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50 Years of Sholay: Tracing the making of a classic in 50 pictures

As the Ramesh Sippy directorial clocks half a century, here is a look at its extraordinary journey from the first word to the last frame
Some stills from Sholay
Some stills from Sholay
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There is no other Hindi film that has cemented its place in public memory quite like Ramesh Sippy’s Sholay. Released on Independence Day, fifty years ago, the film became a major milestone in the history of Indian cinema. From its iconic dialogues to its staggering, unforgettable sequences, Sholay created a spectacle like no other. Its characters became household names, its lines entered everyday speech, and its scenes left a stirring impact on generations of viewers. Who can forget the tender harmonica tune underscoring the delicate yet complex love story between Amitabh Bachchan and Jaya Bhaduri’s characters? Or the pivotal mid-point twist when the camera reveals, with shocking intensity, that Sanjeev Kumar’s Thakur has no arms?

The story behind its making is equally fascinating, filled with exciting anecdotes, interesting trivia and an undeterred spirit of filmmaking. So, as the film clocks 50, here is a look at its extraordinary journey from the first word to the last frame.

1. ‘Early seeds (early 1970s)’: The story of "Sholay" begins with the story of its flamboyant writers—Salim Khan and Javed Akhtar, who later became the iconic screenwriting duo Salim-Javed. It was Salim who had the idea about making a film about a bandit when he was working in Chambal as an actor for another movie. Some local police officers told him harrowing tales of dacoits which made him imagine a “curry western” set in the hinterlands.
1. ‘Early seeds (early 1970s)’: The story of "Sholay" begins with the story of its flamboyant writers—Salim Khan and Javed Akhtar, who later became the iconic screenwriting duo Salim-Javed. It was Salim who had the idea about making a film about a bandit when he was working in Chambal as an actor for another movie. Some local police officers told him harrowing tales of dacoits which made him imagine a “curry western” set in the hinterlands.
2. ‘The four-liner idea’: In its raw form, the initial story of "Sholay" was about an army-man whose family is massacred. He then hires two ex-army officials to seek revenge on his behalf.
2. ‘The four-liner idea’: In its raw form, the initial story of "Sholay" was about an army-man whose family is massacred. He then hires two ex-army officials to seek revenge on his behalf.
3. ‘The idea travelled long’: The writers narrated the story to Manmohan Desai, who found it too grim. Even Prakash Mehra, who was making "Zanjeer" (1973), also written by Salim-Javed, passed on the story. The two then went to their first employers, the Sippys with it. The stage was set. GP Sippy and his son Ramesh Sippy wanted to make a ‘big film’. "Sholay" fitted into their vision. They liked the story and bought the four-line idea for a whopping Rs 1,50,000.
3. ‘The idea travelled long’: The writers narrated the story to Manmohan Desai, who found it too grim. Even Prakash Mehra, who was making "Zanjeer" (1973), also written by Salim-Javed, passed on the story. The two then went to their first employers, the Sippys with it. The stage was set. GP Sippy and his son Ramesh Sippy wanted to make a ‘big film’. "Sholay" fitted into their vision. They liked the story and bought the four-line idea for a whopping Rs 1,50,000.
4. ‘Writing the blockbuster’: Salim and Javed started writing the film in March of 1973 at a small room in the Sippy Films’ office. By then, the two had already written hits like "Zanjeer (1973)" and "Seeta Aur Geeta (1972)" and had developed a camaraderie while working together. The first treatment draft was written in fifteen days and the screenplay took another month with the dialogues being worked on separately for another one-and-a-half-month. “Once we were done, we all felt we had a blockbuster,” said Salim in an interview later.
4. ‘Writing the blockbuster’: Salim and Javed started writing the film in March of 1973 at a small room in the Sippy Films’ office. By then, the two had already written hits like "Zanjeer (1973)" and "Seeta Aur Geeta (1972)" and had developed a camaraderie while working together. The first treatment draft was written in fifteen days and the screenplay took another month with the dialogues being worked on separately for another one-and-a-half-month. “Once we were done, we all felt we had a blockbuster,” said Salim in an interview later.
