Tonight I am startng to look at the movie Sholay. I saw it over 30 years ago and never did see it again.
I know it is one of the greatest movies put out during that era of Indian Cinema.
NB: Sorry Amral, had to use this:
Tonight I am startng to look at the movie Sholay. I saw it over 30 years ago and never did see it again.
I know it is one of the greatest movies put out during that era of Indian Cinema.
NB: Sorry Amral, had to use this:
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When first released, the film was declared a commercial disaster. Word of mouth convinced movie-goers to give the film a chance and soon it became a box-office phenomenon. It ran for 286 weeks straight (more than five years) in one Mumbai theatre, the Minerva. Sholay racked up a still record 60 golden jubilees across India, and doubled its original gross over reruns during the late 1970s, 1980s, 1990s and early 2000s.[1] Sholay was the first film in the history of Indian cinema to celebrate silver jubilee (25 weeks) at over a hundred theatres across India.[1]
In 1999, BBC India declared it the "Film of the Millennium"; Indiatimes movies ranks the movie amongst the Top 25 Must See Bollywood Films.[2] In that same year, the judges of the 50th annual Filmfare awards awarded it with a special award called Filmfare Best Film of 50 Years.
In 1999, BBC India declared it the "Film of the Millennium"; Indiatimes movies ranks the movie amongst the Top 25 Must See Bollywood Films.[2] In that same year, the judges of the 50th annual Filmfare awards awarded it with a special award called Filmfare Best Film of 50 Years.
Interesting to note this fact:
Aftermath
Gabbar is kicked around by the Thakur but is saved in the nick of time by the police, who tell the Thakur that Gabbar must be arrested and dealt with by the law. As Gabbar is taken away, the Thakur is denied vengeance, but knows that Ramgarh is free once again.
Jai's funeral takes place as Veeru stands all alone in front of the pyre. In the distance, Radha watches on through a window.
With nothing more for him in Ramgarh, Veeru leaves on a train. But as he looks up, he sees that he is not alone. Basanti has also boarded the train and both she and Veeru leave Ramgarh together.
Alternate Versions
The film has two known endings. The original ending (shown in the Eros-released DVD) has Thakur Baldev Singh killing Gabbar Singh, trampling him with spike-soled shoes. The C.B.F.C. (Central Board of Film Certification) however, found the ending unacceptable as they thought that any police officers, should not be shown to commit murder. For this reason, a new ending was filmed, in which the police only arrest Gabbar Singh. The original ending can be seen on some television broadcasts and on some versions of the DVD.
Aftermath
Gabbar is kicked around by the Thakur but is saved in the nick of time by the police, who tell the Thakur that Gabbar must be arrested and dealt with by the law. As Gabbar is taken away, the Thakur is denied vengeance, but knows that Ramgarh is free once again.
Jai's funeral takes place as Veeru stands all alone in front of the pyre. In the distance, Radha watches on through a window.
With nothing more for him in Ramgarh, Veeru leaves on a train. But as he looks up, he sees that he is not alone. Basanti has also boarded the train and both she and Veeru leave Ramgarh together.
Alternate Versions
The film has two known endings. The original ending (shown in the Eros-released DVD) has Thakur Baldev Singh killing Gabbar Singh, trampling him with spike-soled shoes. The C.B.F.C. (Central Board of Film Certification) however, found the ending unacceptable as they thought that any police officers, should not be shown to commit murder. For this reason, a new ending was filmed, in which the police only arrest Gabbar Singh. The original ending can be seen on some television broadcasts and on some versions of the DVD.
Former Member
it is indeed a great movie, i loved Hema in it, her prattling was so hilarious, loved Dharam when he was drunk n asking for Hema to get married to him, Amit and Dharam in the first song (that song stuck in my head for the longest while), Helen and that dance, oh man was she ever goooooood and Gabbar, was so afraid of him, he was badddddddddddddd, Jaya was very quiet but played a memorable role n Sanjeev..a masterful actor in a great role.. 
Sholay is one of the most successful commercial films in history of Bollywood. It broke all records of popularity when it was released in 1975. The story was about a police officer who lost his family because of a Don and the revenge he took.The film was a multi starer with Amithabh Bachchan Dharmendra , Sanjiv Kumar , Amzad Khan, and Jaya Bachchan in the lead role. The film has a very gripping story and some very popular dialogs. Most of the characters of film are still remembered by every one... after well.... over 30 years since it was released. This film is considered a cult film for every aspirant film maker and every one tries to match the success of this phenomenal film. Every thing about this film was remarkable, from story line to the music, to direction and performance... this is undisputedly one of the most popular film that bollywood has ever produced.
source: Reviewstream
source: Reviewstream
Former Member
g'morningquote:Originally posted by Mitwah:
Yeh Dosti
Great song about friendship....Amitabh Bachan and Dharmendra...
this song takes me back a long time to school days, it is so lovely n now it's going to stick in my head agaaaaaaaaaaain, 
tnks for posting.
Former Member
Own 3 Indian LP's... Sholay, Waqt & Tsri Manzil...
Have Sholay DVD...
Have Sholay DVD...
Former Member
Love the movie Sholay, Gabbar Singh (Amjad Khan) steals the show with his acting ability.
Lets see if we can take this reviews to about fifty pages.
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Lets see if we can take this reviews to about fifty pages.
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Former Member
Too great a movie to be left untouched.
So lets give it the GNI Treatment: Sit back and relax and enjoy the professional at work
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So lets give it the GNI Treatment: Sit back and relax and enjoy the professional at work
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Former Member
Sholay 1975
Staring: Dharmendra, Amithabh Bachchan, Hema Malini, Jaya Bhaduri, Sanjeev Kumar and Amjad Khan
Director: Ramesh Sippy
Producer: G. P. Sippy
Music: R. D. Burman
Running time: 198 minutes (DEI/Eros), 204 (Eros/B4U)
Format: NTSC
Video: 1.85:1 non-anamorphic widescreen (DEI/Eros), 4:3 full screen (Eros/B4U)
Sound: Hindi Dolby Digital Surround
Subtitles: English
Year: 1975 (cinema), 1999 (DVD)
DVD: Single sided dual layered
DVD Author: Digital Entertainment Inc (DEI/Eros), Dot Media (Eros/B4U)
DVD Release by: Eros International
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Staring: Dharmendra, Amithabh Bachchan, Hema Malini, Jaya Bhaduri, Sanjeev Kumar and Amjad Khan
Director: Ramesh Sippy
Producer: G. P. Sippy
Music: R. D. Burman
Running time: 198 minutes (DEI/Eros), 204 (Eros/B4U)
Format: NTSC
Video: 1.85:1 non-anamorphic widescreen (DEI/Eros), 4:3 full screen (Eros/B4U)
Sound: Hindi Dolby Digital Surround
Subtitles: English
Year: 1975 (cinema), 1999 (DVD)
DVD: Single sided dual layered
DVD Author: Digital Entertainment Inc (DEI/Eros), Dot Media (Eros/B4U)
DVD Release by: Eros International
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Former Member
Sholay 1975
Synopsis:
While many countries may have had hard decisions to make to pick out a single film of the century at the close of the last millennium, Indian cinema goers had an easy pick as there was only one real contender for the film of the 20th century; Sholay. The importance and significant of Sholay cannot be understated as it's the one movie that has symbolised the India cinema for the last 30 + years. It's the most watched Indian film ever and the one most have seen and remember.
Sholay has a compelling story that is unforgettable and timeless. Akin to the Akira Kurosawa's Seven Samurai (1954) the plot revolves around a tormented and impoverished village that is the persistent victim of an invading gang of bandits that leach and dictate the villagers. Enter Thakur Baldev Singh (Sanjeev Kumar) once a brave Police Officer and now retired to the village that is under regular attacks from the bandits. He hires two small time convicts Veeru (Dharmendra) and Jaidev (Amitabh Bachchan) not to protect the village but to capture the leader of the bandits, Gabbar Singh (Amjad Khan). The deal being that Thakur wants Gabbar Singh alive at any cost. So the story unfolds in an intriguing series of chapters that sees Veeru and Jaidev take up Thakurs offer and come to the village to capture the mighty figure of Gabbar Singh - if only things were that simple! What follows in the three-hour epic is a gripping, dramatic, thrilling and ultimately tragic narrative of the two protagonists in a fight to capture Gabbar Singh and the revelations on why Thakur wants the bad guy so severely. The execution of the film is in brilliant style and manner that has not been replicated by any other film to date in India.
Directed by Ramesh Sippy, Sholay is one of the most celebrated and highly praised of all Indian films - its is a film that would end up in the 'best all time top tens' of most Indian film critics. Sholay has had the record of being the longest running film in Indian cinematic history, which ran for 265 weeks at the cinema only recently been surpassed by the popular romantic film Dilwale Dulhaniya Le Jayenge (1995 - Shahrukh Khan and Kajol). Two of the factors that make Sholay such a memorable and loved film are the characters and powerful dialogues written by know legendary Indian writers Javed Akhtar and Salim Khan - a combo so famous for their joint work that they are solely credited as Javed-Salim. The characterisation of the cast in Sholay have become icons in Indian cinema - every character from Veeru and Jaidev to the heroines Basanti and Radha to the notorious villain Gabbar Singh are remembered and references in numerous films. Amjad Khan, who portrayed Gabbar Singh, is his first major role in a movie became the model villain in several films for the next decade that were to made after Sholay albeit never achieving the same success and recognition as in Sholay. Amjad Khan was also given most of the legendary lines in the film too that he delivered with extreme style and fineness that took portrayals of villains to new heights. The films heroes and heroines also became legends - and in the processes tied the knot to each other! Amitabh Bachchan gave a staggering performance that many new generation actors aspired to - Shahrukh Khan and Salman Khan have said on numerous occasions that it was the performance of Amitabh in Sholay that inspired them to go into movies. Dharmendra being one the lead characters in Sholay carried the film with commendable style. The words classic and legends are created for a movie like Sholay - simply not to be missed.
Technically the film is nothing short of exceptional and in a class of its own. The film is brilliantly choreographed capturing some of the most exhilarating action sequences in Indian cinema. Lengthy camera pan shots over rocky mountain heights and stark landscapes are brilliantly done - something director Brian De Palma would be very proud of. Sholay was one of the first Indian films that made use of several cinematic innovations at the time such as 70mm format and multi track stereophonic sound. Originally Sholay was filmed at a 4:3 aspect ratio but was released for the cinema in a matted 2.35:1 aspect ratio on 70mm film format. Also the film was shot with two different endings. Due to certain pressures from Indian film censors and media the director's cut of the film remained behind closed doors for many years until it re-surfaced as an extended version. This version was re-cut by Ramesh Sippy and showed the original intended ending - which would act as a major spoiler for those not seen Sholay before, if I revealed it here! So hence two versions of Sholay exist; the original theatrical version, which runs for 188 minutes and the extended director's cut which is 204 minutes long. And both are available on DVD.
The first release of Sholay on DVD was an effort by DEI/Eros, which used the wide screen 70mm version of the film. It was later released under the Eros/B4U tag, which was the director's version of the film but also presented it as originally shot in a 4:3 aspect ratio.
I love doing this:
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Synopsis:
While many countries may have had hard decisions to make to pick out a single film of the century at the close of the last millennium, Indian cinema goers had an easy pick as there was only one real contender for the film of the 20th century; Sholay. The importance and significant of Sholay cannot be understated as it's the one movie that has symbolised the India cinema for the last 30 + years. It's the most watched Indian film ever and the one most have seen and remember.
Sholay has a compelling story that is unforgettable and timeless. Akin to the Akira Kurosawa's Seven Samurai (1954) the plot revolves around a tormented and impoverished village that is the persistent victim of an invading gang of bandits that leach and dictate the villagers. Enter Thakur Baldev Singh (Sanjeev Kumar) once a brave Police Officer and now retired to the village that is under regular attacks from the bandits. He hires two small time convicts Veeru (Dharmendra) and Jaidev (Amitabh Bachchan) not to protect the village but to capture the leader of the bandits, Gabbar Singh (Amjad Khan). The deal being that Thakur wants Gabbar Singh alive at any cost. So the story unfolds in an intriguing series of chapters that sees Veeru and Jaidev take up Thakurs offer and come to the village to capture the mighty figure of Gabbar Singh - if only things were that simple! What follows in the three-hour epic is a gripping, dramatic, thrilling and ultimately tragic narrative of the two protagonists in a fight to capture Gabbar Singh and the revelations on why Thakur wants the bad guy so severely. The execution of the film is in brilliant style and manner that has not been replicated by any other film to date in India.
Directed by Ramesh Sippy, Sholay is one of the most celebrated and highly praised of all Indian films - its is a film that would end up in the 'best all time top tens' of most Indian film critics. Sholay has had the record of being the longest running film in Indian cinematic history, which ran for 265 weeks at the cinema only recently been surpassed by the popular romantic film Dilwale Dulhaniya Le Jayenge (1995 - Shahrukh Khan and Kajol). Two of the factors that make Sholay such a memorable and loved film are the characters and powerful dialogues written by know legendary Indian writers Javed Akhtar and Salim Khan - a combo so famous for their joint work that they are solely credited as Javed-Salim. The characterisation of the cast in Sholay have become icons in Indian cinema - every character from Veeru and Jaidev to the heroines Basanti and Radha to the notorious villain Gabbar Singh are remembered and references in numerous films. Amjad Khan, who portrayed Gabbar Singh, is his first major role in a movie became the model villain in several films for the next decade that were to made after Sholay albeit never achieving the same success and recognition as in Sholay. Amjad Khan was also given most of the legendary lines in the film too that he delivered with extreme style and fineness that took portrayals of villains to new heights. The films heroes and heroines also became legends - and in the processes tied the knot to each other! Amitabh Bachchan gave a staggering performance that many new generation actors aspired to - Shahrukh Khan and Salman Khan have said on numerous occasions that it was the performance of Amitabh in Sholay that inspired them to go into movies. Dharmendra being one the lead characters in Sholay carried the film with commendable style. The words classic and legends are created for a movie like Sholay - simply not to be missed.
Technically the film is nothing short of exceptional and in a class of its own. The film is brilliantly choreographed capturing some of the most exhilarating action sequences in Indian cinema. Lengthy camera pan shots over rocky mountain heights and stark landscapes are brilliantly done - something director Brian De Palma would be very proud of. Sholay was one of the first Indian films that made use of several cinematic innovations at the time such as 70mm format and multi track stereophonic sound. Originally Sholay was filmed at a 4:3 aspect ratio but was released for the cinema in a matted 2.35:1 aspect ratio on 70mm film format. Also the film was shot with two different endings. Due to certain pressures from Indian film censors and media the director's cut of the film remained behind closed doors for many years until it re-surfaced as an extended version. This version was re-cut by Ramesh Sippy and showed the original intended ending - which would act as a major spoiler for those not seen Sholay before, if I revealed it here! So hence two versions of Sholay exist; the original theatrical version, which runs for 188 minutes and the extended director's cut which is 204 minutes long. And both are available on DVD.
The first release of Sholay on DVD was an effort by DEI/Eros, which used the wide screen 70mm version of the film. It was later released under the Eros/B4U tag, which was the director's version of the film but also presented it as originally shot in a 4:3 aspect ratio.
I love doing this:
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Former Member
Video DEI/Eros
Of the two available DVDs the video on this version is better in terms of picture clarity and sharpness but its not all high-quality stuff. Presented at a zoomed 1.85:1 aspect ratio from the original 2.35:1 matted version of Sholay you can tell from the screen shots below exactly how much of the picture is missing compared to the full frame version of Sholay.
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Of the two available DVDs the video on this version is better in terms of picture clarity and sharpness but its not all high-quality stuff. Presented at a zoomed 1.85:1 aspect ratio from the original 2.35:1 matted version of Sholay you can tell from the screen shots below exactly how much of the picture is missing compared to the full frame version of Sholay.
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Former Member
Sholay 1975
Next we look at some scenes from Sholay:
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Next we look at some scenes from Sholay:
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quote:Originally posted by asj:
I love doing this:
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oh, we can tell
And we so enjoy you doing this
Former Member
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Former Member
quote:Originally posted by Riya:quote:Originally posted by asj:
I love doing this:
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oh, we can tell
Thanks for the confidence Ri,
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Former Member
my favouriteeeeeeeeeeeeequote:Originally posted by asj:
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tnks ASJ for doing all this, i am so going to enjoy this......
Former Member
Holi Ki Din: bringing back memories eh!
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Former Member
quote:Originally posted by IK:my favouriteeeeeeeeeeeeequote:Originally posted by asj:
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I think the song was "Hey Dosti" IK, It is slowly bringing back the memories.
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Former Member
NEXT WE WILL LOOK AT THE INDEPTH STORY ON THE MAKING OF "SHOLAY" ONE OF THE GREATEST ACTION FILM TO COME OUT OF BOLLYWOOD IN 1975: SOME 33 YEARS LATER, FILMI BUFFS CAN REALLY SIT BACK AND ENJOY THIS MOVIE:
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Former Member
quote:Originally posted by asj:
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Check out Big B tight pants! It looks painful too!
Former Member
quote:Originally posted by asj:quote:Originally posted by IK:my favouriteeeeeeeeeeeeequote:Originally posted by asj:
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I think the song was "Hey Dosti" IK, It is slowly bringing back the memories.
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It is. I always enjoy watching these 2 in this song. Very comical sometimes.
Former Member
Before getting to the indepth, lets see if we can bring you some more clips on Sholay 1975:
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this was one big song back in those days, the 2 of them was excellent n how i had loved them....quote:Originally posted by asj:quote:Originally posted by IK:my favouriteeeeeeeeeeeeequote:Originally posted by asj:
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I think the song was "Hey Dosti" IK, It is slowly bringing back the memories.
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Former Member
i had felt so sorry for him without his arms.quote:Originally posted by asj:
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Former Member
this was so funnyyyy..quote:Originally posted by asj:
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Former Member
did she ever prattle......but she's lovelyquote:Originally posted by asj:
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Former Member
this was the looks that made him a hearthrob then.....quote:Originally posted by asj:
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you know i look at him now and it is hard for me to think he was this before 
Former Member
ASJ, wonderful job, remember the two headed coin that Amit had????????
i don't need to watch the movie, i am seeing it here.....just kidding but tnks for doing this, g'night.
i don't need to watch the movie, i am seeing it here.....just kidding but tnks for doing this, g'night.
Can you guys believe this?......I have never seen Sholay!!!
but....hubby and I went to the 427 flea market last w/e and he bought 20 movies.....yes, that's right.....20 bollywood movies!!
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.......and sholay is one of them!!....so finally i am going to see what all the hype is about (young Amitabh was not one of my fav actors).....I prefer his acting now in his old age.
but....hubby and I went to the 427 flea market last w/e and he bought 20 movies.....yes, that's right.....20 bollywood movies!!
...........and sholay is one of them!!....so finally i am going to see what all the hype is about (young Amitabh was not one of my fav actors).....I prefer his acting now in his old age.
Former Member
quote:Originally posted by IK:
ASJ, wonderful job, remember the two headed coin that Amit had????????
i don't need to watch the movie, i am seeing it here.....just kidding but tnks for doing this, g'night.
My Pleasure, IK I love doing this.
now we might go over two pages with this. .
Former Member
quote:so finally i am going to see what all the hype is about
VB Give us a feed back after you look at Sholay.
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Former Member
quote:Originally posted by asj:
Sholay 1975
Staring: Dharmendra, Amithabh Bachchan, Hema Malini, Jaya Bhaduri, Sanjeev Kumar and Amjad Khan
Director: Ramesh Sippy
Producer: G. P. Sippy
Music: R. D. Burman
Running time: 198 minutes (DEI/Eros), 204 (Eros/B4U)
Format: NTSC
Video: 1.85:1 non-anamorphic widescreen (DEI/Eros), 4:3 full screen (Eros/B4U)
Sound: Hindi Dolby Digital Surround
Subtitles: English
Year: 1975 (cinema), 1999 (DVD)
DVD: Single sided dual layered
DVD Author: Digital Entertainment Inc (DEI/Eros), Dot Media (Eros/B4U)
DVD Release by: Eros International
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Former Member
Sholay (1975, Producer: G.P Sippy, Director: Ramesh Sippy)
*Dharmendra, Sanjeev Kumar, Hema Malini, Amitabh Bachchan, Jaya Bhaduri and Amjad Khan.
