People who watched Sholay in theatres were silent, stunned: Ramesh Sippy

The director of the Indian classic on the film turning 50, how it changed the grammar of filmmaking, making it today with modern technology, the business of re-released movies and the debate over AI changing movie endings

By Kunal Purandare Forbes India Staff

Published: Aug 19, 2025 04:30:07 PM IST

Updated: Aug 19, 2025 04:40:20 PM IST

Full Bio

Indian film director and producer Ramesh Sippy Image: Mexy Xavier

Filmmaker Ramesh Sippy’s father, producer GP Sippy, gave him a budget of Rs1 crore to make Sholay. He overshot it three times to ensure that this third directorial had the grandeur and scale of the Hollywood films that he enjoyed watching on the big screen. For nearly two decades since its release in 1975, it remained the highest-grossing Indian film, with collections exceeding Rs35 crore worldwide.

Sholay, a landmark film in the history of Indian cinema, completes 50 years this year. The movie, starring Amitabh Bachchan, Dharmendra, Sanjeev Kumar, Amjad Khan, Hema Malini and Jaya Bachchan, was initially written off by the trade industry. Sippy asserts they were not able to read the audience’s reaction. “People who went to the theatres to watch Sholay were stunned by what they saw on screen,” he says.

In an interview with Forbes India, Sippy talks about the art and craft of filmmaking, why no Indian director has been able to match up to what Sholay did, the use of technology, reviving the art of storytelling, and more. Edited excerpts:

Q. When you made Sholay, did you anticipate that it would turn out to be a cult film and people will talk about it 50 years later?

Absolutely not. When we watched the completed film, I definitely felt that we have managed to make a good film and it should reach out to a huge audience. But certainly not what it became. First, the trade did not agree upon its success at all. As a matter of fact, they doubted it… I think for reasons that it cost too much and would not be able to recover that money. Of course, it defied all the rules and broke all records. That’s why we’re talking about it 50 years later. Nobody can plan or predict the fate of a film. But yes, we had the confidence that it would do well.

Q. It was your third film after Andaz and Seeta Aur Geeta. What appealed to you the most about the story?

It had everything—from drama and emotions to romance and action. I was fond of films from the West, and movies that inspired me had so much going for them. I felt I need to have that appeal and canvas. On paper, Sholay had everything. Then the music of RD Burman, the background score that he helped create, the title music, Anand Bakshi’s lyrics, Salim Khan-Javed Akhtar, the scriptwriters. Working with all of them and bringing it all together was quite a task, but we had the satisfaction of working with good material, and we came out with a good film.

Q. Sholay changed the grammar of filmmaking: It used 70 mm widescreen and stereophonic sound. What made the film stand out in terms of the craft?

That’s why it’s called the art and craft of movie making. You have to keep the art in mind as much as the craft. The craft was the lensing and the decision to go 70 mm because a lot of films from the West were doing that—going for big screen entertainment and that’s what we tried to do. Films like Butch Cassidy and The Sundance Kid, Mackenna’s Gold… in India, we had Ganga Jamuna and Mother India. The canvas for this kind of films was huge. It was not easy to do it in 1973-74, but we worked very hard. A lot of money was spent. My father was quite generous… he never said a word to me about the budget. Seeta Aur Geeta had cost Rs50 lakh to make, and it was a huge success. So, we had a huge budget plan for Sholay… Rs1 crore, but it went on to cost Rs3 crore. It was crazy. But that’s how movie making is. You go for something, you go for it, and then it gives back. So, all in all, a bit of luck and a bit of thinking, planning, having the best technicians and artistes on board… what more can a director ask for. I got a lot to work with, and I gave a lot to bring out the best.

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Q. It didn’t do well in the first two weeks.

That’s not true. What’s true is the anticipation that it’s not working. And there was a reason for that. People who went to the theatres found there was no reaction. It was all silent. But what had happened is that they were stunned. They did not know how to react. A small theatre in Worli, Mumbai, asked me to come over. The guy there said, ‘This is my tea and cold drinks, and snacks bar. It’s the interval, and nobody is here’. I asked him whether the film was not doing well and there was no audience inside, or no one was at his stall. He said they are all inside. I asked for his analysis on why they were in the theatre. He said I think they are stunned. And it was such a correct analysis. Because then I went in there to see… they all came out for refreshments only when a song came on screen. It was an experience making it, an experience releasing it… the trade pundits were also not able to read and understand the audience’s reaction.

Q. And then it became a box office juggernaut, breaking all records. How much did it eventually earn?

I don’t know. It crossed all expectations. The net receipts in the first round, after all the taxes and everything, were in the region of Rs10 to 12 crore, which was pretty hefty compared to what had happened earlier. And the fact that it cost Rs3 crore justified it. But the point was Sholay continued to do business. Most films later did not do that kind of business. Today we see the old films are back in theatres. It does not mean that people will only see the old films. They’ll also love something new if it’s right, if it’s good, if it appeals. There is always a change when it comes to the audience’s mind and thinking. Sholay had everything in the right proportions.

