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Time of India
3 days ago
- Entertainment
- Time of India
50 years of 'Sholay': When the screen went dark during its screening at Minerva theatre in Mumbai and how director Ramesh Sippy saved the day
Bollywood's timeless classic, 'Sholay,' is celebrating its 50th anniversary this year. The film, which was released on August 15, 1975, forever changed Indian cinema and remains a cultural touchstone. Director Ramesh Sippy recently shared some fascinating behind-the-scenes stories about the film's early days, including a near-disaster that he personally averted. The iconic movie, which was initially met with slow ticket sales before becoming a phenomenal success through word-of-mouth, faced an unexpected technical glitch on its opening day. H ere's a walk down the memory lane as 'Sholay' completes 50 years this year. Screen goes blank during screening of 'Sholay' In a throwback interview with NDTV, Sippy recalled the film's initial premiere at Mumbai's iconic Minerva Theatre. He recounted a day when the screen suddenly went dark, though the audio continued to play. Surprisingly, the audience remained completely engrossed, listening intently to the dialogues. Upon investigation, Sippy discovered that the projector's carbon wasn't being changed on time, causing the frequent blackouts. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like The Most Beautiful Women In The World Undo To ensure uninterrupted screenings, Sippy took it upon himself to personally visit the theater daily to deliver fresh carbon. During an appearance on the chat show The Invincibles, the director also discussed the film's duration and box office performance. Sholay was released during the Emergency, when four-show schedules meant that the first screening had to start at 9 a.m. and night shows had to end by midnight. Sippy also shed light on the initial struggles of 'Sholay,' which was first considered a box office failure. However, it was positive word-of-mouth that turned the tide. Unauthorized cuts and backlash from the audience for 'Sholay' Sippy also revealed a little-known fact about the film's initial run. The director spoke about a tough decision to cut 20 minutes from the film to shorten its runtime, which was a common request at the time. Sippy revealed that comedy tracks featuring Asrani and Jagdeep were removed, a move that did not sit well with the audience. People who had seen the original cuts began demanding the scenes back. "We were told to chop out 20 minutes from the film, but we were perplexed as to what can be cut from the film," Sippy added in reference to the movie's length impacting collections. "We did decrease the length of the film by 20 minutes, as we were told to remove the comedy tracks of Asrani and Jagdeep." The runtime was reduced to 180 minutes after the edits. The changes, however, did not sit well with the audiences. According to Sippy, "There were some people in the audience who had seen these tracks in earlier shows." "When they discussed it with their friends, and the latter didn't see it in new shows, they started demanding those scenes," he continued. About 'Sholay' The film's ensemble cast, featuring cinematic legends like Amitabh Bachchan, Dharmendra, Hema Malini, Jaya Bachchan, and Sanjeev Kumar, along with Amjad Khan in his career-defining role as the villain Gabbar Singh, created an unforgettable cinematic experience.
India Today
6 days ago
- Entertainment
- India Today
Sholay@50: The film that died at birth to live forever
On August 15, 1975, Sholay lit up Indian theatres, igniting a cultural fire that burns bright even today. To celebrate its golden jubilee, we revisit the legacy of the masterpiece, exploring the stories, struggles, and serendipity behind its creation. In part one, we revisit the chaos around its release. In 1975, Bombay buzzed with a reckless dream. Ramesh Sippy and his family's Sippy Films had staked Rs 3 crore on Sholay, a cinematic gamble bigger than every Bollywood production of its era. A fortune was spent on carving out Ramgarh from a rocky village near Bangalore, a sprawling set built like a microcosm of India. Panavision lenses, imported for India's first 70mm film, promised widescreen grandeur. Stereophonic sound, a rare beast, thrummed through RD Burman's score. The cast—Dharmendra, Amitabh Bachchan, Hema Malini, Sanjeev Kumar, Jaya Bhaduri, Amjad Khan—was a constellation of stars and talent. Train robberies, explosive stunts, battles with hundreds of extras: every rupee was a dare. But ambition is a tightrope, and a fall loomed. Minerva Theatre's air was thick, electric with hope. Sholay roared onto the screen—Jai and Veeru riding into Ramgarh, Thakur's armless quest for vengeance, Gabbar's chilling snarl. The 70mm visuals dazzled, Burman's score thundered, yet the audience sat in eerie silence. No taalis, no seetis. Instead of a theatre, Minerva resembled a crematorium full of hushed mourners. Whispers slithered through the stalls: Flop. Disaster. Dead. By morning, Bombay's streets hissed with venom. Posters of Jai and Veeru on horseback, Gabbar's sneer, were mocked. Trade papers sharpened their knives: 'A bloated misfire.' Critics tore into the three-hour runtime, branding its Western influences a betrayal of Bollywood's soul. 