Supporting Cast: Satyen Kappu, A.K Hangal, Iftekhar, Leela Misra, Macmohan, Sachin, Asrani, Keshto Mukharjee, Helen, Gita, Jairaj, Jagdeep, Jalal Agha, Om Shivpuri, Sharad Kumar.
Screenplay: Salim-Javed.
Camera: Dwarcha Divecha.
Music: R.D Burman.
Lyrics: Anand Bakshi.
Playback: Lata Mangeshkar, Kishore Kumar, Manna Dey and R.D Burman.
Art Direction: Ram Yedekar.
Editing: M.S. Shinde.
Sound: S.Y. Pathak.
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*Dharmendra, Sanjeev Kumar, Hema Malini, Amitabh Bachchan, Jaya Bhaduri and Amjad Khan.
Supporting Cast: Satyen Kappu, A.K Hangal, Iftekhar, Leela Misra, Macmohan, Sachin, Asrani, Keshto Mukharjee, Helen, Gita, Jairaj, Jagdeep, Jalal Agha, Om Shivpuri, Sharad Kumar.
Screenplay: Salim-Javed.
Camera: Dwarcha Divecha.
Music: R.D Burman.
Lyrics: Anand Bakshi.
Playback: Lata Mangeshkar, Kishore Kumar, Manna Dey and R.D Burman.
Art Direction: Ram Yedekar.
Editing: M.S. Shinde.
Sound: S.Y. Pathak.
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Former Member
'Sholay' : mention the name and you will be greeted with a volley of well-rehearsed dialogues...'Arre O Samba...Kitne Aadmi The?...Sarkar Maine Aapka Namak Khaya Hai... Ab goli Kha...Hum Angrezon Ke Zamane Ke jailor Hain...Soorma Bhopali A1...Yeh Haath Mujhe Dede Thakur...Chal Basanti, aaj Teri Basanti Ki Izzat Ka Sawal Hai...
' The list is endless. Every dialogue is a moviegoer's delight. Today it is impossible to see the film in a theatre, what with the crowd delighting in repeating the dialogues along with the characters. Therein lies its strength. Sholay is the greatest, if not the highest money-spinning movie of all times in India. (For the simple reason that the tickets in 1975 cost a mere Rupees Four! But at today's rates, the six year run (not to add the repeat runs) of the movie would ensure returns that would be unfathomable. Producer: G.P. Sippy | Director: Ramesh Sippy | Screenplay: Salim Javed | Camera: Dwarka The very mention of the film, 'Sholay' produces an automatic response of fear and trepidation. One tends to conjure up intimidating images of dhamakedar dacoits and dashing damsels,who incidentally are in a fair ammount of distress. The film is fraught with high voltage drama and tension enough to make a grown man weak-kneed.
Courtesy: Raj
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' The list is endless. Every dialogue is a moviegoer's delight. Today it is impossible to see the film in a theatre, what with the crowd delighting in repeating the dialogues along with the characters. Therein lies its strength. Sholay is the greatest, if not the highest money-spinning movie of all times in India. (For the simple reason that the tickets in 1975 cost a mere Rupees Four! But at today's rates, the six year run (not to add the repeat runs) of the movie would ensure returns that would be unfathomable. Producer: G.P. Sippy | Director: Ramesh Sippy | Screenplay: Salim Javed | Camera: Dwarka The very mention of the film, 'Sholay' produces an automatic response of fear and trepidation. One tends to conjure up intimidating images of dhamakedar dacoits and dashing damsels,who incidentally are in a fair ammount of distress. The film is fraught with high voltage drama and tension enough to make a grown man weak-kneed.
Courtesy: Raj
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Former Member
Sholay 1975
As a movie, it is difficult to categorize into any single genre. It could well be clubbed as action or drama, musical or romance. It was also seen by some as the curry-western, a milieu of Indian spice and western machoism. In fact many a parallel has been drawn between 'Sholay' and John Ford's 'Stagecoach' (1939). Whatever it classifies as does not interest us because this Ramesh Sippy - Javed Akhtar brainchild blew the collective minds of an entire generation of Indian moviegoers. And is still doing so.
As a movie, it is difficult to categorize into any single genre. It could well be clubbed as action or drama, musical or romance. It was also seen by some as the curry-western, a milieu of Indian spice and western machoism. In fact many a parallel has been drawn between 'Sholay' and John Ford's 'Stagecoach' (1939). Whatever it classifies as does not interest us because this Ramesh Sippy - Javed Akhtar brainchild blew the collective minds of an entire generation of Indian moviegoers. And is still doing so.
Former Member
Sholay 1975
The tale is one of Thakur Baldev Singh, played by the late Sanjeev Kumar, once a senior police officer. In an attempt to fight the evil dacoit Gabbar Singh (the dynamic debut of Amjad Khan), he joins hands with two local smalltime crooks, who despite their criminal records have hearts of gold. The Thakur is quick to recognize the underlying humanity beneath their fearless, tough-as-nails exterior.
These two outlaws, Jaidev and Veeru (played to perfection by Amitabh and Dharmendra respectively) procede to Ramgarh, the Thakur's estate. In an exceptionally poignant moment of the film, the two while trying to break into the Thakur's safe at night and escape with the loot are seen by Radha, the Thakur's widowed daughter-in-law, who offers them the keys on the grounds that at least it would open her father's eyes to the fact that they are crooks, and not the brave fighters he perceived them as.
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The tale is one of Thakur Baldev Singh, played by the late Sanjeev Kumar, once a senior police officer. In an attempt to fight the evil dacoit Gabbar Singh (the dynamic debut of Amjad Khan), he joins hands with two local smalltime crooks, who despite their criminal records have hearts of gold. The Thakur is quick to recognize the underlying humanity beneath their fearless, tough-as-nails exterior.
These two outlaws, Jaidev and Veeru (played to perfection by Amitabh and Dharmendra respectively) procede to Ramgarh, the Thakur's estate. In an exceptionally poignant moment of the film, the two while trying to break into the Thakur's safe at night and escape with the loot are seen by Radha, the Thakur's widowed daughter-in-law, who offers them the keys on the grounds that at least it would open her father's eyes to the fact that they are crooks, and not the brave fighters he perceived them as.
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Former Member
Sholay 1975
Through the device of the flashback, the viewer is let into the traumatic past at the same time as Jaidev and Veeru are enlightened by the Thakur.
It is here that we are introduced to the character of Gabbar Singh played by the invincible Amjad Khan.
Who, on being caught by the Thakur and unceremoniously being sent to jail, swore revenge. Gabbbar Singh escapes soon after and guns down the Thakur's entire family ruthlessly. This scene of carnage and relentless massacre went down in the annals of history as the goriest bloodbath in Indian cinema at the time. The only one to escape the carnage was the youngest daughter-in-law, Radha, who was away at the temple. Coming home to this devastation, the Thakur in a violent rage, rode unarmed to the ravines where Gabbar Singh reigned. Finding him helpless and ironically vulnerable, Gabbar Singh chose to hack off the Thakur's arms which had once held him prisoner.
NB Was this an american movie, Amjad would have certainly walked away with an Oscar: What an impressive performance.
asj
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Through the device of the flashback, the viewer is let into the traumatic past at the same time as Jaidev and Veeru are enlightened by the Thakur.
It is here that we are introduced to the character of Gabbar Singh played by the invincible Amjad Khan.
Who, on being caught by the Thakur and unceremoniously being sent to jail, swore revenge. Gabbbar Singh escapes soon after and guns down the Thakur's entire family ruthlessly. This scene of carnage and relentless massacre went down in the annals of history as the goriest bloodbath in Indian cinema at the time. The only one to escape the carnage was the youngest daughter-in-law, Radha, who was away at the temple. Coming home to this devastation, the Thakur in a violent rage, rode unarmed to the ravines where Gabbar Singh reigned. Finding him helpless and ironically vulnerable, Gabbar Singh chose to hack off the Thakur's arms which had once held him prisoner.
NB Was this an american movie, Amjad would have certainly walked away with an Oscar: What an impressive performance.
asj
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Former Member
Sholay 1975
Gabbar Singh went on to become yet another iconic figure-head of terror. His opening exclamation "Suar ke bachchon!!! " is a classic example of his irreverance. He was the kind of man who wouldn't lose sleep over feeding golis to his namak consuming chelas. He delivers one hundred percent of the quintessential villian, one who pursues evil as an end in itself. On the more romantic front, Veeru falls in love with the gregarious tangewali Basanti, while the more serious Jaidev feels drawn to the young and lonely Radha, who watches him silently from a distance. When Veeru goes to keep a rendezvous with Basanti, he discovers that she's been kidnapped by Gabbar's men. To add fuel to the fire, Gabbar orders Basanti to dance on splinters of glass if she wishes to see her love-interest alive. This time it is an all out war, and the men fight it out desperately. Fatally wounded, Jaidev pretends he is mildly hurt, and sends Veeru back to the village with Basanti. He manages to heroically blow up a bridge and kill most of the bandits. At this point Thakur arrives on the scene and insists on fighting Gabbar alone.
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Gabbar Singh went on to become yet another iconic figure-head of terror. His opening exclamation "Suar ke bachchon!!! " is a classic example of his irreverance. He was the kind of man who wouldn't lose sleep over feeding golis to his namak consuming chelas. He delivers one hundred percent of the quintessential villian, one who pursues evil as an end in itself. On the more romantic front, Veeru falls in love with the gregarious tangewali Basanti, while the more serious Jaidev feels drawn to the young and lonely Radha, who watches him silently from a distance. When Veeru goes to keep a rendezvous with Basanti, he discovers that she's been kidnapped by Gabbar's men. To add fuel to the fire, Gabbar orders Basanti to dance on splinters of glass if she wishes to see her love-interest alive. This time it is an all out war, and the men fight it out desperately. Fatally wounded, Jaidev pretends he is mildly hurt, and sends Veeru back to the village with Basanti. He manages to heroically blow up a bridge and kill most of the bandits. At this point Thakur arrives on the scene and insists on fighting Gabbar alone.
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Former Member
Sholay 1975
What follows is a rather dramatic display of footwork, enough to give Ronaldo a run for his money. Thakur hits out with his hobnailed shoes at a wily Gabbar, who without the protection of his gang becomes a cowering beast. With Jaidev dead, Veeru decides to leave Ramgarh, but in the empty compartment of the sleepy train he finds ... Surprise!!! A coy Basanti waiting for him in heated anticipation. The film is groundbreaking because of it's unabashed display of violence and gore as well as for it's repertoire of catch phrases, which have inspired many a free spirited rebel who wished to talk tough. Several wannabe Gabbar Singhs spouted daku-lingo merrily, much to the displeasure of all mild mannered gentry. Interestingly enough, when the film was released it didn't open very well. This was attributed to the fact that it was way ahead of its time. But its six year uninterrupted run at the box office gave it enough time to catch up with its swashbuckling style. Thus it is safe to say that emerging as a brilliant little spark of superlative filmmaking, 'Sholay' built up enough punch to rewrite movie history. It continued to gather momentum as it went along the rugged terrain of time and transformed into a raging orb of fire, destroying all conventions that came across it's path.
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What follows is a rather dramatic display of footwork, enough to give Ronaldo a run for his money. Thakur hits out with his hobnailed shoes at a wily Gabbar, who without the protection of his gang becomes a cowering beast. With Jaidev dead, Veeru decides to leave Ramgarh, but in the empty compartment of the sleepy train he finds ... Surprise!!! A coy Basanti waiting for him in heated anticipation. The film is groundbreaking because of it's unabashed display of violence and gore as well as for it's repertoire of catch phrases, which have inspired many a free spirited rebel who wished to talk tough. Several wannabe Gabbar Singhs spouted daku-lingo merrily, much to the displeasure of all mild mannered gentry. Interestingly enough, when the film was released it didn't open very well. This was attributed to the fact that it was way ahead of its time. But its six year uninterrupted run at the box office gave it enough time to catch up with its swashbuckling style. Thus it is safe to say that emerging as a brilliant little spark of superlative filmmaking, 'Sholay' built up enough punch to rewrite movie history. It continued to gather momentum as it went along the rugged terrain of time and transformed into a raging orb of fire, destroying all conventions that came across it's path.
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Former Member
Sholay 1975
The film has made use of several interesting innovations. This included, spectacular cinematography, with shots panning over rocky heights and barren landscapes, often under the menacing shadow of a threatening cloud. It was also the first film to be shot in the large-screen, 70mm format with stereophonic sound. This gave the film most of it's pulsating tension. Although in present times of desensitization, one would not even bat an eyelid at the most gruesome of murders, for its time, 'Sholay' was a revolutionary film, which inspired many film makers to continue its trend of imaginative cinema. To date 'Sholay' remains a cult film by any standard. Many clones followed, but the original will always stay fresh in the minds of all movie lovers. It's doubtful whether any will ever surpass the sheer canvas and magnitude of 'Sholay'. Maybe in terms of money spent or money earned. But in completeness? In script? In cohesion of a story well told or a project well received? Doubtful.
.
The film has made use of several interesting innovations. This included, spectacular cinematography, with shots panning over rocky heights and barren landscapes, often under the menacing shadow of a threatening cloud. It was also the first film to be shot in the large-screen, 70mm format with stereophonic sound. This gave the film most of it's pulsating tension. Although in present times of desensitization, one would not even bat an eyelid at the most gruesome of murders, for its time, 'Sholay' was a revolutionary film, which inspired many film makers to continue its trend of imaginative cinema. To date 'Sholay' remains a cult film by any standard. Many clones followed, but the original will always stay fresh in the minds of all movie lovers. It's doubtful whether any will ever surpass the sheer canvas and magnitude of 'Sholay'. Maybe in terms of money spent or money earned. But in completeness? In script? In cohesion of a story well told or a project well received? Doubtful.
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Former Member
Sholay 1975
As Gabbar would say, "Pachas kos door jab bachcha rota hai to maa kehti hai, bete soja, warna Gabbar aa jaayega.." However it goes without saying, that the fame of Gabbar and thereby 'Sholay' goes way beyond the pachas kos margin.No one could of have imagined the spectacular degree of SHOLAY's success. The film changed lives, transformed careers, and even twenty-five years after its release it remains the box office gold standard, a reference point for both the Indian film-going audience and the film industry. Over the years, 'Sholay has transcended its hit-movie status. It is not merely a film, it is the ultimate classic; it is myth. It is a part of our heritage as Indians. The film, still as compellingly watchable as it was when first released (in 1999 BBC-India and assorted internet polls declared it the Film of the Millenium), arouses intense passions. Its appeal cuts across barriers of geography, language, ideology and class: an advertising guru in Mumbai will speak as enthusiastically and eloquently about the film as a rickshaw driver in hyderabad.And the devotion is often fanatical. 'Sholay' connoisseurs - to call them 'fans' would be insulting their ardour - speak casually of seeing the film fifty, sixty even seventy times. Dialogue has been memorized. Also the unique background music: the true 'Sholay' buff can pre-empt all the sound effects. He can also name Gabbar's arms dealer who is on screen for less than thirty seconds (Hira), and Gabbar's father who is mentioned only once as Gabbar's sentence is read out in court ('Gabbar Singh, vald Hari Singh...'
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As Gabbar would say, "Pachas kos door jab bachcha rota hai to maa kehti hai, bete soja, warna Gabbar aa jaayega.." However it goes without saying, that the fame of Gabbar and thereby 'Sholay' goes way beyond the pachas kos margin.No one could of have imagined the spectacular degree of SHOLAY's success. The film changed lives, transformed careers, and even twenty-five years after its release it remains the box office gold standard, a reference point for both the Indian film-going audience and the film industry. Over the years, 'Sholay has transcended its hit-movie status. It is not merely a film, it is the ultimate classic; it is myth. It is a part of our heritage as Indians. The film, still as compellingly watchable as it was when first released (in 1999 BBC-India and assorted internet polls declared it the Film of the Millenium), arouses intense passions. Its appeal cuts across barriers of geography, language, ideology and class: an advertising guru in Mumbai will speak as enthusiastically and eloquently about the film as a rickshaw driver in hyderabad.And the devotion is often fanatical. 'Sholay' connoisseurs - to call them 'fans' would be insulting their ardour - speak casually of seeing the film fifty, sixty even seventy times. Dialogue has been memorized. Also the unique background music: the true 'Sholay' buff can pre-empt all the sound effects. He can also name Gabbar's arms dealer who is on screen for less than thirty seconds (Hira), and Gabbar's father who is mentioned only once as Gabbar's sentence is read out in court ('Gabbar Singh, vald Hari Singh...'
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Former Member
Sholay 1975
Bollywood buzes with 'Sholay' stories: how a Jaipur housewife obsessed vith Veeru convinced her husband to assume the name of her beloved screen hero; how Prakash bhai, a black marketeer at Delhi's Plaza Cinema, sold tickets for the film at Rs 150 for five months and eventually bought himself a small house in Seelampur, which he decorated with 'Sholay' posters; how a tough-looking immigration officer in New York waved actor Macmohan through because he had seen 'Sholay' and reconized Sambha, 'The man on the rock with a gun'. There are autorickshaws in Patna named Dhanno, and potent drinks in five-star bars called Gabbar.
Such was the pull of Sholay:
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Bollywood buzes with 'Sholay' stories: how a Jaipur housewife obsessed vith Veeru convinced her husband to assume the name of her beloved screen hero; how Prakash bhai, a black marketeer at Delhi's Plaza Cinema, sold tickets for the film at Rs 150 for five months and eventually bought himself a small house in Seelampur, which he decorated with 'Sholay' posters; how a tough-looking immigration officer in New York waved actor Macmohan through because he had seen 'Sholay' and reconized Sambha, 'The man on the rock with a gun'. There are autorickshaws in Patna named Dhanno, and potent drinks in five-star bars called Gabbar.
Such was the pull of Sholay:
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Former Member
Sholay 1975
'Sholay's dialogue has now become colloquial language, part of the way a nation speaks to itself. Single lines, even phrases, taken out of context, can communicate a whole range of meaning and emotion. In canteens across the country, collegians still echo Gabbar when they notice a budding romance: 'Bahut yaarana hai.' The lines come easily to the lips of Indians: 'Jo dar gaya, samjho mar gaya', 'Ai chhammia', 'Arre o Sambha', Kitne aadmi the?', 'Hum angrezon ke zamaane ke jailer hain'.
'Kitne aadmi the?' What kind of man you are?
Very popular dialogue:
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'Sholay's dialogue has now become colloquial language, part of the way a nation speaks to itself. Single lines, even phrases, taken out of context, can communicate a whole range of meaning and emotion. In canteens across the country, collegians still echo Gabbar when they notice a budding romance: 'Bahut yaarana hai.' The lines come easily to the lips of Indians: 'Jo dar gaya, samjho mar gaya', 'Ai chhammia', 'Arre o Sambha', Kitne aadmi the?', 'Hum angrezon ke zamaane ke jailer hain'.
'Kitne aadmi the?' What kind of man you are?
Very popular dialogue:
.
Former Member
Sholay 1975
Nothing in Indian popular culture has matched this magic. Critics might argue that 'Mother India' or 'Mughal-e-Azam' were better films, and trade pundits might point out that in 1994 'Hum Aapke Hain Kaun' broke 'Sholay's box-office record. But none of these films can rival 'Sholay' in the scale and longevity of its success. 'Sholay' was a watershed event. Director Shekhar Kapur puts it best: 'There has never been a more defining film on the Indian screen. Indian Film history can be divided into 'Sholay' BC and 'Sholay AD.'
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Nothing in Indian popular culture has matched this magic. Critics might argue that 'Mother India' or 'Mughal-e-Azam' were better films, and trade pundits might point out that in 1994 'Hum Aapke Hain Kaun' broke 'Sholay's box-office record. But none of these films can rival 'Sholay' in the scale and longevity of its success. 'Sholay' was a watershed event. Director Shekhar Kapur puts it best: 'There has never been a more defining film on the Indian screen. Indian Film history can be divided into 'Sholay' BC and 'Sholay AD.'
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Former Member
Sholay 1975
There is more to Kapur's statement than just the passion of a hopeless admirer. 'Sholay' is, in fact, the Indian Film industry's textbook. The film married a potentially B-grade genre narrative to the big budget of a mainstream extravaganza, and taught the industry how formula can beget a classic.'It is,' says adman and scriptwriter Piyush Pandey, 'undoubtedly the best film made in this country.' 'Sholay' transformed action into high art. Stylized mayhem replaced the sissy 'dishum-dishum fist fights of the past. Violence became a Hindi-movie staple for nineteen years, until 'Hum Aapke Hain Kaun' flagged off the feel-good era.'Sholay' also set standards for technical excellence. Other films of the seventies seem shoddy and dated, but 'Sholay' is a masterpiece of craft.To this day,directors quote 'Sholay' in their films,allude to it in their frames
.