Q. No other Indian film comes close to Sholay. We’ve had so many talented filmmakers and technicians. Why couldn’t anyone match up to what Sholay did?

Neither did I.

Q. What is the reason?

Because you can’t plan that kind of success… you can plan a good film, you can plan to do your best as a technician, as a creative person. You can change things to take it further and better, not give up till you’ve got the best. But you cannot predict how much it will be appreciated. For the kind of work that we put in, the dividends were fantastic. That was what was satisfying all around—that we got a technically fine product out, and emotional in every way.

Why there wasn’t another film like that… I think it’s not fair to say that they have made no good films, but probably they did not hit as hard as this did. The memory of Sholay is still there.

Q. Sholay had an alternative ending. You had to change it because of pressure from the censor board. Today, artificial intelligence (AI) is being used to change endings. Should technology be allowed to distort a filmmaker’s vision?

I think I disagree. It should not. But that does not mean you should not make any changes ever. If it feels like that—because at that time, a maker has made a film with a certain mindset, with a certain creative thinking—the director should be taken into confidence and consulted. Whatever changes you make should be done in collaboration, which is healthy. Forget about rights and legal things. That is how it should be done. If a director has created a piece of work and you’ve accepted that in its original form, and it has succeeded, wanting to make a change is nothing wrong. But take the director into confidence, take him along with you. If he is the original creator, he’ll not give you wrong inputs. What do you achieve by isolating him? Legally, he may not have that right, but sit with him, take his inputs, and then decide on a final thing that he also agrees with. Why will he hold back? If some change makes it better, he will agree with those.

Q. If you were to make Sholay today with all the technology and CGI available, how would you go about making it?

So much of the work may have become easier. The entire department of animation and special effects has become a different ball game today. It can do wonders for a film. But the basics have to be right always. If the emotions and drama and romance are not there, you can’t do anything.

Q. How would you lure the current generation to watch Sholay… those who haven’t seen it?

Come and see a classic, which is a time-tested film. You may or may not like it, but have a look.

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Q. Is Sholay the greatest achievement of your life? What has it given you?

I never looked at it like that. I did my best at that moment to make what I felt was appealing. I think you do your best at the time. If it lasts through for so long, then it must be something good.

Q. A number of re-released films are doing well. Do you think it’s a good idea to screen them?

It has worked… but there will be a limit to that as well. Some will work, some won’t. They may not all appeal to today's audience as they did then. Some are being appreciated, but they are also good films.

Q. Indian films are not doing too well of late. Hollywood is also not in great shape. How can one revive the art of good storytelling?

I don’t think it’s the storytelling that is wrong. What’s happening is you have an alternative to cinema that is drawing audiences today. So, at least the repeat audience, which used to be there, is not easy to get today, because they say we’ll see it at home on television. It may not have the same impact, but I think all [mediums] are healthy. I feel one should not take anything for granted. Do the best you can with time and accept the results as fair. There may be other reasons for a film not working for a particular period of time. It may be the weather, heavy rains, people unable to go to the theatres. But by and large, the rule will always be that good work will always be appreciated. And what that good work is not everybody can tell.

Q. You worked with Amitabh Bachchan for the first time in Sholay. He was the angry young man. How was it to direct him at that stage of his career?

It was the early stage. He became bigger and bigger. And one of the bigger steps in that journey was Sholay. His change came with Zanjeer, then Deewar and Sholay, and it went on. I was really lucky to be working with some of the best actors of my time.

Q. Stamps and postcards have been released to celebrate Sholay. As the film’s director, what is the one abiding memory that you have?

I feel nice that it’s being appreciated in this way. The postal services have honoured me by issuing these postcards and postage stamps. I am beholden to them, and I am quite pleased, happy and thankful.

Q. There is so much trivia about Sholay. Is there anything still unknown about the film?

I doubt it, but you never know.

Q. Do you consider Sholay as your best work?

One of my best works.

Q. Which would be the other?

Every film that I make, at the time I make it, I feel that it’s my film and I must do my best to make it work for what it is. Appreciation comes afterwards… what is in your control is to make a good product.

Q. How do you look back at your life as a filmmaker?

Fulfilling. I could always do more. One should be happy that one has achieved so much. I am sure people are envious of what I have achieved—and not in the negative sense. But anybody would have wished for this kind of fulfilment. So, I hope others succeed as much and they have the satisfaction of their work being appreciated. It’s very important for creative people to feel satisfied that their work has been appreciated.