Battle of Rezang La: The story of PVC awardee Major Shaitan Singh Bhati

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Ramayana: Real jewelry used on Indira Krishnan as Kaushalya in Ranbir Kapoor starrer, costumes didn't merge with other characters
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Farhan Akhtar reveals Javed Akhtar and Salim Khan changed the original ending of Sholay due to Emergency: ‘Thakur crushed Gabbar with his own feet'
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Farhan Akhtar reveals Javed Akhtar and Salim Khan changed the original ending of Sholay due to Emergency: ‘Thakur crushed Gabbar with his own feet'

As India celebrates the 50th anniversary of Sholay this Independence Day, actor and filmmaker Farhan Akhtar has opened up about the film's powerful legacy, its groundbreaking visuals, and the lesser-known truth about its original, much darker ending. Directed by Ramesh Sippy and written by the legendary Salim-Javed duo, Salim Khan and Javed Akhtar , Sholay released on August 15, 1975. It featured an ensemble cast of Amitabh Bachchan, Dharmendra, Hema Malini, Sanjeev Kumar, Amjad Khan, and Jaya Bachchan. The film didn't just define careers, it changed the landscape of Indian cinema. 'Every character in Sholay was unforgettable' Promoting his upcoming war drama 120 Bahadur on Prakhar Gupta's podcast, Farhan recalled the impact of Sholay on his generation. 'The film just leaves a huge impact on you,' he said. 'The way it was mounted and all the characters were fun. It wasn't just Jai and Veeru who were exciting — the jailer, Surma Bhopali, Gabbar, and Basanti were all great characters. It was a massive hit.' He further praised the film's production value and technical brilliance, calling it ahead of its time. 'The direction and shooting were so great… it had never happened before, apart from maybe Mughal-E-Azam. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like NRIs Living In Germany Are Eligible For INR 2 Lakh Monthly Pension. Invest 18K/Month Get Offer Undo You look at the visuals and think, 'How did they shoot this?' Even today, it stands the test of time. People still don't make films like that. Everyone is so dependent on VFX, and that will never look as good as Sholay. ' Farhan Akhtar reveals one issue he had from 'Dil Chahta Hai'| 'Echoes' album| Daughter Akira and more 'Thakur was meant to kill Gabbar' Farhan then revealed that the climax we saw on screen wasn't what Salim-Javed had originally written. According to him, Thakur, the police officer played by Sanjeev Kumar, was originally meant to kill Gabbar Singh with his bare feet in a brutal act of revenge after losing his family and arms to the dacoit. 'In the original ending, he actually kills Gabbar,' Farhan shared. 'That was the emotional core of the film — Thakur plotting his revenge after his hands were cut off. We get lost in the Jai-Veeru friendship, but the real spine was the honest cop going after the dacoit who ruined his life.' 'They joked that only the postman was missing' The change, Farhan revealed, was made under pressure during the Emergency era, which led to a more 'acceptable' ending where the police arrest Gabbar instead. '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.' Describing the frustration of his father Javed Akhtar and writing partner Salim Khan, Farhan added, 'They were wondering about everyone showing up — the villagers, the police, the protagonists — and joked that the only person missing now is a postman. The ending didn't make sense to them, but they had no choice.'

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