There is more to Kapur's statement than just the passion of a hopeless admirer. 'Sholay' is, in fact, the Indian Film industry's textbook. The film married a potentially B-grade genre narrative to the big budget of a mainstream extravaganza, and taught the industry how formula can beget a classic.'It is,' says adman and scriptwriter Piyush Pandey, 'undoubtedly the best film made in this country.' 'Sholay' transformed action into high art. Stylized mayhem replaced the sissy 'dishum-dishum fist fights of the past. Violence became a Hindi-movie staple for nineteen years, until 'Hum Aapke Hain Kaun' flagged off the feel-good era.'Sholay' also set standards for technical excellence. Other films of the seventies seem shoddy and dated, but 'Sholay' is a masterpiece of craft.To this day,directors quote 'Sholay' in their films,allude to it in their frames
.
Former Member
Sholay 1975
What is it about 'Sholay' that works on us still? When people watch 'Sholay' today, certain aspects of the film seduce them all over again: the soaring imagination of the story and the way it is told; the vitality of the scorching rocky landscape, charging horses and falling men; the gritty directorial conviction that allows an unhurried tale to be developed, full of texture and rhythm. The elements fall into place perfectly:a marvellous chemistry between the actors; a fable like story detailed into a superb script; unforgettable dialogue and fine performances. The film skillfully blends traditional and modern elements. It has, as author Nasreen Munni Kabir says, 'Differences in lifestyles which co-exist without appearing illogical.' The steam engines, the horses, the guns and the denim give the film an ageless quality, a feeling of several centuries existing next to each other.
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What is it about 'Sholay' that works on us still? When people watch 'Sholay' today, certain aspects of the film seduce them all over again: the soaring imagination of the story and the way it is told; the vitality of the scorching rocky landscape, charging horses and falling men; the gritty directorial conviction that allows an unhurried tale to be developed, full of texture and rhythm. The elements fall into place perfectly:a marvellous chemistry between the actors; a fable like story detailed into a superb script; unforgettable dialogue and fine performances. The film skillfully blends traditional and modern elements. It has, as author Nasreen Munni Kabir says, 'Differences in lifestyles which co-exist without appearing illogical.' The steam engines, the horses, the guns and the denim give the film an ageless quality, a feeling of several centuries existing next to each other.
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Former Member
Sholay 1975
Producer G.P Sippy and Ramesh Sippy dreamed big, and they had the courage to follow their instincts. Money, market, box-office - all these commercial considerations became, in the final analysis, secondary. The prime motive was to make a mega movie, the like of which had never been seen before on the Indian screen. Ramanagaram was a vast emptiness, a blank canvas waiting to be fashioned into fantasy. A crew of nearly a hundred people worked round the clock to construct an entire village.
Ramanagaram, an hour's drive from Bangalore, has a varied topography. Building-sized black boulders arch toward the sky. Small knolls seque into grassy flatlands. It is austere but textured. Ramesh loved it. He flew in the next day with his cinematographer, Dwarka Divecha, and two assistants from the production and direction departments. 'It captured my imagination,' he says. 'I was facinated.' Divecha cast his eagle eye on the landscape, and confirmed his decision.
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Producer G.P Sippy and Ramesh Sippy dreamed big, and they had the courage to follow their instincts. Money, market, box-office - all these commercial considerations became, in the final analysis, secondary. The prime motive was to make a mega movie, the like of which had never been seen before on the Indian screen. Ramanagaram was a vast emptiness, a blank canvas waiting to be fashioned into fantasy. A crew of nearly a hundred people worked round the clock to construct an entire village.
Ramanagaram, an hour's drive from Bangalore, has a varied topography. Building-sized black boulders arch toward the sky. Small knolls seque into grassy flatlands. It is austere but textured. Ramesh loved it. He flew in the next day with his cinematographer, Dwarka Divecha, and two assistants from the production and direction departments. 'It captured my imagination,' he says. 'I was facinated.' Divecha cast his eagle eye on the landscape, and confirmed his decision.
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Former Member
Sholay 1975
Pleasing Divecha wasn't easy. He was a crotchety old curmudgeon with a painter's eye and a sailer's mouth. He could be extremely difficult, but if you wanted the best for your film, you put up with it. He had experienced the ugliness of life, and he hadn't survived by being soft. Divecha had started his film career in 1936 as an assistant cameraman and gradually worked his way up. Top directors like Kardar, H,S Rawail and L.V Prasad all swore by him. His reputation was fierce. Dressed in a white bosky bush shirt, white pants and black shoes, Divecha saab was a Hitler on the sets.A stickler for punctuality, he would let loose on assistants even if they were late by a minute: 'Aadmi ho yah janwar,' he would scream, 'tumko timing samajh nahin aati kya? If he happened to arrive at the set early, he would wait in the car and walk into the set only at the exact minute the shift was scheduled to start. But the temper wasn't reserved for underlings alone. Even top stars rarely escaped Divecha's wrath. He made the stars stand in place while he lit shots - subsitutes weren't allowed - and shouted if they fidgeted 'Hema, itna kyun hilti hai? (Why do you move so much Hema?).
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Pleasing Divecha wasn't easy. He was a crotchety old curmudgeon with a painter's eye and a sailer's mouth. He could be extremely difficult, but if you wanted the best for your film, you put up with it. He had experienced the ugliness of life, and he hadn't survived by being soft. Divecha had started his film career in 1936 as an assistant cameraman and gradually worked his way up. Top directors like Kardar, H,S Rawail and L.V Prasad all swore by him. His reputation was fierce. Dressed in a white bosky bush shirt, white pants and black shoes, Divecha saab was a Hitler on the sets.A stickler for punctuality, he would let loose on assistants even if they were late by a minute: 'Aadmi ho yah janwar,' he would scream, 'tumko timing samajh nahin aati kya? If he happened to arrive at the set early, he would wait in the car and walk into the set only at the exact minute the shift was scheduled to start. But the temper wasn't reserved for underlings alone. Even top stars rarely escaped Divecha's wrath. He made the stars stand in place while he lit shots - subsitutes weren't allowed - and shouted if they fidgeted 'Hema, itna kyun hilti hai? (Why do you move so much Hema?).
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Former Member
More later
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Former Member
Hi,
As you mentioned earlier, neither of the 2 Eros DVD versions of the movie show it the way it was meant to be seen. One has the extra video above and below which was meant to be removed, and the other is cropped from the sides. Both are very bad DVDs for other reasons as well, not the least of which is the lack of subs for the songs, important for the likes of me that doesn't know a word of Hindi. Here's how it was meant to be seen, in all of it's 2.35:1 glory:
And for widescreen videos of those songs, with translations:
Yeh Dosti:
http://www.youtube.com/watch?v=YnI7_aVRjPI&fmt=18
Holi Ke Din:
http://www.youtube.com/watch?v=iq7qpDacReo&fmt=18
Mehbooba Mehbooba:
http://www.youtube.com/watch?v=H16bqlJt5Zc&fmt=18
As you mentioned earlier, neither of the 2 Eros DVD versions of the movie show it the way it was meant to be seen. One has the extra video above and below which was meant to be removed, and the other is cropped from the sides. Both are very bad DVDs for other reasons as well, not the least of which is the lack of subs for the songs, important for the likes of me that doesn't know a word of Hindi. Here's how it was meant to be seen, in all of it's 2.35:1 glory:
And for widescreen videos of those songs, with translations:
Yeh Dosti:
http://www.youtube.com/watch?v=YnI7_aVRjPI&fmt=18
Holi Ke Din:
http://www.youtube.com/watch?v=iq7qpDacReo&fmt=18
Mehbooba Mehbooba:
http://www.youtube.com/watch?v=H16bqlJt5Zc&fmt=18
Former Member
Hey Monono, thanks for a valuable piece of info to corroborate the points listed on the video:
The picture that you posted is really good, I wish they would have brought out a quality video of "Sholay" as such a film deserves the best.
One of the three songs is watchable, the other two appears like the video is not there anymore.
So thanks agaain good buddy.
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The picture that you posted is really good, I wish they would have brought out a quality video of "Sholay" as such a film deserves the best.
One of the three songs is watchable, the other two appears like the video is not there anymore.
So thanks agaain good buddy.
.
Former Member
quote:Originally posted by asj:
Sholay 1975
'Sholay's dialogue has now become colloquial language, part of the way a nation speaks to itself. Single lines, even phrases, taken out of context, can communicate a whole range of meaning and emotion. In canteens across the country, collegians still echo Gabbar when they notice a budding romance: 'Bahut yaarana hai.' The lines come easily to the lips of Indians: 'Jo dar gaya, samjho mar gaya', 'Ai chhammia', 'Arre o Sambha', Kitne aadmi the?', 'Hum angrezon ke zamaane ke jailer hain'.
'Kitne aadmi the?' What kind of man you are?
Very popular dialogue:
.
Originally posted by Venkat:
hi ASJ
"Kitane aadmi the?" means "how many men were there?", which Gabbar asks because his men were beaten up so badly by Jairaj and Veeru, he thought they must have been outnumbered.
Hi Ven, thanks good buddy, good to know, as I thought that the trans was not exact to the hindi/urdu words, but after they were beaten up so badly, Gabbar ask how could two men beat you all up like this, and had you running' hence my "what manner of men you are?"
Thanks good buddy, nice to know the correct trans.
Thanks also goes out to the many people who has
expressed appreciation for jogging their memories.
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Former Member
quote:Originally posted by asj:
One of the three songs is watchable, the other two appears like the video is not there anymore.
I'm not quite sure I understand. It's true that right after I posted YouTube seemed to be having some problems playing videos (not just these), but everything seems to have been sorted out now. Did you mean that one would play but the other 2 seemed to just keep buffering with no video showing up? Because I just clicked on all three links in turn and all play fine.
I gave links to the high quality versions. As you may or may not know, after May 20 YouTube began producing 3 different versions of the videos uploaded to them, one standard (lousy) and 2 better quality versions. To get the ones to which I linked to play in high quality, you have to have upgraded your player to the version 9:
http://www.adobe.com/support/flashplayer/downloads.html
Or, if you don't feel like installing the latest player, here are the 3 videos in the other high quality version, for which no upgrade is needed:
http://www.youtube.com/watch?v=YnI7_aVRjPI&fmt=6
http://www.youtube.com/watch?v=iq7qpDacReo&fmt=6
http://www.youtube.com/watch?v=H16bqlJt5Zc&fmt=6
Please let me know if you have more trouble playing them. I view all my videos in the high quality, but I don't really know how other people see them. In the description for each of my videos, I always have a link to a high quality version (the one for which the upgraded player is needed).
Former Member
To get the ones to which I linked to play in high quality, you have to have upgraded your player to the version 9:
Thanks buddy, it is now playing perfectly, and your video is just like Stage ? videos when they were active: very clear.
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Thanks buddy, it is now playing perfectly, and your video is just like Stage ? videos when they were active: very clear.
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Former Member
Sholay 1975
But off the set, Hitler thawed into a colourful, affectionate man. He was a shaukeen aadmi, with a taste for the good things in life. When he wasn't shooting, Divecha would be at home, ensconced in his favourite chair, holding a glass (always whisky) and a cigarette (Chesterfield or Camel) either listening to music (ghazals) or reading a book. When he spoke, he might have been a scholar, except that he swore incessantly. Divecha had no children but kept a large Alsation dog, whom he called his son. Like Ramesh, Divecha was a rigorous perfectionist.
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But off the set, Hitler thawed into a colourful, affectionate man. He was a shaukeen aadmi, with a taste for the good things in life. When he wasn't shooting, Divecha would be at home, ensconced in his favourite chair, holding a glass (always whisky) and a cigarette (Chesterfield or Camel) either listening to music (ghazals) or reading a book. When he spoke, he might have been a scholar, except that he swore incessantly. Divecha had no children but kept a large Alsation dog, whom he called his son. Like Ramesh, Divecha was a rigorous perfectionist.
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Former Member
Sholay 1975
'Sholay' grew from paper into plans, and it gained weight and size and ambition.The Sippy's wanted to make 'Sholay' the biggest and the best adventure film ever, and they would make no compromises. The traditional 35mm format, they felt, wouldn't do justice to their vision. They were aiming for epic grandeur. So a decision was made: 'Sholay' would be India's first 70mm film with stereophonic sound. The 70mm film format offered double the size. The major Hollywood action movies at the time, such as 'Mckenna's Gold', were shot in this format because it gave the viewer, quite literally, a big movie experience. But the decision to do 'Sholay' in this format added another layer of compliations. Shooting in 70mm wasn't easy. It required huge camera's which could take 70mm film. Importing the camera's was an expensive proposition. The most practical solution was to shoot on 35mm and then blow it up for 70mm. The format was screen-tested. Divecha suggested putting aground glass in front of the camera lens, on which Kamlakar Rao, a young but technically skilled cameraman, made markings so the margins of the 70mm frame could be identified. Ramesh's brother Ajit, who lived in London, forwarded the test to Paris, where a 70mm print was made. The print came back with further instructions on how to perfect the technique. A 70mm film also required bigger screens, and most theatres in India weren't equipped for it. Then Sippy's decided to have two sets of negatives, one in 70mm and the other one in 35mm. In practical terms, this meant that every shot would have to be done twice. Each decision added to the cost.
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'Sholay' grew from paper into plans, and it gained weight and size and ambition.The Sippy's wanted to make 'Sholay' the biggest and the best adventure film ever, and they would make no compromises. The traditional 35mm format, they felt, wouldn't do justice to their vision. They were aiming for epic grandeur. So a decision was made: 'Sholay' would be India's first 70mm film with stereophonic sound. The 70mm film format offered double the size. The major Hollywood action movies at the time, such as 'Mckenna's Gold', were shot in this format because it gave the viewer, quite literally, a big movie experience. But the decision to do 'Sholay' in this format added another layer of compliations. Shooting in 70mm wasn't easy. It required huge camera's which could take 70mm film. Importing the camera's was an expensive proposition. The most practical solution was to shoot on 35mm and then blow it up for 70mm. The format was screen-tested. Divecha suggested putting aground glass in front of the camera lens, on which Kamlakar Rao, a young but technically skilled cameraman, made markings so the margins of the 70mm frame could be identified. Ramesh's brother Ajit, who lived in London, forwarded the test to Paris, where a 70mm print was made. The print came back with further instructions on how to perfect the technique. A 70mm film also required bigger screens, and most theatres in India weren't equipped for it. Then Sippy's decided to have two sets of negatives, one in 70mm and the other one in 35mm. In practical terms, this meant that every shot would have to be done twice. Each decision added to the cost.
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Former Member
Sholay 1975
AMJAD KHAN:
Amjad Khan filled the doorway. He was not a particularly large man, but his lumbering gait, thickset face and curly hair gave him the appearance of one. Director Ramesh Sippy was lying on the diwan with his back to the door. From the low angle, Amjad loomed larger. Something clicked. 'He had an interesting face,' says Ramesh. 'I felt very positive.' Panic had set in after Danny's departure. Shooting was less than a month away. And Gabbar Singh was no ordinary character. It was a pivotal role. The actor had to have both talent and charisma to hold his own against the galaxy of stars. Bad casting could destroy the film. Amjad was the younger son of character artiste Jayant. His home production, Patthar ke Sanam,which was supposed to launch him, was announced but never made. He had assisted K Asif in Love and God and also done a bit role in the film. The credentials were hardly impressive. But in theatre Amjad had a strong reputation. A few days after Danny left, Salim bumped into Amjad. Salim knew Amjad's father, and had been visiting their home since Amjad was a little boy. A polite conversation ensued in which Salim asked Amjad about work. There wasn't much, just bit roles and theatre.
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AMJAD KHAN:
Amjad Khan filled the doorway. He was not a particularly large man, but his lumbering gait, thickset face and curly hair gave him the appearance of one. Director Ramesh Sippy was lying on the diwan with his back to the door. From the low angle, Amjad loomed larger. Something clicked. 'He had an interesting face,' says Ramesh. 'I felt very positive.' Panic had set in after Danny's departure. Shooting was less than a month away. And Gabbar Singh was no ordinary character. It was a pivotal role. The actor had to have both talent and charisma to hold his own against the galaxy of stars. Bad casting could destroy the film. Amjad was the younger son of character artiste Jayant. His home production, Patthar ke Sanam,which was supposed to launch him, was announced but never made. He had assisted K Asif in Love and God and also done a bit role in the film. The credentials were hardly impressive. But in theatre Amjad had a strong reputation. A few days after Danny left, Salim bumped into Amjad. Salim knew Amjad's father, and had been visiting their home since Amjad was a little boy. A polite conversation ensued in which Salim asked Amjad about work. There wasn't much, just bit roles and theatre.
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Former Member
Sholay 1975
AMJAD KHAN continues.....
Salim had heard about Amjad's skills as an actor, and physically he seemed to fit the role. 'I can't promise you anything,' he told Amjad, 'but there is a role in a big film. 'll take you to the director. Agar aap ko yeh role mil jaaye, aap ki koshish se yea aapki kismat se (If you get this role, whether by luck or effort),I tell you, it is the finest role in this film.' Amjad seemed to fit the part, but he was unknown. Could he carry the film? He was asked to grow a beard and come back. Meanwhile, Ramesh and Salim-Javed pondered. Salim-Javed were convinced that Amjad was the right choice.
A screen test was done. They shot pictures in the office garden. Amjad had grown a beard and blackened his teeth. His diction was right, his language was perfect. He was confirmed for the role. Amjad hurried ecstatically to hospital to break the news to wife Shaila. The date was 20 September 1973. His son Shadaab was born that afternoon. Amjad prepared for Gabbar. Normal life took a back seat; this was clearly the best role fo his career. Amjad devoured Abhishapth Chambal, a book on the Chambal dacoits written by Jaya Bhaduri's father, Taroon Coomar. He marked out the pages on the real-life Gabbar, insisting that his wife Shaila read it too. He rehearsed his lines and fleshed out his character. He remembered a dhobi from his childhood days who used to call out to his wife: 'Arre o Shanti.' The lilt in Gabbar's 'Arre o Sambha' came from his dhobi.
Amjad was enthusiastic but insecure, and badgered his wife constantly: 'Do you think I'll be able to do it?' 'Of course,' she would say, 'you're a good actor. I've seen all your plays.' 'But this is a different ball game' 'So what? You've been part of 'Love and God'... your father is an actor...' 'All that dosn't matter. Do you think I'll be able to do this?'
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AMJAD KHAN continues.....
Salim had heard about Amjad's skills as an actor, and physically he seemed to fit the role. 'I can't promise you anything,' he told Amjad, 'but there is a role in a big film. 'll take you to the director. Agar aap ko yeh role mil jaaye, aap ki koshish se yea aapki kismat se (If you get this role, whether by luck or effort),I tell you, it is the finest role in this film.' Amjad seemed to fit the part, but he was unknown. Could he carry the film? He was asked to grow a beard and come back. Meanwhile, Ramesh and Salim-Javed pondered. Salim-Javed were convinced that Amjad was the right choice.
A screen test was done. They shot pictures in the office garden. Amjad had grown a beard and blackened his teeth. His diction was right, his language was perfect. He was confirmed for the role. Amjad hurried ecstatically to hospital to break the news to wife Shaila. The date was 20 September 1973. His son Shadaab was born that afternoon. Amjad prepared for Gabbar. Normal life took a back seat; this was clearly the best role fo his career. Amjad devoured Abhishapth Chambal, a book on the Chambal dacoits written by Jaya Bhaduri's father, Taroon Coomar. He marked out the pages on the real-life Gabbar, insisting that his wife Shaila read it too. He rehearsed his lines and fleshed out his character. He remembered a dhobi from his childhood days who used to call out to his wife: 'Arre o Shanti.' The lilt in Gabbar's 'Arre o Sambha' came from his dhobi.
Amjad was enthusiastic but insecure, and badgered his wife constantly: 'Do you think I'll be able to do it?' 'Of course,' she would say, 'you're a good actor. I've seen all your plays.' 'But this is a different ball game' 'So what? You've been part of 'Love and God'... your father is an actor...' 'All that dosn't matter. Do you think I'll be able to do this?'
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Former Member
Sholay 1975
AMJAD KHAN: continues....
