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India Today
4 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
28-06-2025
- Entertainment
- Time of India
Sholay's grand restoration premieres at Bologna's Il Cinema Ritrovato Festival
In a momentous occasion for , Ramesh Sippy's iconic film Sholay received a grand screening at the prestigious Il Cinema Ritrovato Festival in Bologna, Italy, on June 27, 2025. This special event marked the world premiere of the film's fully restored, uncut version, complete with its original ending and previously deleted scenes, commemorating its 50th anniversary. Tired of too many ads? go ad free now The screening took place in the magnificent open-air setting of Piazza Maggiore, providing a truly cinematic experience for thousands of cinephiles. The painstaking three-year restoration effort was a collaborative project between the Film Heritage Foundation and Sippy Films, ensuring that this cinematic masterpiece will captivate new generations with its authentic vision.
India.com
24-06-2025
- Entertainment
- India.com
Not Amjad Khan, Sanjeev Kumar, this actor was first choice for Gabbar and Thakur in Sholay, rejected the roles due to..., his name is...
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.
Muscat Daily
23-06-2025
- Entertainment
- Muscat Daily
Restored, uncut 50th anniversary version of Sholay to premiere in Italy
Mumbai – The legendary Bollywood film Sholay , often hailed as the greatest Indian movie ever made, will mark its golden jubilee with the world premiere of its fully restored and uncut version at the Il Cinema Ritrovato Festival in Bologna, Italy, on June 27. Restored over three years from rare archival material in Mumbai and London, the new version features the film's original ending and scenes long thought lost. Directed by Ramesh Sippy and written by the famous screenwriting duo Salim-Javed, Sholay is widely regarded as a turning point for Indian cinema. Lead actors Amitabh Bachchan and Dharmendra have both described it as a milestone that transformed India's popular culture. The restoration was carried out by Sippy Films and Film Heritage Foundation. Shehzad Sippy, producer and grandson of G.P. Sippy, who produced the original, said, 'This is a tribute to my grandfather's vision and legacy. It has taken us three years, but we have restored the film to its full form.' Cinematographer Kamlakar Rao was closely involved to ensure the visuals and audio stayed true to the original. The team converted the 70mm projection and stereophonic sound mix to a 2.2:1 aspect ratio with a 5.1 surround sound mix. Working with interpositives and colour reversal intermediates from archives in Mumbai and London, the restoration team discovered a colour reversal intermediate in London that contained the film's original ending and two deleted scenes — footage many thought had vanished forever. The screening at Bologna's Piazza Maggiore during the festival from June 21 to 29 is expected to draw a large international audience, celebrating Sholay's enduring cultural influence both in India and around the world.
NDTV
23-06-2025
- Entertainment
- NDTV
Restored Uncut Version Of Sholay To Have World Premiere In Italy
New Delhi: Sholay, one of India's most celebrated films of all time, is set to create magic on the big screen once again with the premiere of its fully restored, uncut version at the prestigious Il Cinema Ritrovato Festival in Bologna, Italy. The screening, commemorating the film's 50th anniversary, will take place on June 27, 2025 at the open-air Piazza Maggiore, said a press release. The Film Heritage Foundation (FHF) and Sippy Films have joined hands for the special showcase of the director's cut of the 1975 classic movie which was helmed by Ramesh Sippy. View this post on Instagram A post shared by Film Heritage Foundation (@filmheritagefoundation) Featuring an ensemble cast of Amitabh Bachchan, Dharmendra, Hema Malini, Sanjeev Kumar, Jaya Bacchan and Amjad Khan, Sholay was written by Salim Khan and Javed Akhtar. The film is considered an inalienable part of Indian pop culture due to its popular characters like Jai, Veeru and Thakur as well as Gabbar Singh, one of the iconic villains of Hindi cinema, and plenty of dialogues and action sequences. "Some things in life remain permanently etched in your mind. Sholay is one such film," said Amitabh Bachchan, who played the role of Jai in the movie. He also recalled the "unforgettable experience" of shooting the movie. "At the time I had no idea that it would be a watershed for Indian cinema. Its dramatic change in fortunes from being declared an unsuccessful venture, to its record-breaking box office run was an emotional rollercoaster for all of us. "It's wonderful that the Film Heritage Foundation has restored Sholay and that they have managed to locate and include the original ending as well as some deleted scenes in the restoration. I hope that even 50 years later, the film will capture the imagination of new audiences across the world," he added in a statement. Dharmendra, who essayed the part of Veeru, called Sholay the eighth wonder of the world. "I am thrilled to hear that the film is being restored and I am sure it will have the same success as it had 50 years ago. Who can forget the dialogues of Salim-Javed and the direction of Ramesh Sippy? So many scenes have gone down in the history of Indian cinema and every character became a star. But the real hero was the coin," he said. The veteran actor revealed that he was initially offered the choice between the roles of Gabbar and Thakur, but he wanted to play the role of Veeru as "he is so much like me". "I had so much fun on the shoot. My favourite scenes were 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," he added. Shivendra Singh Dungarpur, Director of Film Heritage Foundation, said, "My first memory of Sholay dates back to the time when I was six years old and I remember lamenting because my mother refused to allow me to go to the cinema to watch the film." "I would never have imagined that 50 years later, I would have the opportunity to work on the restoration of the film - often described as the greatest Indian film ever made - with Shehzad Sippy of Sippy Films," he added. Shehzad Sippy, representing Sippy Films, called the restoration of Sholay a deeply personal journey. " Sholay is the cornerstone of our family heritage and I am so proud that Sippy Films has been able to do a world-class restoration of the film with the Film Heritage Foundation. It has taken us three years, but we were able to find the original ending and some deleted scenes that the world will see for the first time at the grand premiere at the Il Cinema Ritrovato Festival in Bologna," he added.