5. ‘The plot thickens’: The initial one-line plot involving an army officer was changed to a police officer to avoid complications in portraying and the ex-army officers became two ruffians. The story was expanded with subplots and memorable side characters with a focus on friendship and sacrifice. What was earlier a story of 3-4 characters turned into a multi-starrer, grand spectacle.
5. ‘The plot thickens’: The initial one-line plot involving an army officer was changed to a police officer to avoid complications in portraying and the ex-army officers became two ruffians. The story was expanded with subplots and memorable side characters with a focus on friendship and sacrifice. What was earlier a story of 3-4 characters turned into a multi-starrer, grand spectacle.
6. ‘Hollywood inspiration’: The film’s concept—and Salim-Javed’s treatment of it—was not entirely original. The duo openly acknowledged drawing inspiration from Western classics like "The Magnificent Seven (1960)" and "Once Upon a Time in the West (1968)", as well as Akira Kurosawa’s "Seven Samurai (1954)". Their goal, however, was to transplant that Western template into an Indian storytelling framework steeped in melodrama, action, emotion, and tragedy, and crown it all with unforgettable dialogues.
6. ‘Hollywood inspiration’: The film’s concept—and Salim-Javed’s treatment of it—was not entirely original. The duo openly acknowledged drawing inspiration from Western classics like "The Magnificent Seven (1960)" and "Once Upon a Time in the West (1968)", as well as Akira Kurosawa’s "Seven Samurai (1954)". Their goal, however, was to transplant that Western template into an Indian storytelling framework steeped in melodrama, action, emotion, and tragedy, and crown it all with unforgettable dialogues.
7. ‘Toying with the title’: Salim had suggested the name ‘Sholay’ for the film but they were also thinking of other titles like ‘Angaarey’. Eventually, they finalised the former, which means embers or flames in English.
7. ‘Toying with the title’: Salim had suggested the name ‘Sholay’ for the film but they were also thinking of other titles like ‘Angaarey’. Eventually, they finalised the former, which means embers or flames in English.
8. ‘The character names came from reality’: The names of the film’s now-iconic characters were inspired by real people Salim knew. He had college friends named Jai and Veeru, with whom he would often drink. “Jai used to grumble that I never gave him royalty, but deep down, he was pleased,” Salim once recalled. Even the name ‘Thakur’ came from Salim’s father-in-law, who, as the writer put it, “was very happy I’d made him famous the world over with Sholay.”
8. ‘The character names came from reality’: The names of the film’s now-iconic characters were inspired by real people Salim knew. He had college friends named Jai and Veeru, with whom he would often drink. “Jai used to grumble that I never gave him royalty, but deep down, he was pleased,” Salim once recalled. Even the name ‘Thakur’ came from Salim’s father-in-law, who, as the writer put it, “was very happy I’d made him famous the world over with Sholay.”
9. ‘The Enigmatic Gabbar’: Gabbar, too, was drawn from a real-life inspiration. Salim’s father, a police officer, often told him stories about a notorious dacoit named Gabbar, feared for his brutal methods. That name would go on to become one of the most iconic and feared villains in cinema history.
9. ‘The Enigmatic Gabbar’: Gabbar, too, was drawn from a real-life inspiration. Salim’s father, a police officer, often told him stories about a notorious dacoit named Gabbar, feared for his brutal methods. That name would go on to become one of the most iconic and feared villains in cinema history.
10. ‘The fiery dialogues’: Salim-Javed wrote the lines for the film (“Tera kya hoga, Kaalia” and “Basanti, in kutton ke samne mat nachna”) with rhythm and repeat value in mind. An entirely new vocabulary was created especially for Gabbar which added to the menace of the character. Javed also said that he would get excited while writing a scene featuring Gabbar. “He was one of the few characters I enjoyed writing”, he said.
10. ‘The fiery dialogues’: Salim-Javed wrote the lines for the film (“Tera kya hoga, Kaalia” and “Basanti, in kutton ke samne mat nachna”) with rhythm and repeat value in mind. An entirely new vocabulary was created especially for Gabbar which added to the menace of the character. Javed also said that he would get excited while writing a scene featuring Gabbar. “He was one of the few characters I enjoyed writing”, he said.