The morning Amjad was to leave for Bangalore, he put the Quran on his head and prayed. Shaila was surprised. Amjad was a spiritual person but he rarely prayed. As abruptly as he had started, he stopped. He placed the holy book back in its place, said, 'I think I'll be able to do it,' and drove to the airport. The flight didn't reach Bangalore. There was a hydraulic failure, and the pilot was forced to keep circling over Mumbai. After dumping fuel for hours, the plane landed back in Mumbai. Amjad sat at the airport but didn't call home. After five hours, it was announced that the technical faults had been fixed and the plane was ready to take-off. Not many passengers had the stomach to get on that plane again Amjad was among the four or five who finally flew on it. He had to reach Bangalore. Through the flight, he wasn't thinking about his wife or his one month-old son. His only terror was: 'If this plane crashes, Danny gets Gabbar' (the first choice for the role but lost out to date commitments).
Gabbar Singh was not having a good day. It was Amjad's first day of shooting. They were starting with the scene in which he is introduced. His first line was, 'Kitne aadmi the?' All his life had led to this moment. The years of theatre rehearsals, knocking on doors for acting jobs, sweating it out as an assistant -- the Gabbar role had made all that seem worthwhile. His army fatigues, picked up from Mumbai's Chor Bazaar, had the right weathered look. His teeth were blackened. His face was appropriately grimy. He had lived the part for the last few months. But now, when it was time to deliver, he just could not get it right. Gabbar had to mince tambaku (tobacco) as he talked. The motion of one hand grinding against another added to his menace. It was supposed to be his habit. But Amjad could not make it look casual. He would grind the tobacco, speak a few lines, look around awkwardly and then return to grinding. He was nervous and it showed; his hands were stiff, his movements seemed rehearsed, and his dialogue delivery was shaky. There was nothing natural about his performances; Gabbar was a stranger to Amjad.
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AMJAD KHAN: continues....
The morning Amjad was to leave for Bangalore, he put the Quran on his head and prayed. Shaila was surprised. Amjad was a spiritual person but he rarely prayed. As abruptly as he had started, he stopped. He placed the holy book back in its place, said, 'I think I'll be able to do it,' and drove to the airport. The flight didn't reach Bangalore. There was a hydraulic failure, and the pilot was forced to keep circling over Mumbai. After dumping fuel for hours, the plane landed back in Mumbai. Amjad sat at the airport but didn't call home. After five hours, it was announced that the technical faults had been fixed and the plane was ready to take-off. Not many passengers had the stomach to get on that plane again Amjad was among the four or five who finally flew on it. He had to reach Bangalore. Through the flight, he wasn't thinking about his wife or his one month-old son. His only terror was: 'If this plane crashes, Danny gets Gabbar' (the first choice for the role but lost out to date commitments).
Gabbar Singh was not having a good day. It was Amjad's first day of shooting. They were starting with the scene in which he is introduced. His first line was, 'Kitne aadmi the?' All his life had led to this moment. The years of theatre rehearsals, knocking on doors for acting jobs, sweating it out as an assistant -- the Gabbar role had made all that seem worthwhile. His army fatigues, picked up from Mumbai's Chor Bazaar, had the right weathered look. His teeth were blackened. His face was appropriately grimy. He had lived the part for the last few months. But now, when it was time to deliver, he just could not get it right. Gabbar had to mince tambaku (tobacco) as he talked. The motion of one hand grinding against another added to his menace. It was supposed to be his habit. But Amjad could not make it look casual. He would grind the tobacco, speak a few lines, look around awkwardly and then return to grinding. He was nervous and it showed; his hands were stiff, his movements seemed rehearsed, and his dialogue delivery was shaky. There was nothing natural about his performances; Gabbar was a stranger to Amjad.
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Former Member
Sholay 1975
AMJAD KHAN: continues.....
Ramesh kept talking to him, trying to help him get his lines right. They struggled for two days. After forty-odd takes, both Ramesh and cameraman Dwarka Divecha decided the actor needed a break. Divecha told Amjad to keep his costume on and just sit on the sets. 'Tu apne aap ko season kar de (Season yourself).' Amjad cried that night. His father was in hospital fighting cancer. His son was only a month old. His family's hopes were pinned on this film. For the rest of the schedule, Amjad lived in the fatigues, trying to become Gabbar. He wrote often to his wife, but never shared with her the extent of his trauma. All he wrote was: 'I'm very impatient... I don't know... I hope I can do it.' Since he didn't drink, he would spend the evenings nursing endless cups of tea. Through the entire schedule, he didn't do a single shot.
In the next schedule, Amjad was more prepared. He got it right in the first few takes. He was living his character, and would stay in costume even when he was not shooting. But some members of the unit, unable to forget his earlier awkwardness, didn't seem to think this was enough. Besides, Amjad was the only new face in a sea of superstars and slowly talk started in the unit that perhaps Ramesh had made a mistake. The murmurs grew, till it became impossible even for Salim and Javed, who had been the most keen to have Amjad as Gabbar, to ignore them. Anxious, perhaps, to not be seen as people responsible for ruining the film, they spoke to Ramesh. 'If you aren't satisfied with Amjad, change him,' they said. For a few days the unit was rocked by rumours that Amjad was getting the boot. But Ramesh finally put his foot down. Only Amjad would play Gabbar.
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AMJAD KHAN: continues.....
Ramesh kept talking to him, trying to help him get his lines right. They struggled for two days. After forty-odd takes, both Ramesh and cameraman Dwarka Divecha decided the actor needed a break. Divecha told Amjad to keep his costume on and just sit on the sets. 'Tu apne aap ko season kar de (Season yourself).' Amjad cried that night. His father was in hospital fighting cancer. His son was only a month old. His family's hopes were pinned on this film. For the rest of the schedule, Amjad lived in the fatigues, trying to become Gabbar. He wrote often to his wife, but never shared with her the extent of his trauma. All he wrote was: 'I'm very impatient... I don't know... I hope I can do it.' Since he didn't drink, he would spend the evenings nursing endless cups of tea. Through the entire schedule, he didn't do a single shot.
In the next schedule, Amjad was more prepared. He got it right in the first few takes. He was living his character, and would stay in costume even when he was not shooting. But some members of the unit, unable to forget his earlier awkwardness, didn't seem to think this was enough. Besides, Amjad was the only new face in a sea of superstars and slowly talk started in the unit that perhaps Ramesh had made a mistake. The murmurs grew, till it became impossible even for Salim and Javed, who had been the most keen to have Amjad as Gabbar, to ignore them. Anxious, perhaps, to not be seen as people responsible for ruining the film, they spoke to Ramesh. 'If you aren't satisfied with Amjad, change him,' they said. For a few days the unit was rocked by rumours that Amjad was getting the boot. But Ramesh finally put his foot down. Only Amjad would play Gabbar.
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Former Member
Sholay 1975
AMJAD KHAN: Continues......
Amjad found out about the rumours much later. But the incident sowed the seeds of misunderstanding between him and Salim-Javed. He could not understand why two people, who had ardently recommended him for the role, had then tried to get him thrown out. He saw it as a move to sabotage his career. The hurt stayed with him till his death. Salim-Javed gave birth to the Amjad myth, but they never worked with him again.
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AMJAD KHAN: Continues......
Amjad found out about the rumours much later. But the incident sowed the seeds of misunderstanding between him and Salim-Javed. He could not understand why two people, who had ardently recommended him for the role, had then tried to get him thrown out. He saw it as a move to sabotage his career. The hurt stayed with him till his death. Salim-Javed gave birth to the Amjad myth, but they never worked with him again.
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Former Member
Sholay 1975
The 'Sholay' unit had a ten - to fifteen-day schedule in Bangalore every month, from October 1973 to May 1974. Each time they managed to get some work done, but not enough. The delays were further compounded because 70mm required that each shot had to be taken twice. After seven months work, hardly one-third of the film had been shot. 'Sholay' had been planned as a six-month project. Nobody imagined that eventually it would take so long that Macmohan, playing Sambha, one of the smallest roles in the film, would travel twenty-seven times from Mumbai to Bangalore.
Ramesh retained his famous cool. He had a grand vision of 'Sholay' and wasn't going to let delays force him to make compromises. As the budget soared beyond the original one crore, G.P Sippy did make the occasional noise. 'What the hell is going on?' he would ask. But he never pulled the plug. He was a gambler going for the big one. The funds kept flowing.
Yet, despite all the planning, things started to go wrong. The first schedule was ten days long, but very little work got done. Some days they managed to get ten shots right, and on others, none at all. In the November schedule, Ramesh completed only one scene. The No compromise resolve was set in stone. Ramesh and Divecha were like painters trying to perfect their canvas, with G.P. Sippy, a patron of the arts, bankrolling their dreams, budget and timetables took a backseat.
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The 'Sholay' unit had a ten - to fifteen-day schedule in Bangalore every month, from October 1973 to May 1974. Each time they managed to get some work done, but not enough. The delays were further compounded because 70mm required that each shot had to be taken twice. After seven months work, hardly one-third of the film had been shot. 'Sholay' had been planned as a six-month project. Nobody imagined that eventually it would take so long that Macmohan, playing Sambha, one of the smallest roles in the film, would travel twenty-seven times from Mumbai to Bangalore.
Ramesh retained his famous cool. He had a grand vision of 'Sholay' and wasn't going to let delays force him to make compromises. As the budget soared beyond the original one crore, G.P Sippy did make the occasional noise. 'What the hell is going on?' he would ask. But he never pulled the plug. He was a gambler going for the big one. The funds kept flowing.
Yet, despite all the planning, things started to go wrong. The first schedule was ten days long, but very little work got done. Some days they managed to get ten shots right, and on others, none at all. In the November schedule, Ramesh completed only one scene. The No compromise resolve was set in stone. Ramesh and Divecha were like painters trying to perfect their canvas, with G.P. Sippy, a patron of the arts, bankrolling their dreams, budget and timetables took a backseat.
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Former Member
Sholay 1975
'Sholay's centerpiece - the massacre sequence in which Gabbar obliterates the Thakur's family - was shot in twenty-three days over three schedules. It was a complicated scene with several parts: establishing the family, Gabbar's arrival, the shootings, and then the Thakur's arrival on the scene after Gabbar and his men have slaughtered his family and retreated. Half the scene had been shot when the weather changed and the bright sun was replaced by an overcast sky. For two days, the unit waited for the sun to reappear. Then Ramesh realized that the dark clouds were a celestial signal: the overcast look was perfect for the scene. It underlined the tragedy and heightened the sense of doom. It also logically led to the point where the wind starts to build up and dry leaves are blown over the dead bodies. He conferred with Divecha. 'It won't just look good,' Divecha said, 'it will look very good. But what will we do if the sun comes out tomorrow?' Ramesh was willing to take he chance. 'Let's shoot,' he said.
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'Sholay's centerpiece - the massacre sequence in which Gabbar obliterates the Thakur's family - was shot in twenty-three days over three schedules. It was a complicated scene with several parts: establishing the family, Gabbar's arrival, the shootings, and then the Thakur's arrival on the scene after Gabbar and his men have slaughtered his family and retreated. Half the scene had been shot when the weather changed and the bright sun was replaced by an overcast sky. For two days, the unit waited for the sun to reappear. Then Ramesh realized that the dark clouds were a celestial signal: the overcast look was perfect for the scene. It underlined the tragedy and heightened the sense of doom. It also logically led to the point where the wind starts to build up and dry leaves are blown over the dead bodies. He conferred with Divecha. 'It won't just look good,' Divecha said, 'it will look very good. But what will we do if the sun comes out tomorrow?' Ramesh was willing to take he chance. 'Let's shoot,' he said.
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Former Member
Sholay 1975
They shot furiously for the next two days. And then the sun popped out again. After a week of work, they had two versions of the same half scene, one against a bright sky and the other against an overcast one. But Ramesh was determined. It was going to be clouds or nothing. So they waited for the gods to do the lighting. With the sun playing hide and seek, there were days when they managed to get only one shot and some when they simply stared at the skies. Filming came to a complete halt. To speed up the process, Divecha asked Anwar to make a screen to bounce the light off. The screen had to be bigger than the house. Anwar ended up buying all the white cloth in the vicinity to create a seventy-foot-by- hundred-foot screen. He stitched it himself with strong canvas thread. With the huge screen in place, shooting was resumed, but there were shots for which the effect created by the screen wasn't good enough. The gods had to intervene and bring back the clouds. But it wasn't just the clouds. Nothing seemed to go right. As they neared the end of the sequence, the little boy playing Thakur's grandson, Master Alankar, had exams. He would lose an academic year if he didn't sit for them. Ramesh let him go. Then the propeller, which worked up an appropriate wind to blow dry leaves onto the dead bodies, decided to do its own thing. It wouldn't start when they needed it to. And once started, it would just keep going. Finally, an aeronautics unit near Bangalore built another propeller. It worked perfectly. The wind blew yellow-brown leaves onto the bodies and the white shroud off them, Thakur mounted his horse in a raging fury, ready to look for Gabbar.
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They shot furiously for the next two days. And then the sun popped out again. After a week of work, they had two versions of the same half scene, one against a bright sky and the other against an overcast one. But Ramesh was determined. It was going to be clouds or nothing. So they waited for the gods to do the lighting. With the sun playing hide and seek, there were days when they managed to get only one shot and some when they simply stared at the skies. Filming came to a complete halt. To speed up the process, Divecha asked Anwar to make a screen to bounce the light off. The screen had to be bigger than the house. Anwar ended up buying all the white cloth in the vicinity to create a seventy-foot-by- hundred-foot screen. He stitched it himself with strong canvas thread. With the huge screen in place, shooting was resumed, but there were shots for which the effect created by the screen wasn't good enough. The gods had to intervene and bring back the clouds. But it wasn't just the clouds. Nothing seemed to go right. As they neared the end of the sequence, the little boy playing Thakur's grandson, Master Alankar, had exams. He would lose an academic year if he didn't sit for them. Ramesh let him go. Then the propeller, which worked up an appropriate wind to blow dry leaves onto the dead bodies, decided to do its own thing. It wouldn't start when they needed it to. And once started, it would just keep going. Finally, an aeronautics unit near Bangalore built another propeller. It worked perfectly. The wind blew yellow-brown leaves onto the bodies and the white shroud off them, Thakur mounted his horse in a raging fury, ready to look for Gabbar.
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Former Member
Sholay 1975
Almost as time-consuming were the sequences of Radha extinguishing the lamps while Jai played his harmonica and watched. These sequences establish the gradual, wordless bonding between the widow and the thief - the sympathy and admiration slowly turning into love. Capturing the right mood was critical. These were two sequences, only about a minute each in the final film, and it took twenty days to shoot them. Ramesh and Divecha decided to do the scenes in 'magic hour', a cinema term for the time between sunset and night. The light that falls during magic hour is dreamlike in its warm golden hue. The director and cinemtograher wanted specifically the velvety dusk which arrives at the tail end of the golden hue. A shadowy darkness precedes nightfall, but it is still light enough to show the surrounding silhouettes. Essentially, they had only a few minutes to capture the shot. The preparations for the shot would begin after lunch. The lights and the camera set-up would be in place well before time. At around five in the evening they would rehearse the shot and the camera movements.Then between six and six-thirty as the sun started to set, there was total pandemonium. Everyone ran around shouting, trying to get the shot before darkness. sometimes they would get one shot, sometimes two and very rarely with great difficulty, a third re-take. But there was never any time to change the set-up. Ramesh wouldn't settle for anything less than perfection. Invariably there was always some mess-up. The sun set earlier than expected, a light man made a mistake, the trolly movement wasn't right, some object was lying where it shouldn't have been. There were times when Jaya lost her cool: 'Ramesh, no one can see me,' she would say. 'It's a long shot, no viewer on the planet is going to be able to see the mistakes in continuity.' The answer always was: 'No, no, one more take.' Ramesh dressed each frame. The Lady-of-the-lamps shot became a kind of a joke. It took several schedules to get it right.
In fact, in terms of time taken, each sequence seemed to compete with the next. Ahmed, the blind Imam's son (played by Sachin), for instance, took seventeen days to die. It was a long and complicated sequence, and originally it also included the actual act of killing: meat is roasting in the foreground; Gabbar points a red-hot skewer at the boy and with a gleeful look tells his gang, 'Isko to bahut tadpa tadpa ke maroonga.' But this never made it to the final cut. Instead, the scene cuts from Gabbar killing an ant to Ahmed's horse carrying his dead body into the village.
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Almost as time-consuming were the sequences of Radha extinguishing the lamps while Jai played his harmonica and watched. These sequences establish the gradual, wordless bonding between the widow and the thief - the sympathy and admiration slowly turning into love. Capturing the right mood was critical. These were two sequences, only about a minute each in the final film, and it took twenty days to shoot them. Ramesh and Divecha decided to do the scenes in 'magic hour', a cinema term for the time between sunset and night. The light that falls during magic hour is dreamlike in its warm golden hue. The director and cinemtograher wanted specifically the velvety dusk which arrives at the tail end of the golden hue. A shadowy darkness precedes nightfall, but it is still light enough to show the surrounding silhouettes. Essentially, they had only a few minutes to capture the shot. The preparations for the shot would begin after lunch. The lights and the camera set-up would be in place well before time. At around five in the evening they would rehearse the shot and the camera movements.Then between six and six-thirty as the sun started to set, there was total pandemonium. Everyone ran around shouting, trying to get the shot before darkness. sometimes they would get one shot, sometimes two and very rarely with great difficulty, a third re-take. But there was never any time to change the set-up. Ramesh wouldn't settle for anything less than perfection. Invariably there was always some mess-up. The sun set earlier than expected, a light man made a mistake, the trolly movement wasn't right, some object was lying where it shouldn't have been. There were times when Jaya lost her cool: 'Ramesh, no one can see me,' she would say. 'It's a long shot, no viewer on the planet is going to be able to see the mistakes in continuity.' The answer always was: 'No, no, one more take.' Ramesh dressed each frame. The Lady-of-the-lamps shot became a kind of a joke. It took several schedules to get it right.
In fact, in terms of time taken, each sequence seemed to compete with the next. Ahmed, the blind Imam's son (played by Sachin), for instance, took seventeen days to die. It was a long and complicated sequence, and originally it also included the actual act of killing: meat is roasting in the foreground; Gabbar points a red-hot skewer at the boy and with a gleeful look tells his gang, 'Isko to bahut tadpa tadpa ke maroonga.' But this never made it to the final cut. Instead, the scene cuts from Gabbar killing an ant to Ahmed's horse carrying his dead body into the village.
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Former Member
Sholay 1975
THE SONG: YEH DOSTI:
The songs were as hard to execute as the scenes. They took several days over many schedules and involved hundreds of dancers, special camera devices, a tanga and even a train. As usual, Ramesh pulled out all stops. 'Yeh Dosti was a twenty-one-day endeavor. The song establishes the friendship between Veeru and Jai. Its easy camaraderie is the foundation of the film. The cheer of the happy version perfectly offsets the dirge-like version at Jai's death. It was decided that a motorcycle with a sidecar would capture the spirit of the male-bonding anthem. But to shoot the entire song from a moving vehicle was static and limiting. So they built a special contraption, which would enable the crew to use different kinds of camera movements. The contraption allowed for varied camera angles. Divecha could start on a tight close-up of one character, pull back, move around to include both and then turn almost 180 degrees to the other side. Shots like these would make the audience feel that they were traveling with Veeru and Jai. But they weren't easy to get. First the bike would be fitted onto the contraption, and then the whole paraphernalia would move along with the camera and tracks and a low trolley moving up and down. Coordinating the elements - reflectors, sun-guns, speakers - needed minute organization and the patience of a priest. There were frequent mechanical faults: the towing hook would come off, or the pulling vehicle would get so heated up that it woudn't start. None of which stopped Ramesh and choreographer P.L Raj from planning even more intricate moves. 'Yeh Dosti', they decided, would end with the sidecar breaking away, doing a short solo run and then coming together with the motorcycle again. It was a neat gimmick. If only they could make it work. The sidecar had to be pulled away from the motorcycle without making the pulling obvious. And then there was the toughest part: the two had to reunite after separating on the fork on the road. They attached the sidecar to the camera on a trolley and rehearsed the shot with Amitabh, who was riding the motorcycle. It all depended on his sense of timing, because he was on a moving vehicle while the camera was on a fixed trolley. Amitabh would have to time it to perfection - start at the right moment, and accelerate or slow down according to the movement of the camera. Amazingly, he brought in the motorcycle for a smooth, perfect docking on the very first take. It was a miracle. The unit broke into a spontaneous applause and even the normally reticent Ramesh jumped off the camera stand and hugged Amitabh.
