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Originally posted by asj:

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Originally posted by IK:

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Originally posted by asj:


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my favouriteeeeeeeeeeeee tnks ASJ for doing all this, i am so going to enjoy this......

I think the song was "Hey Dosti" IK, It is slowly bringing back the memories.
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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....

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Originally posted by asj:

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i had felt so sorry for him without his arms.

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Originally posted by asj:


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this was so funnyyyy..

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Originally posted by asj:


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did she ever prattle......but she's lovely

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Originally posted by asj:


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this was the looks that made him a hearthrob then..... you know i look at him now and it is hard for me to think he was this before

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.

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!! ....

.......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.

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.
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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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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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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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'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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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.

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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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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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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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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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.
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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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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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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 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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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

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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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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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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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More later

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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

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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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:
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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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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).

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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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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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 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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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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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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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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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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