11. ‘Who plays Gabbar?’: Both Amitabh Bachchan and Sanjeev Kumar wanted to play the dacoit initially for how impactful he was on paper. However, the writers opined that a fresh face would be more effective. In a strange turn of fate, Salim bumped into Amjad Khan one day at Mumbai’s bandstand and offered him the role. And the rest is history.
11. ‘Who plays Gabbar?’: Both Amitabh Bachchan and Sanjeev Kumar wanted to play the dacoit initially for how impactful he was on paper. However, the writers opined that a fresh face would be more effective. In a strange turn of fate, Salim bumped into Amjad Khan one day at Mumbai’s bandstand and offered him the role. And the rest is history.
12. ‘Almost replaced’: After recommending Amjad’s name to the Sippys, Salim-Javed started having second thoughts about him due to his unconventional voice. For a brief time, Danny Denzongpa was considered for the role of Gabbar. But finally, Amjad stayed.
12. ‘Almost replaced’: After recommending Amjad’s name to the Sippys, Salim-Javed started having second thoughts about him due to his unconventional voice. For a brief time, Danny Denzongpa was considered for the role of Gabbar. But finally, Amjad stayed.
13.‘Thakur’: Salim had envisioned Dilip Kumar as Thakur Baldev Singh, the vengeful policeman driven by rage. However, the superstar turned down the role — a decision he would later admit to regretting in a conversation with Salim. The part eventually went to Sanjeev Kumar.
13.‘Thakur’: Salim had envisioned Dilip Kumar as Thakur Baldev Singh, the vengeful policeman driven by rage. However, the superstar turned down the role — a decision he would later admit to regretting in a conversation with Salim. The part eventually went to Sanjeev Kumar.
14. ‘Casting Amitabh Bachchan’: A mega superstar today but a struggling actor back then, Bachchan was yet to find success after a string of flops to his name. It was Salim-Javed who suggested the actor’s name for "Zanjeer" and later showed the film to the Sippys. Bachchan was cast as Jai, the quiet, no-nonsense hoodlum. Interestingly, Shatrughan Sinha was also in contention for the role.
14. ‘Casting Amitabh Bachchan’: A mega superstar today but a struggling actor back then, Bachchan was yet to find success after a string of flops to his name. It was Salim-Javed who suggested the actor’s name for "Zanjeer" and later showed the film to the Sippys. Bachchan was cast as Jai, the quiet, no-nonsense hoodlum. Interestingly, Shatrughan Sinha was also in contention for the role.
15. ‘Dharmendra as Veeru’ – Dharmendra was already a heartthrob and an action star; he was eager to work on a project that blended humour, romance, and action. However, the actor was also interested to play Gabbar initially but Ramesh Sippy told him that Veeru will be played by Sanjeev Kumar in that case, who will be paired with Hema Malini. Dharmendra was trying to woo her since "Seeta Aur Geeta" and so he agreed to play Veeru.
15. ‘Dharmendra as Veeru’ – Dharmendra was already a heartthrob and an action star; he was eager to work on a project that blended humour, romance, and action. However, the actor was also interested to play Gabbar initially but Ramesh Sippy told him that Veeru will be played by Sanjeev Kumar in that case, who will be paired with Hema Malini. Dharmendra was trying to woo her since "Seeta Aur Geeta" and so he agreed to play Veeru.
16. ‘Hema Malini comes on-board’: Having worked with her before, Ramesh Sippy wanted Malini to play the chirpy, talkative tanga driver. The actor was hesitant to play the role but the director promised her of a meaty screen-presence.
16. ‘Hema Malini comes on-board’: Having worked with her before, Ramesh Sippy wanted Malini to play the chirpy, talkative tanga driver. The actor was hesitant to play the role but the director promised her of a meaty screen-presence.
17. ‘Jaya Bhaduri as Radha’: Jaya’s quiet, restrained performance was designed to be the emotional anchor of the film. Salim–Javed wrote Radha almost entirely without spoken lines. Ramesh Sippy wanted her presence to speak through silence, relying on her expressions and the harmonica motif to convey longing and grief.