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THE SONG: YEH DOSTI:
The songs were as hard to execute as the scenes. They took several days over many schedules and involved hundreds of dancers, special camera devices, a tanga and even a train. As usual, Ramesh pulled out all stops. 'Yeh Dosti was a twenty-one-day endeavor. The song establishes the friendship between Veeru and Jai. Its easy camaraderie is the foundation of the film. The cheer of the happy version perfectly offsets the dirge-like version at Jai's death. It was decided that a motorcycle with a sidecar would capture the spirit of the male-bonding anthem. But to shoot the entire song from a moving vehicle was static and limiting. So they built a special contraption, which would enable the crew to use different kinds of camera movements. The contraption allowed for varied camera angles. Divecha could start on a tight close-up of one character, pull back, move around to include both and then turn almost 180 degrees to the other side. Shots like these would make the audience feel that they were traveling with Veeru and Jai. But they weren't easy to get. First the bike would be fitted onto the contraption, and then the whole paraphernalia would move along with the camera and tracks and a low trolley moving up and down. Coordinating the elements - reflectors, sun-guns, speakers - needed minute organization and the patience of a priest. There were frequent mechanical faults: the towing hook would come off, or the pulling vehicle would get so heated up that it woudn't start. None of which stopped Ramesh and choreographer P.L Raj from planning even more intricate moves. 'Yeh Dosti', they decided, would end with the sidecar breaking away, doing a short solo run and then coming together with the motorcycle again. It was a neat gimmick. If only they could make it work. The sidecar had to be pulled away from the motorcycle without making the pulling obvious. And then there was the toughest part: the two had to reunite after separating on the fork on the road. They attached the sidecar to the camera on a trolley and rehearsed the shot with Amitabh, who was riding the motorcycle. It all depended on his sense of timing, because he was on a moving vehicle while the camera was on a fixed trolley. Amitabh would have to time it to perfection - start at the right moment, and accelerate or slow down according to the movement of the camera. Amazingly, he brought in the motorcycle for a smooth, perfect docking on the very first take. It was a miracle. The unit broke into a spontaneous applause and even the normally reticent Ramesh jumped off the camera stand and hugged Amitabh.
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Former Member
Former Member
More later
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Former Member
Happy birthday to you, may you have a blessed one with your children,
Former Member
Sholay 1975
In the climax sequence, Gabbar holds Basanti's arm and menacingly delivers his lines: 'Dekho chhamiya, zyada nakhre mat karo humse, nahin to ye gori chamdi hai na - saare badan se khurach khurach ke utaar doonga.' By now, Amjad had settled in. The insecurities of the early schedules were replaced by confidence and he wore Gabbar's persona like a second skin. In the heat of the performance, Amjad gripped Hema's arm a little too tightly. It hurt. But the shot was canned and the crew moved on to the next one.
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In the climax sequence, Gabbar holds Basanti's arm and menacingly delivers his lines: 'Dekho chhamiya, zyada nakhre mat karo humse, nahin to ye gori chamdi hai na - saare badan se khurach khurach ke utaar doonga.' By now, Amjad had settled in. The insecurities of the early schedules were replaced by confidence and he wore Gabbar's persona like a second skin. In the heat of the performance, Amjad gripped Hema's arm a little too tightly. It hurt. But the shot was canned and the crew moved on to the next one.
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Former Member
Sholay 1975
By the evening, Hema's arm was sore and the bruises showed. At the dinner table, Dharmendra could barely control his anger. Dharmendra, or paaji, as everone called him, was in love with Hema Malini. Hema, professional to the core, gave little trouble. But Dharmendra wore his heart on his sleeve. When he and hema shot romantic sequences, he paid the light boys to make mistakes so he could embrace her again and again. Dharmendra and the light boys had a perfectly worked-out code language: when he pulled his ear, they would make a mistake - mess up the trolly movement or make a reflector fall - but when he touched his nose, they okayed the shot. The fee was Rs 100 per retake. On a good day, the light boys returned from the day's shooting richer by Rs 2,000.
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By the evening, Hema's arm was sore and the bruises showed. At the dinner table, Dharmendra could barely control his anger. Dharmendra, or paaji, as everone called him, was in love with Hema Malini. Hema, professional to the core, gave little trouble. But Dharmendra wore his heart on his sleeve. When he and hema shot romantic sequences, he paid the light boys to make mistakes so he could embrace her again and again. Dharmendra and the light boys had a perfectly worked-out code language: when he pulled his ear, they would make a mistake - mess up the trolly movement or make a reflector fall - but when he touched his nose, they okayed the shot. The fee was Rs 100 per retake. On a good day, the light boys returned from the day's shooting richer by Rs 2,000.
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Former Member
Sholay 1975
When he (Dharam) and hema shot romantic sequences, he paid the light boys to make mistakes so he could embrace her again and again. Dharmendra and the light boys had a perfectly worked-out code language: when he pulled his ear, they would make a mistake - mess up the trolly movement or make a reflector fall - but when he touched his nose, they okayed the shot. The fee was Rs 100 per retake. On a good day, the light boys returned from the day's shooting richer by Rs 2,000.
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When he (Dharam) and hema shot romantic sequences, he paid the light boys to make mistakes so he could embrace her again and again. Dharmendra and the light boys had a perfectly worked-out code language: when he pulled his ear, they would make a mistake - mess up the trolly movement or make a reflector fall - but when he touched his nose, they okayed the shot. The fee was Rs 100 per retake. On a good day, the light boys returned from the day's shooting richer by Rs 2,000.
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Former Member
Dharam had really loved Hema:
Former Member
quote:The fee was Rs 100 per retake. On a good day, the light boys returned from the day's shooting richer by Rs 2,000.
Dharam love for Hema was like Romeo & Juliet, Shireen and Farhad, Laila Majnu, one day we will really get into thick of this Love Story, will be for great reading.
Dharam:
"Hema is a brave woman and also the prettiest one. She can give much more than I ever can. What I feel for her is beyond love ...meri mohabbat akeedat (faith) ho gayee hai. Any moment that we share together is beautiful; I wish to have more and more moments with her,"Â he confesses.
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Former Member
What a memorable role: Gabbar Singh:
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Former Member
DID HE LOVED HEMA SO MUCH THAT HE DRANK HIMSELF TO DEATH?
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Former Member
ONCE THE ANGRY YOUNGMAN, NOW THE JOLLY OLE FELLA:
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Former Member
LOOKING BACK AT HIS PERFORMANCE IN SHOLAY: BRING A TEAR OR TWO TO HIS EYES:
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Former Member
MEMORIES
Former Member
"YOU WILL EITHER DANCE, OR WE PUT TWO BULLETS THROUGH HIS EYES, WHAT WILL IT BE?"
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Former Member
Former Member
BIG B AS HE LOOKED 34 YEARS AGO IN SHOLAY:
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Former Member
remember when he threw broken pieces of bottle for her to dance on, she did and the bottom of her feet were cut n the blood flowing? That was so sad......I had felt so sorry for her and hated Gabbar.quote:
Former Member
the looks that made him the heartthrob of the 70/80's .......quote:Originally posted by asj:
BIG B AS HE LOOKED 34 YEARS AGO IN SHOLAY:
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Former Member
Sholay 1975
Like Sanjeev, Dharmendra rarely turned mean with alcohol. In fact, he became more affectionate and child-like. He caused a few delays and some chaos but was never difficult. Quite the opposite, in fact. The climax shot required him to throw the counterfeit coin - which Jai used to arrive at decisions - in anger and sorrow after Jai's death. Production had made six conterfeit double-headed coins for retakes. But in that rocky terrain, once a coin was thrown it was almost impossible to retrieve it. Dharmendra was a little tipsy, and it became apparent that he might require more than six retakes. Khalish, growing more nervous by the minute, quickly collected as many twenty-five paise coins as he could find. He asked Dharmendra to be careful. For the long shots Khalish would hand Dharmendra the twenty-five-paise coins, and for the close ups, the special double-headed ones. Dharmendra was all co-operation, and the shot was canned with one counterfeit coin to spare.
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Like Sanjeev, Dharmendra rarely turned mean with alcohol. In fact, he became more affectionate and child-like. He caused a few delays and some chaos but was never difficult. Quite the opposite, in fact. The climax shot required him to throw the counterfeit coin - which Jai used to arrive at decisions - in anger and sorrow after Jai's death. Production had made six conterfeit double-headed coins for retakes. But in that rocky terrain, once a coin was thrown it was almost impossible to retrieve it. Dharmendra was a little tipsy, and it became apparent that he might require more than six retakes. Khalish, growing more nervous by the minute, quickly collected as many twenty-five paise coins as he could find. He asked Dharmendra to be careful. For the long shots Khalish would hand Dharmendra the twenty-five-paise coins, and for the close ups, the special double-headed ones. Dharmendra was all co-operation, and the shot was canned with one counterfeit coin to spare.
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Former Member
Sholay 1975
All this passion wasn't Dharmendra's fault, really. As Hema says, 'It was such a beautiful atmosphere that everyone was in love... even the old camera man.' Pran, whom was in Bangalore for another shoot, had introduced Divecha to a local girl. She was seventeen. Divecha, in his mid-fifties, fell hopelessly in love. But it wasn't the typical film-industry 'it-doesn't-count-on-location' fling. Despite extreme stress on the home front, Divecha remained committed to the girl till he died in 1978.
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All this passion wasn't Dharmendra's fault, really. As Hema says, 'It was such a beautiful atmosphere that everyone was in love... even the old camera man.' Pran, whom was in Bangalore for another shoot, had introduced Divecha to a local girl. She was seventeen. Divecha, in his mid-fifties, fell hopelessly in love. But it wasn't the typical film-industry 'it-doesn't-count-on-location' fling. Despite extreme stress on the home front, Divecha remained committed to the girl till he died in 1978.
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quote:Originally posted by asj:
Sholay 1975
Almost as time-consuming were the sequences of Radha extinguishing the lamps while Jai played his harmonica and watched. These sequences establish the gradual, wordless bonding between the widow and the thief - the sympathy and admiration slowly turning into love. Capturing the right mood was critical. These were two sequences, only about a minute each in the final film, and it took twenty days to shoot them. Ramesh and Divecha decided to do the scenes in 'magic hour', a cinema term for the time between sunset and night. The light that falls during magic hour is dreamlike in its warm golden hue. The director and cinemtograher wanted specifically the velvety dusk which arrives at the tail end of the golden hue. A shadowy darkness precedes nightfall, but it is still light enough to show the surrounding silhouettes. Essentially, they had only a few minutes to capture the shot. The preparations for the shot would begin after lunch. The lights and the camera set-up would be in place well before time. At around five in the evening they would rehearse the shot and the camera movements.Then between six and six-thirty as the sun started to set, there was total pandemonium. Everyone ran around shouting, trying to get the shot before darkness. sometimes they would get one shot, sometimes two and very rarely with great difficulty, a third re-take. But there was never any time to change the set-up. Ramesh wouldn't settle for anything less than perfection. Invariably there was always some mess-up. The sun set earlier than expected, a light man made a mistake, the trolly movement wasn't right, some object was lying where it shouldn't have been. There were times when Jaya lost her cool: 'Ramesh, no one can see me,' she would say. 'It's a long shot, no viewer on the planet is going to be able to see the mistakes in continuity.' The answer always was: 'No, no, one more take.' Ramesh dressed each frame. The Lady-of-the-lamps shot became a kind of a joke. It took several schedules to get it right.
In fact, in terms of time taken, each sequence seemed to compete with the next. Ahmed, the blind Imam's son (played by Sachin), for instance, took seventeen days to die. It was a long and complicated sequence, and originally it also included the actual act of killing: meat is roasting in the foreground; Gabbar points a red-hot skewer at the boy and with a gleeful look tells his gang, 'Isko to bahut tadpa tadpa ke maroonga.' But this never made it to the final cut. Instead, the scene cuts from Gabbar killing an ant to Ahmed's horse carrying his dead body into the village.
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Hmmm very informative, I did not know all that. Thanks Asj. I did admire the shots of her turning the lamps out.
Former Member
that 'turning out the lamps' thingie is something else, i didn't know all of that...wow but i loved the shots of them
Former Member
Sholay 1975 Continues......
The hardest part was the editing for the final cut. Ramesh spent hours sitting at the editing table with his editor, Madhav Rao Shinde, affectionately called Dada. Shinde had a gargantuan task. Salim-Javed's script was brilliant, and so many of the cuts were suggested by the script itself, but the film was simply too long. Ramesh had exposed over 300,000 feet of negative. It had to be whittled down to less than 20,000 feet. Shinde had edited all of Ramesh's films and by now had an instinctive feel for what Ramesh wanted. But he had never had so much material to work with.
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The hardest part was the editing for the final cut. Ramesh spent hours sitting at the editing table with his editor, Madhav Rao Shinde, affectionately called Dada. Shinde had a gargantuan task. Salim-Javed's script was brilliant, and so many of the cuts were suggested by the script itself, but the film was simply too long. Ramesh had exposed over 300,000 feet of negative. It had to be whittled down to less than 20,000 feet. Shinde had edited all of Ramesh's films and by now had an instinctive feel for what Ramesh wanted. But he had never had so much material to work with.
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Former Member
Sholay 1975 continues....
Entire sequences ended up on the Film Center Floor. Among the best that didn't make it was a comedy sequence that preceded the Soorma Bhopali section. Maruti, a popular comedian of the day, played a dhaba owner in it. Veeru and Jai eat at the dhaba, gargle and spit vigorously, and have a fight with Maruti when he objects to their doing quli in his premises. Mushtaq Merchant playing an eccentric Parsi gentleman had a scene in which Veeru and Jai steal his motorcycle. He was reduced to a figure ebbing into the horizon just before the 'Yeh Dosti' song.
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Entire sequences ended up on the Film Center Floor. Among the best that didn't make it was a comedy sequence that preceded the Soorma Bhopali section. Maruti, a popular comedian of the day, played a dhaba owner in it. Veeru and Jai eat at the dhaba, gargle and spit vigorously, and have a fight with Maruti when he objects to their doing quli in his premises. Mushtaq Merchant playing an eccentric Parsi gentleman had a scene in which Veeru and Jai steal his motorcycle. He was reduced to a figure ebbing into the horizon just before the 'Yeh Dosti' song.
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Former Member
Sholay 1975continues.........
Saachin's death scene was also cut. Shinde kept the brutal lines of dialogue out, slicing from Gabbar killing an ant to the horse carrying Ahmed's dead body into the village. The edit fit with the overall tone of the film, in which violence is more often suggested than seen. The audience never sees Thakur's arms being hacked off. Like the cut from Gabbar raising the sword to an armless Thakur, Ahmed's unseen death had far greater impact. 'Sholay' was finally ready in July 1975. Two and a half years labour lay spooled in tins. Looking at the film, Ramesh thought he had turned the curve, that the hardest part was behind him. He did not know that the battle had just begun. Gabbar dies in 'Sholay' Or at least does in the original 'Sholay' that Ramesh had shot, Salim-Javed had written. The Thakur kills Gabbar with his feet, wearing shoes that the servant Ramlal has fashioned with nails fitted in the soles. The armless Thakur first crushes Gabbar's arms. Then they stand face to face, two armless warriors, two equals. And then the Thakur pounds Gabbar to death as if he were a venomous snake; he does not stop till the dacoit is a bloody mess under his shoes. Then he breaks down and cries. He weeps long and hard: his life's mission is complete, but all he feels is a vast emptiness. It is a apyrrhic victory. Revenge begets loss.
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Saachin's death scene was also cut. Shinde kept the brutal lines of dialogue out, slicing from Gabbar killing an ant to the horse carrying Ahmed's dead body into the village. The edit fit with the overall tone of the film, in which violence is more often suggested than seen. The audience never sees Thakur's arms being hacked off. Like the cut from Gabbar raising the sword to an armless Thakur, Ahmed's unseen death had far greater impact. 'Sholay' was finally ready in July 1975. Two and a half years labour lay spooled in tins. Looking at the film, Ramesh thought he had turned the curve, that the hardest part was behind him. He did not know that the battle had just begun. Gabbar dies in 'Sholay' Or at least does in the original 'Sholay' that Ramesh had shot, Salim-Javed had written. The Thakur kills Gabbar with his feet, wearing shoes that the servant Ramlal has fashioned with nails fitted in the soles. The armless Thakur first crushes Gabbar's arms. Then they stand face to face, two armless warriors, two equals. And then the Thakur pounds Gabbar to death as if he were a venomous snake; he does not stop till the dacoit is a bloody mess under his shoes. Then he breaks down and cries. He weeps long and hard: his life's mission is complete, but all he feels is a vast emptiness. It is a apyrrhic victory. Revenge begets loss.
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Former Member
Sholay 1975Continues.........
The Central Board of Film Censors hated this ending. The board objected to the suggestion that a police officer - even one who was no longer in service - would take the law into his own hands and commit a murder. They also objected to the film's balletic violence. It wasn't graphic, but it was so finely choreographed that it had far greater impact than actual gore. The audience wouldn't see Thakur's arms being chopped off, but the visual cut from Gabbar raising the sword to the Thakur standing with his empty shirt sleeves flapping in the wind was unforgettable. Ramesh had made violence aesthetic and attractive. If passed, 'Sholay' would open the floodgates for lesser filmmakers. There would be cuts in 'Sholay.' But first, the Sippy's would have to change the end.
Ramesh was incensed. It was almost as though he was being penalized for being talented. Every nuance in the film had been carefully considered and crafted. Not a frame was superfluous. The board wasn't just asking for cuts, it was asking for a totally different conclusion - an ending that would have the police intervening at the crucial moment to prevent the Thakur from killing Gabbar. It seemed like a parody of what had been done in a hundred other films. It had none of the bleakness or tragedy of the original. With a conclusion so feeble, 'Sholay' would no longer be Ramesh's vision. It would become another film altogether.
Would it? hmmmm
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The Central Board of Film Censors hated this ending. The board objected to the suggestion that a police officer - even one who was no longer in service - would take the law into his own hands and commit a murder. They also objected to the film's balletic violence. It wasn't graphic, but it was so finely choreographed that it had far greater impact than actual gore. The audience wouldn't see Thakur's arms being chopped off, but the visual cut from Gabbar raising the sword to the Thakur standing with his empty shirt sleeves flapping in the wind was unforgettable. Ramesh had made violence aesthetic and attractive. If passed, 'Sholay' would open the floodgates for lesser filmmakers. There would be cuts in 'Sholay.' But first, the Sippy's would have to change the end.
Ramesh was incensed. It was almost as though he was being penalized for being talented. Every nuance in the film had been carefully considered and crafted. Not a frame was superfluous. The board wasn't just asking for cuts, it was asking for a totally different conclusion - an ending that would have the police intervening at the crucial moment to prevent the Thakur from killing Gabbar. It seemed like a parody of what had been done in a hundred other films. It had none of the bleakness or tragedy of the original. With a conclusion so feeble, 'Sholay' would no longer be Ramesh's vision. It would become another film altogether.
Would it? hmmmm
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Former Member
Sholay 1975 Continues.....
In the resolutely repressive environment of the Emergency, fundamental rights did not exist. Neither did artistic freedom. Compromise wasn't a choice, it was the only option. But Ramesh was adamant. He hadn't toiled for two years to cop out now. He wasn't going to change the end. Ramesh tried to reason with the members of the Board, pointing out to them the flaws in their own argument. But the Board would not budge. Increasingly frustrated, Ramesh did something most uncharacteristic of him - he raised his voice.
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In the resolutely repressive environment of the Emergency, fundamental rights did not exist. Neither did artistic freedom. Compromise wasn't a choice, it was the only option. But Ramesh was adamant. He hadn't toiled for two years to cop out now. He wasn't going to change the end. Ramesh tried to reason with the members of the Board, pointing out to them the flaws in their own argument. But the Board would not budge. Increasingly frustrated, Ramesh did something most uncharacteristic of him - he raised his voice.
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Former Member
Sholay 1975Continues.......
The Sippy's called on every connection they had. G.P Sippy was a resourceful man with considerable clout. He worked the phone for hours, arranging high-powered meetings. Anyone who might have influenced the Board got a call. Father and son also had bitter rows. Ramesh argued as an artist who was watching his work being mauled, and G.P as a realist who knew that compromise was inevitable. At one point, Ramesh even considered taking his name off the film. But eventually the producer prevailed. G.P explained ground reality to Ramesh: If they were stubborn, the film woudn't get released. Being a lawer himself, he knew better than anyone else the futility of going to court. In an Emergency they had no rights. And at the of end three years of production, they had very little money. They couldn't afford to take the higher ground.