'Too much masala, not enough heart,' one sneered. Another called it a pale shadow of Leone and Kurosawa. Someone else said it was Chholey–a bland dish. Box-office reported poor collections, empty theaters. Distributors whispered of pulling the film. In Sippy Films' office, Ramesh pored over grim numbers, the family's fortune teetering. Salim-Javed, the golden scribes, faced accusations of hubris. Amjad Khan's Gabbar, later a legend, was ridiculed as a caricature. In the chaos, Ramesh Sippy considered drastic measures. Doubt gnawed: had he misjudged India's pulse? Convinced the film's grim ending—Jai's death and Thakur's brutal vengeance—alienated audiences, he planned to reshoot scenes, softening the tone to appease critics and win back crowds. Studios were prepped, actors called, but he decided to wait for a few more days. Salim-Javed, the film's legendary writers, refused to surrender. Convinced of Sholay's brilliance, they took a bold gamble. In response to the scathing reviews and industry skepticism, they published a full-page advertisement, proclaiming that Sholay would earn Rs 1 crore per territory—a staggering claim when no film had achieved such figures, and tickets cost as little as Rs 2. The ad was a defiant middle finger to the naysayers, a public wager on their vision. Javed Akhtar later recalled, 'People laughed, asking if we meant one crore for the entire country.' Salim Khan admitted their prediction was ambitious but rooted in unshakable faith in the film's story, dialogues, and characters. Competition came from unexpected sources. Sholay's mortal characters faced a divine rival. On August 15, 1975, it clashed with Jai Santoshi Maa, a devotional film made for Rs 30 lakh. While Sholay opened with Rs 8 lakh, Jai Santoshi Maa earned Rs 7 lakh, a neck-and-neck battle. It became a sleeper hit, with people singing bhajans in theatres, women keeping fasts on Fridays, offering prayers to the on-screen deity. By its end, the devotional film grossed Rs 5.25 crore, yielding a 1616% profit. It became an all-time blockbuster, stealing the Independence Day crown, its divine narrative eclipsing Sholay's guns and gore. Then, a spark. By the second week, whispers of hope crept through Bombay's gullies. In Matunga, families hummed 'Yeh Dosti.' Dadar's chai stalls echoed with 'Kitne aadmi the?' College students mimicked Jai's coin toss, Basanti's chatter. Salim-Javed's razor-sharp dialogues sank into India's veins, spreading like wildfire. Crowds trickled back to Minerva, then surged. Tickets vanished; black-market prices soared. Across India, the tide turned. Delhi's Regal Cinema added midnight shows. Kolkata's Metro became a fortress of fans. Rural screens, makeshift and dusty, erupted at 'Jo dar gaya, samjho mar gaya.' Burman's score—'Mehbooba Mehbooba,' 'Haan Jab Tak Hai Jaan'—blared from radios, binding cities to villages. Gabbar, mocked as caricature, rose as India's greatest villain, his lines scripture. Sholay hadn't failed—it had waited for India to catch up. In Sippy Films' office, the phones wouldn't stop ringing, each caller euphoric, demanding more prints of the film. The Sippys' gamble turned to gold, Sholay's profits rewriting Bollywood's rules. By 1976, Sholay was no film—it was a ritual. In a dusty village, under a banyan tree, families chanted dialogues, wept for Jai, and roared for Veeru. The early failure, a fleeting ghost, fueled its myth. Sholay's success is the stuff of legends, a phenomenon that transcended its original box office numbers to become a cornerstone of Indian cinematic culture. By 1976, Sholay had ascended to become India's highest-grossing film, a title it held firmly for 19 years until the release of Hum Aapke Hain Koun in 1994. When the global picture is taken into account—including the Soviet Union, where Sholay was a cultural blockbuster, and markets in the Middle East—the total gross climbs to an unprecedented Rs 35 crore, a feat unmatched by any of Bollywood's