17. ‘Jaya Bhaduri as Radha’: Jaya’s quiet, restrained performance was designed to be the emotional anchor of the film. Salim–Javed wrote Radha almost entirely without spoken lines. Ramesh Sippy wanted her presence to speak through silence, relying on her expressions and the harmonica motif to convey longing and grief.
18. ‘Marriage before filming’: Meanwhile, love was brewing between Amitabh and Jaya too. The two got married just four months before the film was to be filmed. Jaya is said to have shot for the film when she was pregnant with Shweta Bachchan. When the film was released, she was pregnant with Abhishek.
18. ‘Marriage before filming’: Meanwhile, love was brewing between Amitabh and Jaya too. The two got married just four months before the film was to be filmed. Jaya is said to have shot for the film when she was pregnant with Shweta Bachchan. When the film was released, she was pregnant with Abhishek.
19. ‘Ramesh Sippy’s vision’: Ramesh Sippy wanted a grand, never-before-seen scale in Hindi cinema, with elaborate action set pieces, stylized cinematography, and rich emotional beats. Each scene was meticulously crafted, and GP Sippy spared no expense in bringing that vision to life, even if it meant the film far exceeded its original budget.
19. ‘Ramesh Sippy’s vision’: Ramesh Sippy wanted a grand, never-before-seen scale in Hindi cinema, with elaborate action set pieces, stylized cinematography, and rich emotional beats. Each scene was meticulously crafted, and GP Sippy spared no expense in bringing that vision to life, even if it meant the film far exceeded its original budget.
20. ‘Location scouting’: With all the casting decisions made, the pre-production began and the team went across the country in search of rugged, barren landscapes as imagined in the screenplay. They found Ramnagaram, near Bangalore, with giant granite stones perfect for a dacoit-infested village.
20. ‘Location scouting’: With all the casting decisions made, the pre-production began and the team went across the country in search of rugged, barren landscapes as imagined in the screenplay. They found Ramnagaram, near Bangalore, with giant granite stones perfect for a dacoit-infested village.
21. ‘Building the village’: The quaint village of Ramgarh didn’t exist in reality. It was constructed by the art department from scratch, complete with homes, a temple, and a water tank.
21. ‘Building the village’: The quaint village of Ramgarh didn’t exist in reality. It was constructed by the art department from scratch, complete with homes, a temple, and a water tank.
22. ‘Imported technology’: In order to make the film on a grand scale and achieve a better cinematic look, Ramesh Sippy employed the use of 70mm film and stereophonic sound, a first for Indian cinema at the time. The 70mm added a certain sense of flavour to the huge landscapes and the stereo sound made the experience more immersive.
22. ‘Imported technology’: In order to make the film on a grand scale and achieve a better cinematic look, Ramesh Sippy employed the use of 70mm film and stereophonic sound, a first for Indian cinema at the time. The 70mm added a certain sense of flavour to the huge landscapes and the stereo sound made the experience more immersive.
23. ‘The writers’ role’: Salim-Javed’s role didn’t end with the script, the two regularly visited the film’s shoot in Bangalore and did some minor changes in the script to fine-tune the dialogues and add more nuance to the characters.
23. ‘The writers’ role’: Salim-Javed’s role didn’t end with the script, the two regularly visited the film’s shoot in Bangalore and did some minor changes in the script to fine-tune the dialogues and add more nuance to the characters.
24. ‘Friendship scenes first’: Many of the light-hearted Jai-Veeru bonding scenes were shot before the heavier action and emotional sequences that come in later in the narrative.
24. ‘Friendship scenes first’: Many of the light-hearted Jai-Veeru bonding scenes were shot before the heavier action and emotional sequences that come in later in the narrative.
25. ‘The train sequence’: The iconic dacoit attack on the train, which played out over just a few minutes on screen, took weeks to film. It required elaborate stunt coordination, combining gunfights and hand-to-hand combat—all performed on a moving train.
25. ‘The train sequence’: The iconic dacoit attack on the train, which played out over just a few minutes on screen, took weeks to film. It required elaborate stunt coordination, combining gunfights and hand-to-hand combat—all performed on a moving train.