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The Sippy's called on every connection they had. G.P Sippy was a resourceful man with considerable clout. He worked the phone for hours, arranging high-powered meetings. Anyone who might have influenced the Board got a call. Father and son also had bitter rows. Ramesh argued as an artist who was watching his work being mauled, and G.P as a realist who knew that compromise was inevitable. At one point, Ramesh even considered taking his name off the film. But eventually the producer prevailed. G.P explained ground reality to Ramesh: If they were stubborn, the film woudn't get released. Being a lawer himself, he knew better than anyone else the futility of going to court. In an Emergency they had no rights. And at the of end three years of production, they had very little money. They couldn't afford to take the higher ground.
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Former Member
Sholay 1975
The release date had been fixed for 15 August 1975. As was the practice then, Ploydor had released the music two months earlier. In a extraordinary display of comfidence, they had released 30,000 records, double the usual film launch. They had also offered the dealers a special scheme. At the end of the year, dealers could traditionally return 7.5 per cent of the goods that they had not managed to sell. Polydor told the dealers: Take as many records of 'Sholay' as you want, but return the unsold ones before the film's release. After the release, if the music ran and dealers wanted records they would have to pay more. Any delay in release would adversely affect Polydor's business. There really was no option; Ramesh would have to re-shoot the end.
It was a Herculean task. It was already July 20. Within the following week the ending would have to be re-shot and re-dubbed, the background music redone and remixed in London, and the film printed for release. The cast was hastily summoned. Sanjeev Kumar was attending a film festival in the Soviet Union. He flew to India immediately. For two days, the cast and crew assenbled in Ramanagaram. It seemed like old times again. They were back amidst the giant boulders, in the harsh sunlight, all commited as before to the ambitious project that had brought them together.
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The release date had been fixed for 15 August 1975. As was the practice then, Ploydor had released the music two months earlier. In a extraordinary display of comfidence, they had released 30,000 records, double the usual film launch. They had also offered the dealers a special scheme. At the end of the year, dealers could traditionally return 7.5 per cent of the goods that they had not managed to sell. Polydor told the dealers: Take as many records of 'Sholay' as you want, but return the unsold ones before the film's release. After the release, if the music ran and dealers wanted records they would have to pay more. Any delay in release would adversely affect Polydor's business. There really was no option; Ramesh would have to re-shoot the end.
It was a Herculean task. It was already July 20. Within the following week the ending would have to be re-shot and re-dubbed, the background music redone and remixed in London, and the film printed for release. The cast was hastily summoned. Sanjeev Kumar was attending a film festival in the Soviet Union. He flew to India immediately. For two days, the cast and crew assenbled in Ramanagaram. It seemed like old times again. They were back amidst the giant boulders, in the harsh sunlight, all commited as before to the ambitious project that had brought them together.
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Former Member
Sholay 1975 continues.....
With the cuts implemented and the new ending inserted, the Board of Film Censors was satisfied, and the final 70mm prints were then made in London. The negative for the 35mm was brought back to Mumbai and printed at Film Centre. And so 'Sholay' was ready for release-a weaker version of 'Sholay', with a new, lesser ending.
No we are not finished......the story continues..
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With the cuts implemented and the new ending inserted, the Board of Film Censors was satisfied, and the final 70mm prints were then made in London. The negative for the 35mm was brought back to Mumbai and printed at Film Centre. And so 'Sholay' was ready for release-a weaker version of 'Sholay', with a new, lesser ending.
No we are not finished......the story continues..
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Former Member
Sholay 1975 Continues........
Somewhere in the world, rumoured to be impossible to trace now, a few prints survive of the original, untouched film, with all its final bleakness intact. Occasionally, videotapes and dvds of the original film surface, copied from copies of copies. Those who have seen these nth-generation copies say that despite the fuzziness and the bad sound, the Thakur's hopeless weeping is chilling, and it becomes clear to the viewer that all the visceral of power and violance lead inevitably to this agony, this loss. In those long-ago days of the seventies, this was the moral vision that Ramesh Sippy and Salim-Javed tried to bring to the Indian viewer. Due to the wisdom of our censors, what we got instead was an easy pabulum about the virtues of following the law, and a film that least in part had an aesthetic clumsiness forced into it.
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Somewhere in the world, rumoured to be impossible to trace now, a few prints survive of the original, untouched film, with all its final bleakness intact. Occasionally, videotapes and dvds of the original film surface, copied from copies of copies. Those who have seen these nth-generation copies say that despite the fuzziness and the bad sound, the Thakur's hopeless weeping is chilling, and it becomes clear to the viewer that all the visceral of power and violance lead inevitably to this agony, this loss. In those long-ago days of the seventies, this was the moral vision that Ramesh Sippy and Salim-Javed tried to bring to the Indian viewer. Due to the wisdom of our censors, what we got instead was an easy pabulum about the virtues of following the law, and a film that least in part had an aesthetic clumsiness forced into it.
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Former Member
Sholay 1975 Continues........
'Sholay' flopped. The critics were harsh, the performance at the box-office was mixed, and the industry, waiting for the smallest hint to knock the mega project of the brash young director, was merciless. For the first time since Salim-Javed narrated the four-line idea two and half years ago, Ramesh panicked. The weeks leading up to the release had been a blur. Ramesh was bug-eyed from lack of sleep. The climax re-shot and re-mix had increased the birth pangs ten-fold. Prints and negatives were flying between Mumbai and London. There was no time to savour the finished product. Meanwhile the hype had assumed a life of its own. The trade could talk of little else. Every day there was a new rumour: the film was being offered an 'Adults only' certificate; the censor board wanted further cuts; the 70mm prints were not ready, so the Sippy's postponing the release date... and on and on. A column in 'Trade Guide', the industry trade magazine, wrote: 'Wherever we went, we heard nothing but 'Sholay'... sometimes we also thought we would get allergic to it. Everyone wanted to see nothing but 'Sholay.' Many people in the industry preffered to discuss 'Sholay' to their own film.
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'Sholay' flopped. The critics were harsh, the performance at the box-office was mixed, and the industry, waiting for the smallest hint to knock the mega project of the brash young director, was merciless. For the first time since Salim-Javed narrated the four-line idea two and half years ago, Ramesh panicked. The weeks leading up to the release had been a blur. Ramesh was bug-eyed from lack of sleep. The climax re-shot and re-mix had increased the birth pangs ten-fold. Prints and negatives were flying between Mumbai and London. There was no time to savour the finished product. Meanwhile the hype had assumed a life of its own. The trade could talk of little else. Every day there was a new rumour: the film was being offered an 'Adults only' certificate; the censor board wanted further cuts; the 70mm prints were not ready, so the Sippy's postponing the release date... and on and on. A column in 'Trade Guide', the industry trade magazine, wrote: 'Wherever we went, we heard nothing but 'Sholay'... sometimes we also thought we would get allergic to it. Everyone wanted to see nothing but 'Sholay.' Many people in the industry preffered to discuss 'Sholay' to their own film.
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Former Member
Sholay 1975Continues.......
Minerva, on Mumbai's Lamington Road, had been selected as 'Sholay's main theatre. Minerva was known by its tag line: 'The pride of Maharashtra.' It was the only theatre at the time with a screen big enough for 70mm and six-track sound, and with 1500 seats it was also the largest cinema in the country. The theatre was dressed up like a bride for the release. Outside stood 30-foot cutouts of the star cast: Dharmendra, Amitabh, Sanjeev, Hema, Jaya and, of course, Amjad Khan. Inside were rows of photographs from the film, and garlands of flowers.
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Minerva, on Mumbai's Lamington Road, had been selected as 'Sholay's main theatre. Minerva was known by its tag line: 'The pride of Maharashtra.' It was the only theatre at the time with a screen big enough for 70mm and six-track sound, and with 1500 seats it was also the largest cinema in the country. The theatre was dressed up like a bride for the release. Outside stood 30-foot cutouts of the star cast: Dharmendra, Amitabh, Sanjeev, Hema, Jaya and, of course, Amjad Khan. Inside were rows of photographs from the film, and garlands of flowers.
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Former Member
Sholay 1975
The premiere night was a glittering affair. On 14 August, two premieres were held simultaneously, one at Minerva and one at Excelsior. For the cast and crew, it felt like life had come full circle. It was pouring outside, just as it had been on the first day of the shoot, and Jaya was glowing again - this time pregnant with Abhishek. The industry's top names, all spiffed up and shiny, walked into Minerva to see what the fuss was about. But there was a problem - the 70mm print hadn't arrived yet. It was still stuck at the customs.
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The premiere night was a glittering affair. On 14 August, two premieres were held simultaneously, one at Minerva and one at Excelsior. For the cast and crew, it felt like life had come full circle. It was pouring outside, just as it had been on the first day of the shoot, and Jaya was glowing again - this time pregnant with Abhishek. The industry's top names, all spiffed up and shiny, walked into Minerva to see what the fuss was about. But there was a problem - the 70mm print hadn't arrived yet. It was still stuck at the customs.
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Former Member
Sholay 1975
The 70mm saga was a plot worthy of Salim-Javed. A senior bureaucrat in the finance ministry had declared war on the Sippy's. Since a large part of the post-production work was done in London, several permissions were sought. The bureaucrat felt he hadn't been given adequate importance and was still simmering. He decided to use every ploy to throw 'Sholay'off track.
When the unit went to London, he wrote to the Indian High Commission there to keep close tabs on them. The Commission obliged. When the 70mm print came out, Ramesh decided to have a screening for friends and family. It was fixed for 10 one morning at the Odeon at Marble Arch. Ramesh also rang up the High Commissioner. 'But how,' said a senior secretary at the commission, 'can you have a screening? You don't have permission for that. Your contract says materials must go straight from Technicolour to India.' Then suddenly the secretary changed track: 'Okay, we'll come.' Ramesh had an intuition that all wasn't well and at the last minute cancelled the screening. It was fortunate. Because at exactly 9:50, people from the High Commission turned up to seize the print. Orders were sent out to stall the Sippy's at every level. When Ramesh landed in Mumbai, he was stripped searched. When even that didn't produce anything, the bureaucrat simply told the custom officials not to clear the print. On the morning of 14 August the prints were still lying in tins at the customs.
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The 70mm saga was a plot worthy of Salim-Javed. A senior bureaucrat in the finance ministry had declared war on the Sippy's. Since a large part of the post-production work was done in London, several permissions were sought. The bureaucrat felt he hadn't been given adequate importance and was still simmering. He decided to use every ploy to throw 'Sholay'off track.
When the unit went to London, he wrote to the Indian High Commission there to keep close tabs on them. The Commission obliged. When the 70mm print came out, Ramesh decided to have a screening for friends and family. It was fixed for 10 one morning at the Odeon at Marble Arch. Ramesh also rang up the High Commissioner. 'But how,' said a senior secretary at the commission, 'can you have a screening? You don't have permission for that. Your contract says materials must go straight from Technicolour to India.' Then suddenly the secretary changed track: 'Okay, we'll come.' Ramesh had an intuition that all wasn't well and at the last minute cancelled the screening. It was fortunate. Because at exactly 9:50, people from the High Commission turned up to seize the print. Orders were sent out to stall the Sippy's at every level. When Ramesh landed in Mumbai, he was stripped searched. When even that didn't produce anything, the bureaucrat simply told the custom officials not to clear the print. On the morning of 14 August the prints were still lying in tins at the customs.
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Former Member
Sholay 1975
G.P Sippy, never a man to take a beating lying down, went into action. He organized a high-level meeting. Attending on G.P's terrace were Rajni Patel, a noted lawer and a close confidant of Prime Minister Indira Gandhi, and V.C Shukla, minister for Information and Broadcasting, who was also the chief guest at the premiere. Shukla simply called Delhi and blasted into the bureaucrat: 'What are you trying to do? Tell them to release the prints now.' The bureaucrat, taken aback by the reach of the Sippy's, mumbled a quick 'Yes sir.' But he managed to delay the prints by a few more hours. By the evening they still hadn't reached the theatre, so 'Sholay's premiere audience saw a 35mm print.
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G.P Sippy, never a man to take a beating lying down, went into action. He organized a high-level meeting. Attending on G.P's terrace were Rajni Patel, a noted lawer and a close confidant of Prime Minister Indira Gandhi, and V.C Shukla, minister for Information and Broadcasting, who was also the chief guest at the premiere. Shukla simply called Delhi and blasted into the bureaucrat: 'What are you trying to do? Tell them to release the prints now.' The bureaucrat, taken aback by the reach of the Sippy's, mumbled a quick 'Yes sir.' But he managed to delay the prints by a few more hours. By the evening they still hadn't reached the theatre, so 'Sholay's premiere audience saw a 35mm print.
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Former Member
Sholay 1975
Through the screening; there was little reaction. The audience seemed unmoved. There was no laughter, no tears, no applause. Just silence. 'It was very scary,' recalls Geeta (Sippy). In the stalls sat Prakash Mehra, who had once been one of the contenders for the four-line story. 'Maine yeh kahani kyun cchod di? he asked himself aloud. After the film, as the audience streamed out of the hall, Pancham, who had been sitting next to Mehra, whispered to him: 'Log to gaaliyan de rahen hain.' 'Don't worry,' Prakash replied, 'this film is a hit. No one can stop it.'
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Through the screening; there was little reaction. The audience seemed unmoved. There was no laughter, no tears, no applause. Just silence. 'It was very scary,' recalls Geeta (Sippy). In the stalls sat Prakash Mehra, who had once been one of the contenders for the four-line story. 'Maine yeh kahani kyun cchod di? he asked himself aloud. After the film, as the audience streamed out of the hall, Pancham, who had been sitting next to Mehra, whispered to him: 'Log to gaaliyan de rahen hain.' 'Don't worry,' Prakash replied, 'this film is a hit. No one can stop it.'
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Former Member
Sholay 1975
The morning-after-the premiere grapevine dripped poison. The film was dubbed 'Chholey', and the main cast, 'Teen maharathi aur ek chooha (Three warriors and a mouse)'. Everything was wrong with the film. Why would women and family audiences want to see so much gore? The friendship was in such bad taste. Amjad had no presence, and no voice... 'Hindustaniyon ko aisi picturein nahin achhi lagti hain (Indians don't like films like this),' pronounced a prominent industry figure. The critics agreed. Taking off on the title of the film, K.L Amladi writing in 'India Today' called it a 'dead ember'. Thematically, its a gravely flawed attempt,' he wrote. Filmfare's Bikram Singh wrote: 'The major trouble with the film is the unsuccessful transplantation it attempts- grafting a western on the Indian milieu. The film remains imitation western-neither here nor there.' The trade magazines weren't gushing either. 'The classes and families will find no reason for a repeat show,' said 'Film Information.'
'Trade Guide' called it a milestone but qualified the praise with a negative comparison with 'Deewar' Now it was upto the audience. On 15 August 1975, 'Sholay' was released in the Bombay territory with forty prints.
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The morning-after-the premiere grapevine dripped poison. The film was dubbed 'Chholey', and the main cast, 'Teen maharathi aur ek chooha (Three warriors and a mouse)'. Everything was wrong with the film. Why would women and family audiences want to see so much gore? The friendship was in such bad taste. Amjad had no presence, and no voice... 'Hindustaniyon ko aisi picturein nahin achhi lagti hain (Indians don't like films like this),' pronounced a prominent industry figure. The critics agreed. Taking off on the title of the film, K.L Amladi writing in 'India Today' called it a 'dead ember'. Thematically, its a gravely flawed attempt,' he wrote. Filmfare's Bikram Singh wrote: 'The major trouble with the film is the unsuccessful transplantation it attempts- grafting a western on the Indian milieu. The film remains imitation western-neither here nor there.' The trade magazines weren't gushing either. 'The classes and families will find no reason for a repeat show,' said 'Film Information.'
'Trade Guide' called it a milestone but qualified the praise with a negative comparison with 'Deewar' Now it was upto the audience. On 15 August 1975, 'Sholay' was released in the Bombay territory with forty prints.
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Former Member
Sholay 1975
Dispite the notorious Mumbai ki barish which was coming sown in torrents, the crowds turned up; in fact, many people had started queuing up outside the theatres the night before the advance booking had opened. The demand for the tickets was so high that in some theatres the managers just put the phone off the hook. Looking at the advance, trade pundits were predicting that the film would cross a business of eleven lakh rupees in its first week.
THINGS LOOKING UP FOR SHOLAY:
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Dispite the notorious Mumbai ki barish which was coming sown in torrents, the crowds turned up; in fact, many people had started queuing up outside the theatres the night before the advance booking had opened. The demand for the tickets was so high that in some theatres the managers just put the phone off the hook. Looking at the advance, trade pundits were predicting that the film would cross a business of eleven lakh rupees in its first week.
THINGS LOOKING UP FOR SHOLAY:
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Former Member
quote:Originally posted by IK:
the looks that made him the heartthrob of the 70/80's .......
Now he look ridiculous with the black hair and grey beard.
Former Member
quote:Now he look ridiculous with the black hair and grey beard.
Makes him look a bit younger, maybe suitable for the young chicks that they have been pairing him with
Whats up bro, long time.
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Former Member
quote:Originally posted by asj:
Whats up bro, long time.
lil scarce. too much stuff going on right now. hope things going well your way. be good and safe. ma'salaam.
Former Member
Sholay 1975
The buoyancy was balanced by the legions of cynics. After the premiere, the critics and indusrywalas had already given their verdict, and their had been more brickbats than bouquets. Even the black marketeers- those most knowledgeable of critics - were a little apprehensive about the film. Sure, it was the Midas touch of the Sippy's and Salim-Javed, and yes, the film had an impressive starcast, but the story sounded strange: Sanjeev was playing a handicapped man and Jaya a silent widow, and there was some new villain who wasn't in the mould of the suave smugglers of the day like Ajit and Pran.
The Sippy's only hope was that the audience would prove them all wrong. There was no reaction. On Friday, 15 August, the first day of 'Sholay's release, Ramesh drove from one theatre to another to assess the reaction of the audience. As on the premiere night, there was only silence. Over the weekend, panic set in. The theatres were full but the reports were mixed. Pundits were now predicting disaster. No one told Ramesh that, but he could see it in their faces of all those he met. Every one wore that peculiar expression of pity and awkwardness. They met him like he was a man in mourning.
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The buoyancy was balanced by the legions of cynics. After the premiere, the critics and indusrywalas had already given their verdict, and their had been more brickbats than bouquets. Even the black marketeers- those most knowledgeable of critics - were a little apprehensive about the film. Sure, it was the Midas touch of the Sippy's and Salim-Javed, and yes, the film had an impressive starcast, but the story sounded strange: Sanjeev was playing a handicapped man and Jaya a silent widow, and there was some new villain who wasn't in the mould of the suave smugglers of the day like Ajit and Pran.
The Sippy's only hope was that the audience would prove them all wrong. There was no reaction. On Friday, 15 August, the first day of 'Sholay's release, Ramesh drove from one theatre to another to assess the reaction of the audience. As on the premiere night, there was only silence. Over the weekend, panic set in. The theatres were full but the reports were mixed. Pundits were now predicting disaster. No one told Ramesh that, but he could see it in their faces of all those he met. Every one wore that peculiar expression of pity and awkwardness. They met him like he was a man in mourning.
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Former Member
Sholay 1975
The Sippys moved into damage-control mode. On the weekend, a hurried meeting was convened at Amitabh's house. G.P Sippy, Ramesh and Amitabh put their heads together to try and come up with solutions. Since there was no fear of piracy at the time, the release of the film in the major territories was being staggered. They could make substantial alterations before 'Sholay' hit the rest of the country. One suggestion was re-shooting the end again. Amitabh, post'Zanjeer' and 'Deewar', was too big a star to die. Jai was just a petty thief, he hadn't done anything to deserve death. Perhaps an ending in which the two couples walk into the sunset would salvage the film. Salim-Javed were vehement that the film shouldn't be touched. Ramesh considered the suggestion for a new ending, but not for long. His head said he should do it but his heart wouldn't allow it. He went with his heart A happy end would compromise his film even further. It was important that the audience leave the theatre with a feeling that something had been left unfinished. That slight ache in the heart was part of the film's appeal. Not a frame would be touched. He would swim or sink with the film.