contemporaries. Fans formed secret societies, memorising every frame, every pause, every gunshot. In the Soviet Union, where Sholay drew millions, dubbed prints sparked underground fan clubs, chanting 'Basanti, inn kutton ke saamne mat nachna' in broken Hindi. Across borders, Sholay's gospel spread. In Pakistan, films like Maula Jatt (1979) borrowed its raw machismo; in Turkey, action epics mimicked its ensemble casts. According to some estimates, adjusted for inflation, Sholay's earnings today would reach above Rs 3000, crore, placing it alongside or ahead of the highest-grossing Indian films in history. The scale of its viewership—estimated at 25 crore (250 million) tickets worldwide—remains unrivaled, outstripping many recent global hits that dominate today's multiplexes. Across India, it achieved 60 golden jubilees (50 weeks in a single theater) and over 100 silver jubilees (25 weeks), a feat unmatched until Dilwale Dulhania Le Jayenge in 1995. At the Minerva Theatre in Mumbai, Sholay enjoyed a historic run that has since become mythic—five continuous years, spanning a record 286 weeks, during which it played over a thousand shows. The theatre did not just screen a movie; it became a pilgrimage site. In 1999, BBC India declared it the 'Film of the Millennium.' The British Film Institute ranked it among the top 10 Indian films in 2002. Its dialogues were voted the best in Indian cinema history by Filmfare in 2005. In every sense, Sholay was more than a film. It was a cultural Big Bang that set new standards in scriptwriting, acting, music, and technical craftsmanship. But the magic could never be recreated. Filmmakers sought to resurrect Sholay's magic through remakes and homages–Ramgarh Ke Sholay, Aandhi Toofan, and many regional avatars tried. But each attempt was rejected. In 2007, Ram Gopal Varma dared to retell the legend with Ram Gopal Varma Ki Aag, casting Amitabh Bachchan, the original Jai, as a reimagined Gabbar. The result was a sacrilege to the faithful. It didn't just bomb at the box office, but was brutally panned. The failure only deepened Sholay's myth. It was proof that its fire couldn't be replicated. There was, and will be, just one Sholay. In its 50th year, devotees don't just watch Sholay, they kneel to it, in awe of its legend, its dialogues, its gods that graced the screen. Sholay's journey from an uncertain beginning to monumental success is a powerful reminder that resilience lies at the heart of every great story. Life's embers, Sholay, may dim once in a while. But once a spark lights them up again, they can turn into an inferno that nothing can douse. Next: The Hunt For Gabbar
Time of India
7 days ago
- Entertainment
- Time of India
Hema Malini says 'doosra Sholay banna mushkil hai' as the iconic film starring her with Dharmendra, Amitabh Bachchan, Jaya Bachchan clocks 50 years
It's not often that a film continues to make headlines five decades after its release—but Sholay is no ordinary movie. As India prepares to celebrate the 50th anniversary of the legendary 1975 classic this Independence Day, Hema Malini , who portrayed the iconic chaacter of Basanti, shared her thoughts on being part of cinematic history that's still referenced in the halls of Parliament. The movie directed by Ramesh Sippy starred Amitabh Bachchan , Dharmendra , Jaya Bachchan , Sanjeev Kapoor, Amjad Khan as well in characters that continue to remain etched in Hindi cinema forever. 'Humein khushi hoti hai. Jab kaam karna shuru kiya tha tab maalom nahi tha, itna bada hit hoga, and after 50 years, you are going to ask me a question about that in Parliament,' Hema told ANI, expressing a mix of surprise and pride. Sholay has earned its place as a cultural touchstone in Indian cinema . But it didn't start out as a sure-fire success—initially, the film struggled to draw audiences. However, strong word-of-mouth soon transformed it into a record-breaking phenomenon. Looking back, Hema reflected on how unimaginable its future impact was during its making. 'That time mujhe kya maalom tha, hum Parliament mein aayenge. Woh waqt alag tha, picture bas bangayi. Dusra Sholay banana mushkil hai,' she remarked, underscoring the once-in-a-lifetime nature of the film. With iconic characters, powerful storytelling, and unforgettable dialogue, Sholay went on to run for an astonishing five years at Mumbai's Minerva Theatre, holding the title of India's longest-running film until Dilwale Dulhania Le Jayenge came along. From a modest start to becoming a part of national conversation half a century later, Sholay continues to stand tall as a monumental achievement in Indian cinema.