26. ‘Working with real animals’: Working with horses was another challenge as the film had multiple scenes with characters riding the horse. All of them were filmed with trained stunt horses. Viju Khote, who played Kaalia, once recounted an anecdote about a troublesome horse, Nefreti, which was jokingly called Nafrati—meaning “the spiteful one.” It had a penchant for throwing away anyone who dared to ride her, including Sanjeev Kumar and Amjad Khan. Only Dharmendra could work around it; Amitabh Bachchan, on the other hand, refused to mount it altogether. During a shoot sequence, the horse bolted in fear when a train passed by, sending Khote crashing to the ground and nearly trampling him!
26. ‘Working with real animals’: Working with horses was another challenge as the film had multiple scenes with characters riding the horse. All of them were filmed with trained stunt horses. Viju Khote, who played Kaalia, once recounted an anecdote about a troublesome horse, Nefreti, which was jokingly called Nafrati—meaning “the spiteful one.” It had a penchant for throwing away anyone who dared to ride her, including Sanjeev Kumar and Amjad Khan. Only Dharmendra could work around it; Amitabh Bachchan, on the other hand, refused to mount it altogether. During a shoot sequence, the horse bolted in fear when a train passed by, sending Khote crashing to the ground and nearly trampling him!
27. ‘Kitne aadmi the’: No one can forget the chilling entry sequence of Gabbar which had a mix of dark humour and absolute terror. While the scene was written already with finesse on paper, it was Amjad Khan who added his own mannerisms to it in the form of improvised pauses and tonal changes, which took it to the next level.
27. ‘Kitne aadmi the’: No one can forget the chilling entry sequence of Gabbar which had a mix of dark humour and absolute terror. While the scene was written already with finesse on paper, it was Amjad Khan who added his own mannerisms to it in the form of improvised pauses and tonal changes, which took it to the next level.
28. ‘Gabbar’s look’: Dacoits were usually shown wearing white dhotis in films but that changed with Sholay. Costume designer Leena Daru gave him military-style fatigues, unusual for a rural bandit, adding to his menace and unpredictability. As Akhtar later said, “Gabbar belonged somewhere between Mexico and Uttar Pradesh.”
28. ‘Gabbar’s look’: Dacoits were usually shown wearing white dhotis in films but that changed with Sholay. Costume designer Leena Daru gave him military-style fatigues, unusual for a rural bandit, adding to his menace and unpredictability. As Akhtar later said, “Gabbar belonged somewhere between Mexico and Uttar Pradesh.”
29. ‘Veeru atop the water tank’: A memorable scene where Veeru threatens to die by suicide was discussed among the team but not written on paper. Interestingly, Akhtar wrote it while on his way to catch a flight. He continued to write it once he got out of the car at the airport, keeping the pages on the car’s hood. It is said that he finished the scene just in time to board the flight.
29. ‘Veeru atop the water tank’: A memorable scene where Veeru threatens to die by suicide was discussed among the team but not written on paper. Interestingly, Akhtar wrote it while on his way to catch a flight. He continued to write it once he got out of the car at the airport, keeping the pages on the car’s hood. It is said that he finished the scene just in time to board the flight.
30. ‘Love tactics of Dharmendra’: As the actor was trying to win-over Malini, he would deliberately encourage retakes just so he could get more time to spend with her. Dharmendra would also pay the light-boys to make errors just so he could get a chance to hold Malini again and again for a scene.
30. ‘Love tactics of Dharmendra’: As the actor was trying to win-over Malini, he would deliberately encourage retakes just so he could get more time to spend with her. Dharmendra would also pay the light-boys to make errors just so he could get a chance to hold Malini again and again for a scene.
31. ‘Thakur family massacre scene’: A menacing sequence known for its violence was actually inspired from a similar scene in "Once Upon A Time In The West" (1968). In the original cut, the massacre was shown for a much longer time as it contained lingering shots of panic, screams, and Gabbar’s taunting. However, the censor board demanded it to be shortened and the killings to be toned down. In the theatrical cut, the violence was implied mostly using sound design and reaction shots. It still remained a terrifying moment in the film.