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The Sippys moved into damage-control mode. On the weekend, a hurried meeting was convened at Amitabh's house. G.P Sippy, Ramesh and Amitabh put their heads together to try and come up with solutions. Since there was no fear of piracy at the time, the release of the film in the major territories was being staggered. They could make substantial alterations before 'Sholay' hit the rest of the country. One suggestion was re-shooting the end again. Amitabh, post'Zanjeer' and 'Deewar', was too big a star to die. Jai was just a petty thief, he hadn't done anything to deserve death. Perhaps an ending in which the two couples walk into the sunset would salvage the film. Salim-Javed were vehement that the film shouldn't be touched. Ramesh considered the suggestion for a new ending, but not for long. His head said he should do it but his heart wouldn't allow it. He went with his heart A happy end would compromise his film even further. It was important that the audience leave the theatre with a feeling that something had been left unfinished. That slight ache in the heart was part of the film's appeal. Not a frame would be touched. He would swim or sink with the film.
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Former Member
Sholay 1975
As the week wore on the anxiety of the crew turned into depression. On Monday morning, when the second week advance booking opened, there were modest queues outside Minerva and Excelsior where the 70mm prints were showing. At other theatres, hardly two or three people stood for tickets. In most of the suburban theatres, matinee shows had less than fifty per cent collections. For Ramesh, this was confirmation that all was lost. He was devastated. That evening he walked into Film Center, where more prints were being made, and told Anwar, 'Printing band kar do. Abhi kuchh samajh main nahin aa raha hai (Stop the printing. I don't understand what's going on.)' At home the unflappable demeanour cracked. It was the first time in his remarkable career that he was facing a flop. 'I think I've failed,' he told Geeta.
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As the week wore on the anxiety of the crew turned into depression. On Monday morning, when the second week advance booking opened, there were modest queues outside Minerva and Excelsior where the 70mm prints were showing. At other theatres, hardly two or three people stood for tickets. In most of the suburban theatres, matinee shows had less than fifty per cent collections. For Ramesh, this was confirmation that all was lost. He was devastated. That evening he walked into Film Center, where more prints were being made, and told Anwar, 'Printing band kar do. Abhi kuchh samajh main nahin aa raha hai (Stop the printing. I don't understand what's going on.)' At home the unflappable demeanour cracked. It was the first time in his remarkable career that he was facing a flop. 'I think I've failed,' he told Geeta.
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Former Member
Sholay 1975
At the Sippy house the tension was palpable. G.P Sippy stood rock-steady and characteristically optimistic. He was sure that the film would turn around. But at the back of his mind sat unpleasant thoughts: The film had gone way over budget and creditors had to be paid back. They might never be able to make another film again. This was one gamble that could put them back years. There were even rumours that the Sippys were packing up and leaving the country. One week later, on 22 August 1975, 'Sholay' was released in Bangalore in six theatres. Suresh Malhotra, the distributer, organized a grand premiere. The entire main cast and crew flew in for the night. Suresh loved 'Sholay'. When interviewed by 'Film Information' in July, he had predicted that the film would do a business of one crore. But it didn't look like the business would bear his claim. Even before the first week was over, collections took a dip in Bangalore.
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At the Sippy house the tension was palpable. G.P Sippy stood rock-steady and characteristically optimistic. He was sure that the film would turn around. But at the back of his mind sat unpleasant thoughts: The film had gone way over budget and creditors had to be paid back. They might never be able to make another film again. This was one gamble that could put them back years. There were even rumours that the Sippys were packing up and leaving the country. One week later, on 22 August 1975, 'Sholay' was released in Bangalore in six theatres. Suresh Malhotra, the distributer, organized a grand premiere. The entire main cast and crew flew in for the night. Suresh loved 'Sholay'. When interviewed by 'Film Information' in July, he had predicted that the film would do a business of one crore. But it didn't look like the business would bear his claim. Even before the first week was over, collections took a dip in Bangalore.
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Former Member
Sholay 1975
But the worst affected was Amjad. As negative feedback filtered in, Amjad became more and more silent. The normally effusive and volatile man retreated into a shell. His house was enveloped in gloom. An equally disheartened Asrani visited him in the first week. Asrani had been shooting at the nearby Mehboob Studio with Aruna Irani and she had suggested dropping in at Amjad's. 'Maine dam laga diya, ab nahi chali. kya kar sakte hain (I gave it all I had, but it hasn't worked. There's nothing to be done now),' Amjad told them mournfully. 'Lekin aapki taareef to bhut ho rahi hai (But theres great things being said about your performance),' Asrani countered. Praise was little consolation. 'What's the use, yaar?' Amjad replied, fighting back tears. 'Salim-Javed have told Ramesh that my voice ruined the picture. Sorry folks, I've missed the bus.'
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But the worst affected was Amjad. As negative feedback filtered in, Amjad became more and more silent. The normally effusive and volatile man retreated into a shell. His house was enveloped in gloom. An equally disheartened Asrani visited him in the first week. Asrani had been shooting at the nearby Mehboob Studio with Aruna Irani and she had suggested dropping in at Amjad's. 'Maine dam laga diya, ab nahi chali. kya kar sakte hain (I gave it all I had, but it hasn't worked. There's nothing to be done now),' Amjad told them mournfully. 'Lekin aapki taareef to bhut ho rahi hai (But theres great things being said about your performance),' Asrani countered. Praise was little consolation. 'What's the use, yaar?' Amjad replied, fighting back tears. 'Salim-Javed have told Ramesh that my voice ruined the picture. Sorry folks, I've missed the bus.'
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Former Member
Sholay 1975
In all the sound and fury, Salim-Javed stood firm. 'Nothing doing,' they said to re-shooting proposals. 'This film will run.' It was the cockiness of youth and the confidence of a job well done. The following week, the two put an advertisement in the trade papers. The ad said, 'Salim-Javed predict that 'Sholay' will be a grosser of rupees one crore in each major territory of India.' The trade predicted that going by the response, the Sippys would be lucky if 'Sholay' managed forty lakh per territory.
Salim-Javed were wrong. As it turned out, one crore was a conservative estimate. Mid-week, a curious thing happened: there was little advance booking, but the theatre's were full. The proprietor at Geeta cinema in Worli told Ramesh, 'Don't worry, your film is a hit.' It was the first time Ramesh had heard the word used in connection with his film. 'How can you say that?' he asked. 'Because the sales of my soft drinks and ice-creams are going down,' the man replied. 'By the interval the audience are so stunned that they are not coming out of the theatre.'.
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In all the sound and fury, Salim-Javed stood firm. 'Nothing doing,' they said to re-shooting proposals. 'This film will run.' It was the cockiness of youth and the confidence of a job well done. The following week, the two put an advertisement in the trade papers. The ad said, 'Salim-Javed predict that 'Sholay' will be a grosser of rupees one crore in each major territory of India.' The trade predicted that going by the response, the Sippys would be lucky if 'Sholay' managed forty lakh per territory.
Salim-Javed were wrong. As it turned out, one crore was a conservative estimate. Mid-week, a curious thing happened: there was little advance booking, but the theatre's were full. The proprietor at Geeta cinema in Worli told Ramesh, 'Don't worry, your film is a hit.' It was the first time Ramesh had heard the word used in connection with his film. 'How can you say that?' he asked. 'Because the sales of my soft drinks and ice-creams are going down,' the man replied. 'By the interval the audience are so stunned that they are not coming out of the theatre.'.
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Former Member
Sholay 1975
THE TURNING POINT AS LIKE IN THE MOVIE WITH "PAKEEZAH"
Finally Ramesh understood why there was no reaction. People were overawed by what they were seeing. They needed time. Now, clearly 'Sholay' had found its audience. Word of mouth spread like a juicy rumour. The visuals were epic and the sound was a miracle; when Veeru threw the coin in the climax, people in the 70mm theatres dove under their seats to see where it had fallen. By the third week, audiences were repeating dialogues. It meant that at least some were coming in to see the film for a second time. Polydor noticed this and was quick to act. Record sales weren't good and the music company was in a panic. Even though people came out of the theatres with smiles on their faces, they didn't buy the music. The music men were bewildered. What was the problem here? Some key managers were dispatched to the theatres to see the film with the audience. They realized that the reaction to the dialogue was extraordinary. Obviously 'Sholay's visuals and dialogue were so overpowering that the music barely registered. If Polydor wanted to sell more records, it would have to give the audience what they remembered when they left the theatre: the dialogue. The strategy succeeded. Polydor couldn't keep up with the demand as records flew off the shelves.
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THE TURNING POINT AS LIKE IN THE MOVIE WITH "PAKEEZAH"
Finally Ramesh understood why there was no reaction. People were overawed by what they were seeing. They needed time. Now, clearly 'Sholay' had found its audience. Word of mouth spread like a juicy rumour. The visuals were epic and the sound was a miracle; when Veeru threw the coin in the climax, people in the 70mm theatres dove under their seats to see where it had fallen. By the third week, audiences were repeating dialogues. It meant that at least some were coming in to see the film for a second time. Polydor noticed this and was quick to act. Record sales weren't good and the music company was in a panic. Even though people came out of the theatres with smiles on their faces, they didn't buy the music. The music men were bewildered. What was the problem here? Some key managers were dispatched to the theatres to see the film with the audience. They realized that the reaction to the dialogue was extraordinary. Obviously 'Sholay's visuals and dialogue were so overpowering that the music barely registered. If Polydor wanted to sell more records, it would have to give the audience what they remembered when they left the theatre: the dialogue. The strategy succeeded. Polydor couldn't keep up with the demand as records flew off the shelves.
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Former Member
Sholay 1975
The tide had turned. 'Sholay' was beginning to prove all doomsayers wrong. As the film caught on, tickets became priceless. The lines at Minerva stretched a few kilometres, from the theatre to the nearby Tardeo bridge. The bus stop outside was renamed 'Sholay' stop'. The Minerva manager, Sushil Mehra, could barely keep up with the demand. He stayed at the booking window from 8 a.m to 8 p.m and finally just moved his family into a two-room apartment at the theatre; going home seemed pointless.
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The tide had turned. 'Sholay' was beginning to prove all doomsayers wrong. As the film caught on, tickets became priceless. The lines at Minerva stretched a few kilometres, from the theatre to the nearby Tardeo bridge. The bus stop outside was renamed 'Sholay' stop'. The Minerva manager, Sushil Mehra, could barely keep up with the demand. He stayed at the booking window from 8 a.m to 8 p.m and finally just moved his family into a two-room apartment at the theatre; going home seemed pointless.
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Former Member
Sholay 1975
The Sippys stopped listening to the trade. As the collections mounted, it became obvious that they were looking at something big. In September, Ramesh left for London to take his much-deserved holiday. But every week the collections were given to him over the phone. Ten weeks after its release the film was declared a super hit, and on 11 October 1975 'Sholay' already a blockbuster, was released in the territories of Delhi, U.P, Bengal, the Central Provinces and Hyderabad to a record-breaking box office.
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The Sippys stopped listening to the trade. As the collections mounted, it became obvious that they were looking at something big. In September, Ramesh left for London to take his much-deserved holiday. But every week the collections were given to him over the phone. Ten weeks after its release the film was declared a super hit, and on 11 October 1975 'Sholay' already a blockbuster, was released in the territories of Delhi, U.P, Bengal, the Central Provinces and Hyderabad to a record-breaking box office.
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Former Member
Sholay 1975
Several months later, Asrani ran into Amjad. Both had been invited to inaugurate a studio in Gujarat. On the flight, Asrani laughed: 'Haan ji, did you miss the bus?' Amjad broke into a broad grin. The studio was about forty kilometres away from the airport. While driving there, Amjad's son felt thirsty, and they stopped at a small roadside stall. It was a ramshackle place selling cold drinks, biscuits and cigarettes. There was no other building or even a hut to be seen for miles. As they entered the shop, a voice crackled on a rickety gramophone:
'Kitne aadmi the?'
Gabbar Singh's dialogue boomed through the shop. The stall owner served the group drinks but did not recognize the star. For a minute, Amjad stood absolutely still. His eyes squinted in recognition of his own voice. Then, listening to his voice playing in a shanty on a dusty, deserted road in the middle of nowhere, Amjad Khan sat down and cried.
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Several months later, Asrani ran into Amjad. Both had been invited to inaugurate a studio in Gujarat. On the flight, Asrani laughed: 'Haan ji, did you miss the bus?' Amjad broke into a broad grin. The studio was about forty kilometres away from the airport. While driving there, Amjad's son felt thirsty, and they stopped at a small roadside stall. It was a ramshackle place selling cold drinks, biscuits and cigarettes. There was no other building or even a hut to be seen for miles. As they entered the shop, a voice crackled on a rickety gramophone:
'Kitne aadmi the?'
Gabbar Singh's dialogue boomed through the shop. The stall owner served the group drinks but did not recognize the star. For a minute, Amjad stood absolutely still. His eyes squinted in recognition of his own voice. Then, listening to his voice playing in a shanty on a dusty, deserted road in the middle of nowhere, Amjad Khan sat down and cried.
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Former Member
Sholay 1975 REVISITED:
MORE LATER:
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MORE LATER:
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
Sanjeev Kumar as he appears in Sholay
Hari bhai died in 1985. He was only forty-seven, but a lifetime of unhealthy eating and drinking habits had caught up with him. Sanjeev never achieved the status of 'phenomenon' as Rajesh Khanna or Amitabh Bachchan did. In fact, toward the end, he had become increasingly careless about his looks. But his name was a standard for good acting. And unlike other stars, he wasn't bound by commercial considerations. He enthusiatically donned a gray wig to play the Thakur. For Sanjeev, always, the role was the prize.
N.B. May I add here that Sanjeev was one of the men who was very much in love with Hema Malini, it is rumored that to appease that love which was rebuffed, he resort to the bottle and eventually that was partly the cause for his demise:
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PERSONALITIES BEHIND SHOLAY 1975:
Sanjeev Kumar as he appears in Sholay
Hari bhai died in 1985. He was only forty-seven,
but a lifetime of unhealthy eating and drinking habits had caught up with him. Sanjeev never achieved the status of 'phenomenon' as Rajesh Khanna or Amitabh Bachchan did. In fact, toward the end, he had become increasingly careless about his looks. But his name was a standard for good acting. And unlike other stars, he wasn't bound by commercial considerations. He enthusiatically donned a gray wig to play the Thakur. For Sanjeev, always, the role was the prize.N.B. May I add here that Sanjeev was one of the men who was very much in love with Hema Malini, it is rumored that to appease that love which was rebuffed, he resort to the bottle and eventually that was partly the cause for his demise:
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
NOSTALGIC EH!
DHARMENDRA WITH HIS COMRADES FROM SHOLAY
Dharmendra married twice and has maintained both his wives. His first marriage was to Prakash Kaur at the age of 19 in 1954. His second marriage was to the Bollywood actress Hema Malini. They are said to have fallen in love on the sets of Sholay (1975) although they have made many films together before and after Sholay. From his first marriage he has two daughters who are settled in California and two sons who are also successful actors: Sunny Deol and Bobby Deol. From his second wife Hema Malini, he has two daughters who are also actresses: Esha Deol and Ahana Deol. His nephew Abhay Deol is also an actor. Dharmendra has gone on record saying he did not believe the Mumbai film industry was a place suitable for girls. He was unperturbed by his sons Sunny and Bobby joining the industry, he was vocal about his displeasure regarding his daughter Esha's choice of profession. It is rumoured that he converted to Islam in order to legitimize his second marriage.
Someday I will be tempted to do a profile on Dharmendra (Dharam Garam)
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PERSONALITIES BEHIND SHOLAY 1975:
NOSTALGIC EH!
DHARMENDRA WITH HIS COMRADES FROM SHOLAY
Dharmendra married twice and has maintained both his wives. His first marriage was to Prakash Kaur at the age of 19 in 1954. His second marriage was to the Bollywood actress Hema Malini. They are said to have fallen in love on the sets of Sholay (1975) although they have made many films together before and after Sholay. From his first marriage he has two daughters who are settled in California and two sons who are also successful actors: Sunny Deol and Bobby Deol. From his second wife Hema Malini, he has two daughters who are also actresses: Esha Deol and Ahana Deol. His nephew Abhay Deol is also an actor. Dharmendra has gone on record saying he did not believe the Mumbai film industry was a place suitable for girls. He was unperturbed by his sons Sunny and Bobby joining the industry, he was vocal about his displeasure regarding his daughter Esha's choice of profession. It is rumoured that he converted to Islam in order to legitimize his second marriage.
Someday I will be tempted to do a profile on Dharmendra (Dharam Garam)
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
HEMA MALINI: AS SHE APPEARS IN SHOLAY
Sholay (1975) opposite Dhramendra, made her popularity soar higher and higher.
At a time when she was riding a crest of popularity, famed actors like Jeetendra and Sanjeev Kumar proposed her for marriage. But she had something else in mind. Hema Malini later broke conventions by entering into matrimonial alliance with already married Dharmendra. The marriage not only prospered, but also made Dharmendra-Hema one of the most sought after Bollywood couples ever.
Lately Hema is busy casting the careers of daughter Esha and Ahna. Besides, she also edits a Mumbai based woman's magazine. Unlike, the case of hubby Dharmendra, Hema got the Filmfare award rather early in 1972. In 1992, Hema Malini was awarded the Padma Bhushan by the government of India for her contribution to the society. In August 2003, the President of India nominated her to the Rajya Sabha.
In the latest scramble of stars joining political parties, Hema too has joined BJP at the behest of its President Venkiah Naidu. The veteran of over 100 films has campaigned hard for her husband Dharmendra, who has made into the Lok Sabha from Bikaner constituency. Only time can tell how far this famous pair of Veeru and Basanti with Hema sitting in the Upper House and Dharamji seated in the Lower House, can re-enact Sholay in public life.
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PERSONALITIES BEHIND SHOLAY 1975:
HEMA MALINI: AS SHE APPEARS IN SHOLAY
Sholay (1975) opposite Dhramendra, made her popularity soar higher and higher.
At a time when she was riding a crest of popularity, famed actors like Jeetendra and Sanjeev Kumar proposed her for marriage. But she had something else in mind. Hema Malini later broke conventions by entering into matrimonial alliance with already married Dharmendra. The marriage not only prospered, but also made Dharmendra-Hema one of the most sought after Bollywood couples ever.
Lately Hema is busy casting the careers of daughter Esha and Ahna. Besides, she also edits a Mumbai based woman's magazine. Unlike, the case of hubby Dharmendra, Hema got the Filmfare award rather early in 1972. In 1992, Hema Malini was awarded the Padma Bhushan by the government of India for her contribution to the society. In August 2003, the President of India nominated her to the Rajya Sabha.
In the latest scramble of stars joining political parties, Hema too has joined BJP at the behest of its President Venkiah Naidu. The veteran of over 100 films has campaigned hard for her husband Dharmendra, who has made into the Lok Sabha from Bikaner constituency. Only time can tell how far this famous pair of Veeru and Basanti with Hema sitting in the Upper House and Dharamji seated in the Lower House, can re-enact Sholay in public life.
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
AMITABH BACCHAN:
Amitabh Bachchan held on to superstar status for two decades. The uncharismatic underdog who couldn't get a film left his rivals eating dust. Nobody else even came close. He was ranked number one to ten. Amitabh survived a near-fatal accident on the sets of Manmohan Desai's 'Coolie', the debilitating disease myasthenia gravis, and a scandal-ridden plunge into politics. By the late 80's and early 90s, Bachchan's films were propelled purely by star appeal. In 1992, the 'one-man industry' took a long holiday from films and returned three years later.
IT CAN BE SAID THAT AFTER SHOLAY AMITABH WENT ON TO GIVE US HITS AFTER HITS AND CONTINUE TO DO SO, HE HAS EVENTUALLY BECOMES ONE OF THE BEST, IF NOT THE BEST ACTOR ALIVE TODAY;
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PERSONALITIES BEHIND SHOLAY 1975:
AMITABH BACCHAN:
Amitabh Bachchan held on to superstar status for two decades. The uncharismatic underdog who couldn't get a film left his rivals eating dust. Nobody else even came close. He was ranked number one to ten. Amitabh survived a near-fatal accident on the sets of Manmohan Desai's 'Coolie', the debilitating disease myasthenia gravis, and a scandal-ridden plunge into politics. By the late 80's and early 90s, Bachchan's films were propelled purely by star appeal. In 1992, the 'one-man industry' took a long holiday from films and returned three years later.