News18
7 days ago
- Entertainment
- News18
'Dusra Sholay Banana Mushkil Hai': Hema Malini Reacts To Iconic Film Completing 50
Last Updated: Hema Malini opens up on Sholay turning 50, saying the film's success was unimaginable back then. She calls its legacy one of a kind. It's not every day that a film turns 50 and still finds a place in Parliament conversations. But Sholay isn't just any film. As India gears up to mark the golden jubilee of the iconic 1975 release this Independence Day, Hema Malini – who played Basanti in the Ramesh Sippy classic- shared what it feels like to be part of something that's now part of national history. 'Humein khushi hoti hai. Jab kaam karna shuru kiya tha tab maalom nahi tha, itna bada hit hoga, and after 50 years, you are going to ask me a question about that in Parliament," she said, speaking to ANI. The legendary film starred Sanjeev Kumar, Amitabh Bachchan, Dharmendra, Amjad Khan, Jaya Bachchan, and Hema herself. While it's now considered a cult classic, few may remember that Sholay had a slow start. In its first couple of weeks, the film struggled to find its audience. But with time—and strong word of mouth—it rewrote the rules of what a blockbuster could be. Reflecting on how far things have come since those early days, Hema added, 'That time mujhe kya maalom tha, hum Parliament mein aayenge. Woh waqt alag tha, picture bas bangayi. Dusra Sholay banana mushkil hai." Packed with drama and unforgettable lines, Sholay went on to run for five years at Mumbai's Minerva Theatre. It held the record for the longest-running film until Dilwale Dulhania Le Jayenge came along. It's been a while since fans saw Hema Malini on the big screen-her last film was Shimla Mirchi in 2020- but her memories of Sholay are as sharp as ever. And clearly, its legacy is still going strong. Sholay follows the story of two small-time criminals, Jai and Veeru, who are hired by a retired police officer, Thakur Baldev Singh, to capture a ruthless bandit named Gabbar Singh. The Thakur wants revenge for the brutal murder of his family at the hands of Gabbar. Jai and Veeru arrive in the village of Ramgarh and slowly bond with the locals, including Basanti, a talkative horse-cart driver, and Radha, the Thakur's quiet daughter-in-law. As they try to protect the village and bring Gabbar to justice, the friendship between Jai and Veeru is tested, leading to moments of action, humour, heartbreak and sacrifice. The film ends with a dramatic face-off, making Sholay one of Indian cinema's most powerful and unforgettable stories. First Published: August 04, 2025, 15:55 IST Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
BBC News
27-01-2025
- Entertainment
- BBC News
Chichester: Holocaust Memorial day marked by Carl Davis opera
A woman from West Sussex who lost 50 relatives in the Holocaust has spoken of how a visit to the site of a concentration camp "damaged me psychologically".Clare Apel, of Chichester District Council, leads the Chichester Marks Holocaust Memorial Day group, which is hosting three performances of opera The Last Train to Tomorrow at the Minerva Theatre on Monday and children will join the performance, telling the story of the Kindertransport rescue trains, which brought 10,000 Jewish children to Apel told BBC Radio Sussex that her cousin was one of those children saved by the Kindertransport. She said her organisation works to educate future generations."We did workshops and films which we showed to 200 schoolchildren, and always afterwards they are incredibly moved and feel they want to learn more about it," she she added: "Being the daughter of a survivor has been challenging."I've been to Dachau. My uncle died in Dachau and one experience of a concentration camp damaged me psychologically."I know too much about the misery that was created. I'll never forget it but I don't need it punched in my eyes."
