Original Ending of Sholay and CBFC’s Intervention
The original ending of the 1975 blockbuster Sholay had former police officer Thakur Baldev Singh (Sanjeev Kumar) taking his long-awaited revenge by killing the dacoit Gabbar Singh (Amjad Khan) with his spiked shoes. However, the Central Board of Film Certification (CBFC) felt the film was too violent and requested a change. As a result, director Ramesh Sippy reshot the ending where Gabbar, after being beaten by Thakur, is arrested by the police.
Premiere of Sholay with Its Original Ending
Nearly 50 years after its release on August 15, 1975, Sholay will be shown with its original ending for the first time. The restored version of the film, including some deleted scenes, will have its world premiere on a large open-air screen at Piazza Maggiore in Bologna, Italy, as part of the annual Il Cinema Ritrovato Festival.
Amitabh Bachchan on the Film’s Legacy
Actor Amitabh Bachchan reflected on the film’s significance, saying, “Some things in life remain permanently etched in your mind. Sholay is one such film. Shooting for the film was unforgettable, but I never realized it would become such an iconic film in Indian cinema. Even 50 years later, I hope it captures the imagination of new audiences worldwide.”
Dharmendra’s Thoughts on His Role and Favorite Scenes
Dharmendra, who played Veeru in the film, shared, “Not many people know I was offered both the roles of Gabbar and Thakur, but I chose Veeru because he was more like me. Some of my favorite scenes are the tanki scene, the temple scene, and many others. But the most powerful moment for me is Jai’s death, which still stays with me.”
The Restoration Journey
Three years ago, Shehzad Sippy from Sippy Films approached the Film Heritage Foundation (FHF) for the restoration of Sholay. He wanted to preserve the original film elements that were stored in a Mumbai warehouse. Despite the missing labels on the film cans, FHF discovered they contained the original 35mm camera and sound negatives.
Additionally, Shehzad informed FHF about other film materials stored at Iron Mountain, a facility in the UK. With the help of the British Film Institute, FHF accessed these materials and sent the reels from both London and Mumbai to the L’Immagine Ritrovata restoration lab in Bologna.
Challenges in the Restoration Process
The restoration process took nearly three years. The biggest challenge was the poor condition of the original camera negative, which made it unsuitable for restoration. As a result, the team primarily used interpositives from both London and Mumbai. Since Sholay was the first Indian film to use the 70mm widescreen format, FHF consulted cinematographer Kamlakar Rao, who worked on the film, for guidance. Rao explained the technique used by the cinematographer Dwarka Divecha to frame the film, which led to the decision to use a 2.2:1 aspect ratio for the restored version.
Restoring the Film’s Sound
The original sound elements of Sholay were found at the Sippy Films office. The sound restoration was done using both the original sound negative and the magnetic sound elements to ensure the audio quality matched the film’s iconic status.
A Tribute to Sholay‘s Legacy
Shivendra Singh Dungarpur, the director of FHF, called Sholay “a masterpiece of passion loved by generations of Indians.” He added, “Even though we couldn’t use the original camera negative and no 70mm prints were available, we made every effort to restore the film beautifully. The restored version premiering in Bologna will include the original ending and some never-before-seen deleted scenes.”
Shehzad Sippy’s Tribute to His Grandfather
Shehzad Sippy, expressing his excitement about the restoration, said, “Restoring Sholay has been a labor of love. It is a tribute to the vision and legacy of my grandfather, GP Sippy. I am excited to see Sholay start a new journey.”
Sholay‘s Global Celebration
After its Italian premiere, the newly restored Sholay will be screened at international film festivals and theaters to celebrate its 50th anniversary, introducing the film to a new generation of viewers.
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