31. ‘Thakur family massacre scene’: A menacing sequence known for its violence was actually inspired from a similar scene in "Once Upon A Time In The West" (1968). In the original cut, the massacre was shown for a much longer time as it contained lingering shots of panic, screams, and Gabbar’s taunting. However, the censor board demanded it to be shortened and the killings to be toned down. In the theatrical cut, the violence was implied mostly using sound design and reaction shots. It still remained a terrifying moment in the film.
32. ‘The coin-flip’: In the film, Jai flips a coin at multiple instances in order to let fate make decisions for him and Veeru. This was directly taken from Gary Cooper in "Garden of Evil (1954)". Again, the small trait attains an epic emotional release at a pivotal point in the film later.
32. ‘The coin-flip’: In the film, Jai flips a coin at multiple instances in order to let fate make decisions for him and Veeru. This was directly taken from Gary Cooper in "Garden of Evil (1954)". Again, the small trait attains an epic emotional release at a pivotal point in the film later.
33. ‘Jailer’s entry’: The iconic character played by Asrani was not part of the original script of Salim-Javed. It was added on the suggestion of Ramesh Sippy who felt that the film’s initial portions were too grim. The character’s dialogue, “Ham angrezo ke zamane ka jailer hai” and Asrani’s funny performance went on to become memorable.
33. ‘Jailer’s entry’: The iconic character played by Asrani was not part of the original script of Salim-Javed. It was added on the suggestion of Ramesh Sippy who felt that the film’s initial portions were too grim. The character’s dialogue, “Ham angrezo ke zamane ka jailer hai” and Asrani’s funny performance went on to become memorable.
34. ‘Soorma Bhopali’: Another iconic character played by comedian Jagdeep was not part of the original script but was added later by Salim-Javed in order to weave in some more comic relief and balance the bleak portions in the second half. Later, Jagdeep directed and starred in a spin off film called "Soorma Bhopali" in 1988.
34. ‘Soorma Bhopali’: Another iconic character played by comedian Jagdeep was not part of the original script but was added later by Salim-Javed in order to weave in some more comic relief and balance the bleak portions in the second half. Later, Jagdeep directed and starred in a spin off film called "Soorma Bhopali" in 1988.
35. ‘A qawwali that didn’t make it’: A song sequence was shot for Jagdeep’s character which was sung by lyricist Anand Bakshi, Manna Dey, Kishore Kumar and Bhupendra. However, it didn’t make it to the cut in order to shorten the runtime. This left Bakshi disappointed as he wished to make his singing debut with the qawwali song.
35. ‘A qawwali that didn’t make it’: A song sequence was shot for Jagdeep’s character which was sung by lyricist Anand Bakshi, Manna Dey, Kishore Kumar and Bhupendra. However, it didn’t make it to the cut in order to shorten the runtime. This left Bakshi disappointed as he wished to make his singing debut with the qawwali song.
36. 'Mehbooba’: Another sequence that wasn’t part of the original plan was the now-iconic song ‘Mehbooba’. While in London, Ramesh Sippy heard Demis Roussos’ track ‘Say You Love Me’ and was instantly hooked. He asked R.D. Burman to create a Hindi adaptation, which Kishore Kumar brought to life with his infectious energy.
36. 'Mehbooba’: Another sequence that wasn’t part of the original plan was the now-iconic song ‘Mehbooba’. While in London, Ramesh Sippy heard Demis Roussos’ track ‘Say You Love Me’ and was instantly hooked. He asked R.D. Burman to create a Hindi adaptation, which Kishore Kumar brought to life with his infectious energy.
37. ‘Yeh Dosti’: Salim-Javed wanted the song to become the emotional foundation of Jai and Veeru’s bond so that audiences are invested in them completely when the serious beats come up later. Ramesh Sippy shot the sequence near Ramanagara over a gruelling 20 days, using a specially modified bike with a sidecar and filming on rugged terrain with the actors performing their own stunts.