IT CAN BE SAID THAT AFTER SHOLAY AMITABH WENT ON TO GIVE US HITS AFTER HITS AND CONTINUE TO DO SO, HE HAS EVENTUALLY BECOMES ONE OF THE BEST, IF NOT THE BEST ACTOR ALIVE TODAY;
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Former Member
wow, what an all consuming love n the tragic ending....so sad, he was so masterful in that rolequote:Originally posted by asj:
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
Sanjeev Kumar as he appears in Sholay
Hari bhai died in 1985. He was only forty-seven,
N.B. May I add here that Sanjeev was one of the men who was very much in love with Hema Malini, it is rumored that to appease that love which was rebuffed, he resort to the bottle and eventually that was partly the cause for his demise:
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Former Member
quote:Originally posted by asj:
DID HE LOVED HEMA SO MUCH THAT HE DRANK HIMSELF TO DEATH?
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AFTER PROPOSING TO HER, SHE CALMLY SAYS NO AND THEN THE REST IS HISTORYl
YES IK, IT IS INDEED SAD:
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
AMITABH BACCHAN:
Amitabh Bachchan held on to superstar status for two decades. The uncharismatic underdog who couldn't get a film left his rivals eating dust. Nobody else even came close. He was ranked number one to ten. Amitabh survived a near-fatal accident on the sets of Manmohan Desai's 'Coolie', the debilitating disease myasthenia gravis, and a scandal-ridden plunge into politics. By the late 80's and early 90s, Bachchan's films were propelled purely by star appeal. In 1992, the 'one-man industry' took a long holiday from films and returned three years later.
IT CAN BE SAID THAT AFTER SHOLAY AMITABH WENT ON TO GIVE US HITS AFTER HITS AND CONTINUE TO DO SO, HE HAS EVENTUALLY BECOMES ONE OF THE BEST, IF NOT THE BEST ACTOR ALIVE TODAY;
..
PERSONALITIES BEHIND SHOLAY 1975:
AMITABH BACCHAN:
Amitabh Bachchan held on to superstar status for two decades. The uncharismatic underdog who couldn't get a film left his rivals eating dust. Nobody else even came close. He was ranked number one to ten. Amitabh survived a near-fatal accident on the sets of Manmohan Desai's 'Coolie', the debilitating disease myasthenia gravis, and a scandal-ridden plunge into politics. By the late 80's and early 90s, Bachchan's films were propelled purely by star appeal. In 1992, the 'one-man industry' took a long holiday from films and returned three years later.
IT CAN BE SAID THAT AFTER SHOLAY AMITABH WENT ON TO GIVE US HITS AFTER HITS AND CONTINUE TO DO SO, HE HAS EVENTUALLY BECOMES ONE OF THE BEST, IF NOT THE BEST ACTOR ALIVE TODAY;
..
Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
JAYA BHADURI: LADY OF THE LAMP: HECK OF A FILMSHOT
The lady of the lamps was among Jaya's last roles. Engrossed in her children and marriage, she abandoned her career soon after 'Sholay'. She returned in 1981 in Yash Chopra's 'Silsila' and has since done the occasional challenging roles.
SHE WAS VINTAGE JAYA IN FIZA: IN AN UNFOREGTABLE ROLE: MOST OF US WILL REMEMBER "KABHI KHUSHI KABHI GHAM" ALSO HUM SATH SATH HAIN
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PERSONALITIES BEHIND SHOLAY 1975:
JAYA BHADURI: LADY OF THE LAMP: HECK OF A FILMSHOT
The lady of the lamps was among Jaya's last roles. Engrossed in her children and marriage, she abandoned her career soon after 'Sholay'. She returned in 1981 in Yash Chopra's 'Silsila' and has since done the occasional challenging roles.
SHE WAS VINTAGE JAYA IN FIZA: IN AN UNFOREGTABLE ROLE: MOST OF US WILL REMEMBER "KABHI KHUSHI KABHI GHAM" ALSO HUM SATH SATH HAIN
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
AMJAD KHAN AKA GABBAR SINGH:
Amjad died on 27 July 1992 at the age of forty-eight. Amjad was candid enough to acknowledge that a role like Gabbar happens only once in a career. 'From here,' he often said, 'the only place i can go is down. This cannot be repeated.' But Amjad became a leading villain and character artiste, playing parallel roles in hits such as 'Mukaddar Ka Sikandar', 'Suhaag', 'Lawaaris' and 'Mr Narwarlal. He also turned in a critically acclaimed performane in Satyajit Ray's 'Shatranj Ke Khiladi.' On 15 october 1976, Amjad met with a near-fatal accident on the Mumbai-Goa road. Swerving to avoid hitting a boulder, he drove the car into a tree. The steering wheel went into his chest. He recovered from the serious injuries, but the drugs administered to him caused a serious weight problem. He ballooned dramatically, and soon the roles coming to him were comedies. But Amjad rarely complained. 'I've come with nothing and whatever i've made in this life is profit,' was his philosophy till his untimely death.
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PERSONALITIES BEHIND SHOLAY 1975:
AMJAD KHAN AKA GABBAR SINGH:
Amjad died on 27 July 1992 at the age of forty-eight. Amjad was candid enough to acknowledge that a role like Gabbar happens only once in a career. 'From here,' he often said, 'the only place i can go is down. This cannot be repeated.' But Amjad became a leading villain and character artiste, playing parallel roles in hits such as 'Mukaddar Ka Sikandar', 'Suhaag', 'Lawaaris' and 'Mr Narwarlal. He also turned in a critically acclaimed performane in Satyajit Ray's 'Shatranj Ke Khiladi.' On 15 october 1976, Amjad met with a near-fatal accident on the Mumbai-Goa road. Swerving to avoid hitting a boulder, he drove the car into a tree. The steering wheel went into his chest. He recovered from the serious injuries, but the drugs administered to him caused a serious weight problem. He ballooned dramatically, and soon the roles coming to him were comedies. But Amjad rarely complained. 'I've come with nothing and whatever i've made in this life is profit,' was his philosophy till his untimely death.
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
G.P.SIPPY:
G.P DIED IN DEC 25TH 2007:
Gopaldas Parmanand Sippy was the right man at the right time, he was a man who felt these changes in the air and responded to them in his films. His mind was keen and his instincts impeccable. He was a lawyer by training and a gambler by nature. He had run a restaurant, constructed buildings, produced films, directed films and even dabbled in acting. G.P had the knack for spotting an opportunity, and the guts to run with it. In 1947 the Sippy's had migrated to Mumbai from Karachi with only their shirts on their backs. Stories of how G.P built back the family fortune are now industry folklore. Legend has it that he was eating in a restaurant in Colaba when he noticed that there was a long line outside the door. He asked his neigbour the reason and was told that the offices in the area had just halted work for lunch. So G.P decided to open a restaurant. He located an appropriate shop, but he did not have the Rs 5000 required to rent it. In fact, he had hardly any money at all. But in the morning he opened a bank account with Rs 100, and wrote out a cheque to the landlord. The shop was his. G.P then promptly mortgaged the shop for Rs 5000 and deposited the money in his bank.
AFTER SHOLAY HE WENT ON TO PRODUCE THE FOLLOWING FILMS:
# Hamesha (1997)
# Zamaana Deewana (1995)
# Aatish: Feel the Fire (1994)
# Raju Ban Gaya Gentleman (1992)
# Patthar Ke Phool (1991)
# Bhrashtachar (1989)
# Saagar (1985)
# Shaan (1980)
# Ahsaas (1979)
# Trishna (1978)
BEFORE SHOLAY SOME OF HIS FOLLOWING FILMS WERE HITS:
# Seeta Aur Geeta (1972)
# Andaz (1971)
# Bandhan (1969)
# Brahmachari (1968/I)
# Mere Sanam (1965)
# Bhai-Bahen (1959)
# 12 O'Clock (1958)
# Sazaa (1951)
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PERSONALITIES BEHIND SHOLAY 1975:
G.P.SIPPY:
G.P DIED IN DEC 25TH 2007:
Gopaldas Parmanand Sippy was the right man at the right time, he was a man who felt these changes in the air and responded to them in his films. His mind was keen and his instincts impeccable. He was a lawyer by training and a gambler by nature. He had run a restaurant, constructed buildings, produced films, directed films and even dabbled in acting. G.P had the knack for spotting an opportunity, and the guts to run with it. In 1947 the Sippy's had migrated to Mumbai from Karachi with only their shirts on their backs. Stories of how G.P built back the family fortune are now industry folklore. Legend has it that he was eating in a restaurant in Colaba when he noticed that there was a long line outside the door. He asked his neigbour the reason and was told that the offices in the area had just halted work for lunch. So G.P decided to open a restaurant. He located an appropriate shop, but he did not have the Rs 5000 required to rent it. In fact, he had hardly any money at all. But in the morning he opened a bank account with Rs 100, and wrote out a cheque to the landlord. The shop was his. G.P then promptly mortgaged the shop for Rs 5000 and deposited the money in his bank.
AFTER SHOLAY HE WENT ON TO PRODUCE THE FOLLOWING FILMS:
# Hamesha (1997)
# Zamaana Deewana (1995)
# Aatish: Feel the Fire (1994)
# Raju Ban Gaya Gentleman (1992)
# Patthar Ke Phool (1991)
# Bhrashtachar (1989)
# Saagar (1985)
# Shaan (1980)
# Ahsaas (1979)
# Trishna (1978)
BEFORE SHOLAY SOME OF HIS FOLLOWING FILMS WERE HITS:
# Seeta Aur Geeta (1972)
# Andaz (1971)
# Bandhan (1969)
# Brahmachari (1968/I)
# Mere Sanam (1965)
# Bhai-Bahen (1959)
# 12 O'Clock (1958)
# Sazaa (1951)
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
RAMESH SIPPY:
Ramesh Sippy born January 23, 1947 in Karachi best known for directing the popular and critically acclaimed film Sholay (Flames).
His father was producer G.P. Sippy, and his son Rohan Sippy is also a film director. His daughter Sheena is married to Shashi Kapoor's son- Kunal Kapoor. Ramesh is twice married, his second marriage being to actress Kiran Juneja. [2]
Ramesh Sippy Couldn't escape 'Sholay'. But Ramesh never capitulated to 'Sholay's success. He defied audience expectations, and instead of rehashing the 'Sholay' formula, chose to always experiment. The team followed 'Sholay' with 'Shaan', an urban James Bond style caper about two petty thieves. 'Shaan' was a technically polished product, which recovered its money but fell short of expectations. Ramesh's next film, 'Shakti', an intimate portrait of a tragic father-son relationship, was praised for its craft and award winning performances. As was the next venture, 'Saagar', a lyrically shot romance. Ramesh then moved his sights to television and created the small classic 'Buniyaad'. A partition soap opera, 'Buniyaad' was so popular that streets from Lahore to Mumbai emptied out when the show was aired.
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PERSONALITIES BEHIND SHOLAY 1975:
RAMESH SIPPY:
Ramesh Sippy born January 23, 1947 in Karachi best known for directing the popular and critically acclaimed film Sholay (Flames).
His father was producer G.P. Sippy, and his son Rohan Sippy is also a film director. His daughter Sheena is married to Shashi Kapoor's son- Kunal Kapoor. Ramesh is twice married, his second marriage being to actress Kiran Juneja. [2]
Ramesh Sippy Couldn't escape 'Sholay'. But Ramesh never capitulated to 'Sholay's success. He defied audience expectations, and instead of rehashing the 'Sholay' formula, chose to always experiment. The team followed 'Sholay' with 'Shaan', an urban James Bond style caper about two petty thieves. 'Shaan' was a technically polished product, which recovered its money but fell short of expectations. Ramesh's next film, 'Shakti', an intimate portrait of a tragic father-son relationship, was praised for its craft and award winning performances. As was the next venture, 'Saagar', a lyrically shot romance. Ramesh then moved his sights to television and created the small classic 'Buniyaad'. A partition soap opera, 'Buniyaad' was so popular that streets from Lahore to Mumbai emptied out when the show was aired.
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
RAHUL DEV BURMAN:
Rahul Dev Burman also known as R. D. Burman, and Pancham da (June 27, 1939âJanuary 4, 1994)
was one of the great music composers of Bollywood. Commonly R.D. Burman is known as Pancham among his fans. He was the only son of singer and music composer Sachin Dev Burman and Meera, and the second husband of playback singer Asha Bhosle. He is credited with revolutionizing the music in Hindi films, and his style and techniques continue to be followed by the composers of today.
The most innovative, futuristic and trail-blazing composer of all time, Pancham alias Rahul Dev Burman Intregrated Western and Indian music into a synergistic blend.
His highly individualistic style was evident from his earlier films like 'Teesri Manzil'. Later 'Aandhi', 'Amar Prem', 'Caravan', 'Hare Rama Hare Krishna', 'Jawani Diwani', 'Kati Patang' and 'Padason' proved his class and mass appeal. As a singer, he was indeed unique (Duniya mein logon ko, Mehbooba mehbooba). Ditched by fickle producers, he went into a decline in the 80s only to leave this world with a dazzling burst of final glory in '1942 A Love Story'.
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PERSONALITIES BEHIND SHOLAY 1975:
RAHUL DEV BURMAN:
Rahul Dev Burman also known as R. D. Burman, and Pancham da (June 27, 1939âJanuary 4, 1994)
was one of the great music composers of Bollywood. Commonly R.D. Burman is known as Pancham among his fans. He was the only son of singer and music composer Sachin Dev Burman and Meera, and the second husband of playback singer Asha Bhosle. He is credited with revolutionizing the music in Hindi films, and his style and techniques continue to be followed by the composers of today.
The most innovative, futuristic and trail-blazing composer of all time, Pancham alias Rahul Dev Burman Intregrated Western and Indian music into a synergistic blend.
His highly individualistic style was evident from his earlier films like 'Teesri Manzil'. Later 'Aandhi', 'Amar Prem', 'Caravan', 'Hare Rama Hare Krishna', 'Jawani Diwani', 'Kati Patang' and 'Padason' proved his class and mass appeal. As a singer, he was indeed unique (Duniya mein logon ko, Mehbooba mehbooba). Ditched by fickle producers, he went into a decline in the 80s only to leave this world with a dazzling burst of final glory in '1942 A Love Story'.
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Former Member
Sholay 1975
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Former Member
Sholay 1975
PERSONALITIES BEHIND SHOLAY 1975:
SALIM-JAVED:
Salim-Javed split. Through the seventies and early eighties, they fashioned the trends in Hindi cinema, churning out hit after hit. Though none of their later works could recreate the magic of their early films like 'Zanjeer', 'Deewar' and 'Sholay', they had already made the Hindi movie writer one of the central figures in the movie-making business. Their names were prominently displayed on hoardings, and their payment ultimately reached an unheard-of sum of Rs 21 lakhs per film. In some projects, Salim-Javed shared up to twenty-five per cent of the profit. No other writer in the business has ever matched their success. But eventually the egos grew too big for the hyphen. In 1981, they parted ways and pursued individual careers as writers. Javed's creativity found expression in songs. His name can still be seen on hoardings, only now it's an award-winning lyricist. Salim eventually married Helen and retired. His sons, actors Salman and Arbaaz and director Sohail, carry forward the torch.
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PERSONALITIES BEHIND SHOLAY 1975:
SALIM-JAVED:
Salim-Javed split. Through the seventies and early eighties, they fashioned the trends in Hindi cinema, churning out hit after hit. Though none of their later works could recreate the magic of their early films like 'Zanjeer', 'Deewar' and 'Sholay', they had already made the Hindi movie writer one of the central figures in the movie-making business. Their names were prominently displayed on hoardings, and their payment ultimately reached an unheard-of sum of Rs 21 lakhs per film. In some projects, Salim-Javed shared up to twenty-five per cent of the profit. No other writer in the business has ever matched their success. But eventually the egos grew too big for the hyphen. In 1981, they parted ways and pursued individual careers as writers. Javed's creativity found expression in songs. His name can still be seen on hoardings, only now it's an award-winning lyricist. Salim eventually married Helen and retired. His sons, actors Salman and Arbaaz and director Sohail, carry forward the torch.
..
Former Member
Sholay 1975
FACTS ON SHOLAY 1975
1. Released on 15 Augast 1975.
2. Real Bullets were used for the close up action scenes.
3. Amitabh was almost killed at the end of the movie when a stray bullet from dharmendra missed him by inches.
4. First scene shot for the movie was Amitabh returning the keys to the safe to Jaya.
5. There are two sets of negatives, one in 70mm and one in 35mm as every shot/scene was done twice.
6. The last shot done in the village was Jai's death scene.
7. Basanti's chase sequence was shot over twelve days.
8. Jim Allen,Gerry Cramton,Romo Commoro,John Gant...some of the foreign technicians who worked on the action sequences.
9. The train sequence took seven weeks to shoot.
10. The last scene shot for Sholay was the Thakur meets Veeru and Jai outside the jail and offers them the job.
11. Sholay took nearly two and half years to complete (450 shifts)
12. Amjad's voice was nearly dubbed as there were whispers it not being strong enough for a villain.
13. The background music took a whole month to complete.
14. Sholay's Budget was close to three crores.
15. Jaya was pregnant during the shooting of the film with Shweta Bachchan.
16. Jaya was glowing again during the premiere of Sholay...this time with Abhishek Bachchan.
17. Sholay's premiere audience saw a 35mm print as the 70mm one was stuck at customs.
18. Sholay was released in Bombay with 40 prints.
19. Saachin was a veteran film actor with 60 films behind him from 1962.... but A.K Hangal was a newcomer to films.
20. Amjad's first scene shot was his introduction scene .....his first lines "Kitne Aadmi The"?
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FACTS ON SHOLAY 1975
1. Released on 15 Augast 1975.
2. Real Bullets were used for the close up action scenes.
3. Amitabh was almost killed at the end of the movie when a stray bullet from dharmendra missed him by inches.
4. First scene shot for the movie was Amitabh returning the keys to the safe to Jaya.
5. There are two sets of negatives, one in 70mm and one in 35mm as every shot/scene was done twice.
6. The last shot done in the village was Jai's death scene.
7. Basanti's chase sequence was shot over twelve days.
8. Jim Allen,Gerry Cramton,Romo Commoro,John Gant...some of the foreign technicians who worked on the action sequences.
9. The train sequence took seven weeks to shoot.
10. The last scene shot for Sholay was the Thakur meets Veeru and Jai outside the jail and offers them the job.
11. Sholay took nearly two and half years to complete (450 shifts)
12. Amjad's voice was nearly dubbed as there were whispers it not being strong enough for a villain.
13. The background music took a whole month to complete.
14. Sholay's Budget was close to three crores.
15. Jaya was pregnant during the shooting of the film with Shweta Bachchan.
16. Jaya was glowing again during the premiere of Sholay...this time with Abhishek Bachchan.
17. Sholay's premiere audience saw a 35mm print as the 70mm one was stuck at customs.
18. Sholay was released in Bombay with 40 prints.
19. Saachin was a veteran film actor with 60 films behind him from 1962.... but A.K Hangal was a newcomer to films.
20. Amjad's first scene shot was his introduction scene .....his first lines "Kitne Aadmi The"?
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Former Member
Former Member
Former Member
Former Member
Former Member
Former Member
Sholay 1975
KEEPER OF THE LAMPS: JAYA BACCHAN:
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KEEPER OF THE LAMPS: JAYA BACCHAN:
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Former Member
Sholay 1975
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Former Member
Sholay 1975
GREAT SCENERIES:
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GREAT SCENERIES:
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Former Member
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Former Member
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Former Member
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Former Member
Sholay 1975
SONGS FROM THE ALBUM SHOLAY:
1) KE CHAND SA KOI CHEHRA: QAWALLI: MP 3:
2) MEHBOOBA OH MEHBOOBA: MP3
3) YEH DOSTI HUM NAHIN: MP 3:
4) KOI HASEENA JAB: MP 3:
MORE LATER:
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SONGS FROM THE ALBUM SHOLAY:
1) KE CHAND SA KOI CHEHRA: QAWALLI: MP 3:
2) MEHBOOBA OH MEHBOOBA: MP3
3) YEH DOSTI HUM NAHIN: MP 3:
4) KOI HASEENA JAB: MP 3:
MORE LATER:
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Former Member
ASJ, so much to read my head is spinning i've only skimmmed it a bit, will read when i have some more time, lots of interesting stuff 
now to the pics they're glorious even the one where Amit died, i still remember that one n how i had cried when i saw it.... 
i've only skimmmed it a bit, will read when i have some more time, lots of interesting stuff now to the pics they're glorious even the one where Amit died, i still remember that one n how i had cried when i saw it....
Former Member
quote:Originally posted by IK:
ASJ, so much to read my head is spinning
Hi IK, You can expect these quality of pictures when we have blu ray discs, the picture quality is fantastic.....very sharp.
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