Panjim (Goa), November 27, 2025: The 56th International Film Festival of India
(IFFI) turned nostalgic as legendary filmmaker Ramesh Sippy paid an emotional tribute to
actor Dharmendra while revisiting the timeless legacy of Sholay during an ‘InConversation’ session titled ’50 Years of Sholay: Why Sholay Still Resonates?’.
Hosted by his wife, actor-producer Kiran Sippy, the session saw Ramesh Sippy recount
behind-the-scenes memories that highlighted Dharmendra’s unmatched dedication,
humility and passion, qualities that shaped some of the most unforgettable moments in
‘Sholay’.
He got emotional recalling his long association with Dharmendra, who passed away on
November 24. Sharing a defining memory from the film’s shoot, Sippy said that during a
horse-riding action sequence, the saddle slipped, causing the actor to fall.
“My heart stopped for a moment,” said Ramesh Sippy, “but Dharam ji just stood up,
dusted himself off, and was ready to go again. He always wanted to push himself and try
new things.”
Ramesh Sippy shared one of the most eagerly awaited announcements for cinephiles:
the re-release of Sholay this time with its original ending intact, as per the press release
shared by the Ministry of Information and Broadcasting.
When the film was first released in 1975 during the Emergency, the then-censor board
objected to the climax where Thakur Baldev Singh kills Gabbar Singh using his spiked
shoes, insisting that a police officer could not be portrayed seeking revenge. Reluctantly,
the filmmaker and his team had to reshoot the ending.
“Now you will see the movie as it was made,” an elated Sippy told the audience,
celebrating the long-overdue restoration of his creative vision.
The director described how he sought a completely new visual palette for the film. At a
time when Hindi cinema’s dacoit dramas were mostly shot in Rajasthan and the Chambal
valley, Ramesh Sippy scouted and discovered the rugged terrain near Mysuru and
Bengaluru. The rocky backdrop gave Sholay a distinctive look never seen before
in Indian cinema.
The filmmaker shared how Sholay broke new ground in cinematography, action
choreography and storytelling. He credited Dharmendra and the ensemble cast for
trusting his vision at a time when many of the film’s concepts were unprecedented in
Hindi cinema.
He also spoke briefly about Amjad Khan’s casting as Gabbar Singh, the technical
brilliance of cinematographer Dwarka Divecha, and the meticulous planning that went into
iconic sequences–from the “magic hour” lighting to elaborate action scenes.
This setting also added an unusual contrast–Gabbar Singh, with his raw UP accent,
terrorising a landscape in South India. Speaking about Amjad Khan’s unforgettable
portrayal, Sippy revealed that Danny Denzongpa was the original choice but was
unavailable due to overseas shooting commitments. Amjad Khan, recommended by
writers Salim-Javed, impressed Sippy with his theatrical prowess, and the rest became
cinematic history.
The iconic filmmaker also noted that the screenwriting duo had initially pitched a two-line
concept to Manmohan Desai, who passed on it. But the Sippys’ father-son duo, that is,
the great GP Sippy and son Ramesh Sippy, immediately recognised its potential. Within a
month, the screenplay was complete, and a mercurial villain was born when Sippy told
Salim-Javed he wanted a character who was unpredictably dangerous. That is how Hindi
cinema got one of its finest villains of all time, stated the maker of Sholay.
Sippy emphasised that Sholay was a product of extraordinary teamwork. Among the
many firsts introduced by the film, one should note that it was the first Indian film to bring
in a professional fight-sequence team from the UK. It pioneered safety protocols for
action scenes in Hindi cinema, informed Kiran Sippy.
During the interaction with the audience, the filmmaker also stated that Cinematographer
Dwarka Divecha set new benchmarks with his visual storytelling. He also recalled
Production Manager Ajiz Bhai played a pivotal role behind the scenes.
The evocative lighting of Jaya Bachchan’s evening lamp sequence took days to capture,
waiting each day for the perfect “magic hour.”, revealed the master film-maker.
He also reminisced about the timeless song “Yeh Dosti Hum Nahi Todenge”, penned by
Anand Bakshi and composed by R.D. Burman, which continues to echo across
generations.
For many in the audience, Ramesh Sippy’s heartfelt memories served as a reminder that
behind the grandeur of Sholay stood an actor whose spirit and humanity made the film
timeless.
To commemorate the 50-year milestone, IFFI showcased the iconic Sholay motorbike on
its festival grounds, drawing large crowds of admirers reliving the world
that Dharmendra and Ramesh Sippy helped create.