37. ‘Yeh Dosti’: Salim-Javed wanted the song to become the emotional foundation of Jai and Veeru’s bond so that audiences are invested in them completely when the serious beats come up later. Ramesh Sippy shot the sequence near Ramanagara over a gruelling 20 days, using a specially modified bike with a sidecar and filming on rugged terrain with the actors performing their own stunts.
38. ‘Jai’s theme’: Jai’s melancholic harmonica theme, composed by R.D. Burman, is the film’s haunting musical motif. It plays softly whenever Jai is lost in thought, hinting at his unspoken past or inner solitude. The harmonica was actually played by R.D. Burman himself, who used it sparingly so the theme felt intimate and personal.
38. ‘Jai’s theme’: Jai’s melancholic harmonica theme, composed by R.D. Burman, is the film’s haunting musical motif. It plays softly whenever Jai is lost in thought, hinting at his unspoken past or inner solitude. The harmonica was actually played by R.D. Burman himself, who used it sparingly so the theme felt intimate and personal.
39. ‘Edit on the go’: The film was being edited as it was shot with the reels shipped from Bangalore to Mumbai for editor Madhav Rao to cut and send it back for Ramesh Sippy to approve. The director had shot around 3,00,000 feet (approx. 55 hours of footage) of film which had to be brought down to almost 20,000 feet (3 hours 40 mins).
39. ‘Edit on the go’: The film was being edited as it was shot with the reels shipped from Bangalore to Mumbai for editor Madhav Rao to cut and send it back for Ramesh Sippy to approve. The director had shot around 3,00,000 feet (approx. 55 hours of footage) of film which had to be brought down to almost 20,000 feet (3 hours 40 mins).
40. ‘The original climax’: Initially, Gabbar was supposed to be killed by Thakur in a brutal scene in the climax by bludgeoning him to death with his spiked shoe. However, the censors objected to the explicit violence which led Sippy to re-shoot the scene again where the police arrest Gabbar instead.
40. ‘The original climax’: Initially, Gabbar was supposed to be killed by Thakur in a brutal scene in the climax by bludgeoning him to death with his spiked shoe. However, the censors objected to the explicit violence which led Sippy to re-shoot the scene again where the police arrest Gabbar instead.
41. ‘The Marketing Marvel’: "Sholay" was ahead of its time even in how the film was promoted. It had a dedicated ad in each weekly issue of trade magazine right from May 30 till its release on August 15, 1975. Even the supporting cast was mentioned in the ads which added to the curiosity and buzz.
41. ‘The Marketing Marvel’: "Sholay" was ahead of its time even in how the film was promoted. It had a dedicated ad in each weekly issue of trade magazine right from May 30 till its release on August 15, 1975. Even the supporting cast was mentioned in the ads which added to the curiosity and buzz.
42. ‘Massive budget’: The film was conceived with a budget of Rs 1 crore, which was already high by the standards of the time. However, the shooting was delayed and re-shoots had to be done which took the budget to Rs 3 crore, adding on the makers’ anxiety to recover the money at the box office.
42. ‘Massive budget’: The film was conceived with a budget of Rs 1 crore, which was already high by the standards of the time. However, the shooting was delayed and re-shoots had to be done which took the budget to Rs 3 crore, adding on the makers’ anxiety to recover the money at the box office.
43. ‘Unprecedented advance booking’: The hype for the film was unprecedented and it caused havoc at the theatres when advance bookings opened. Cops had to pitch in to control thousands of cine-goers. Due to this, ticket prices were even increased by 15-20 percent. It was said that the cinemas hadn’t seen such a rush since "Mughal-e-Azam", which had come out twenty years before.
43. ‘Unprecedented advance booking’: The hype for the film was unprecedented and it caused havoc at the theatres when advance bookings opened. Cops had to pitch in to control thousands of cine-goers. Due to this, ticket prices were even increased by 15-20 percent. It was said that the cinemas hadn’t seen such a rush since "Mughal-e-Azam", which had come out twenty years before.
44. ‘Salim-Javed’s audacious prediction’: However, a week after the film’s release, there were some reports which claimed that it won’t really earn as much. This clearly irked the haughty writers, who declared in a magazine ad that the film will gross one-crore in each major territory of India.
44. ‘Salim-Javed’s audacious prediction’: However, a week after the film’s release, there were some reports which claimed that it won’t really earn as much. This clearly irked the haughty writers, who declared in a magazine ad that the film will gross one-crore in each major territory of India.
45. ‘Insecurity of Ramesh Sippy’: Some of the negative reports about the film concerned Sippy who called in a meeting on how to go ahead. There were discussions about toning down the climax and to keep Jai alive and show him getting married to Radha. However, Salim-Javed were against this and fought to keep it as is so as to retain the story’s essence. Eventually, as the film was released, Sippy was convinced with how the audience reacted to it.
45. ‘Insecurity of Ramesh Sippy’: Some of the negative reports about the film concerned Sippy who called in a meeting on how to go ahead. There were discussions about toning down the climax and to keep Jai alive and show him getting married to Radha. However, Salim-Javed were against this and fought to keep it as is so as to retain the story’s essence. Eventually, as the film was released, Sippy was convinced with how the audience reacted to it.
46. ‘The premiere’: Sholay released on 15 August 1975 at Mumbai’s Minerva theatre in 70mm glory. Initial reactions called the film “great” while some critics passed it off as being too violent.
46. ‘The premiere’: Sholay released on 15 August 1975 at Mumbai’s Minerva theatre in 70mm glory. Initial reactions called the film “great” while some critics passed it off as being too violent.
47. ‘Housefull for years’: Minerva ran Sholay continuously for over five years, drawing audiences back again and again to re-live its magic on the big screen. Families introduced it to younger generations, fans memorized entire dialogues, and its characters became woven into the fabric of everyday conversation.
47. ‘Housefull for years’: Minerva ran Sholay continuously for over five years, drawing audiences back again and again to re-live its magic on the big screen. Families introduced it to younger generations, fans memorized entire dialogues, and its characters became woven into the fabric of everyday conversation.
48. ‘A blockbuster in the making’: In its first run, the film earned a whopping Rs 25 crore which was more than eight-times its budget. Taking into account inflation, this would be more than Rs 500 crore today!
48. ‘A blockbuster in the making’: In its first run, the film earned a whopping Rs 25 crore which was more than eight-times its budget. Taking into account inflation, this would be more than Rs 500 crore today!
49. ‘Legacy’: Over the years, the film has become an inseparable part of India’s cultural fabric. Gabbar Singh emerged as the most iconic villain in Hindi cinema, with Amjad Khan even reprising the character in numerous advertisements. The film’s unprecedented success transformed the careers of Salim-Javed, making them the most sought-after screenwriters of the era. It also solidified Amitabh Bachchan’s status as a bona fide superstar, marking his third consecutive triumph after "Zanjeer (1973)" and "Deewaar (1975)".
49. ‘Legacy’: Over the years, the film has become an inseparable part of India’s cultural fabric. Gabbar Singh emerged as the most iconic villain in Hindi cinema, with Amjad Khan even reprising the character in numerous advertisements. The film’s unprecedented success transformed the careers of Salim-Javed, making them the most sought-after screenwriters of the era. It also solidified Amitabh Bachchan’s status as a bona fide superstar, marking his third consecutive triumph after "Zanjeer (1973)" and "Deewaar (1975)".
50. ‘50 years later’: Sholay remains a classic. It created the template for later masala films with its timeless blend of action, emotion, and unforgettable characters. Its filmmaking choices and storytelling innovations still feel as fresh and rewarding as they did on release. It will keep enthralling newer generations who will once again experience its action, drama, and epic emotions — from the smile of wonder when Gabbar asks, “Kitney Aadmi The?” to the chilling silence when he executes his men. With passing times, "Sholay" will only sharpen in memory.
50. ‘50 years later’: Sholay remains a classic. It created the template for later masala films with its timeless blend of action, emotion, and unforgettable characters. Its filmmaking choices and storytelling innovations still feel as fresh and rewarding as they did on release. It will keep enthralling newer generations who will once again experience its action, drama, and epic emotions — from the smile of wonder when Gabbar asks, “Kitney Aadmi The?” to the chilling silence when he executes his men. With passing times, "Sholay" will only sharpen in memory.
Sholay

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