Podcast appearances and mentions of ramesh sippy

In this captivating episode of Cyrus Says, dive into an exclusive interview with Zahan Kapoor—the rising star of the iconic Kapoor dynasty—as he opens up about balancing his storied legacy (son of Kunal Kapoor, grandson of Shashi Kapoor, and great-grandson of Prithviraj Kapoor) with forging his own path in Bollywood and beyond. Discover behind-the-scenes stories from his acclaimed roles in Faraaz (2022) and Netflix’s Black Warrant (2025), his grounding journey at Mumbai’s Prithvi Theatre, and upcoming projects like Bandwaale (Amazon Prime) and Dining with the Kapoors. Zahan reveals how his "unfilmy" upbringing, polo passion, and mentorship from father Kunal shaped his craft, why he prioritizes theatre, and the lessons learned from legends like Shashi Kapoor and Ramesh Sippy. With insights on his IMDb "Breakout Star" award, childhood anecdotes about Ranbir Kapoor and Amitabh Bachchan, and his vision for diverse roles, this episode is a must-watch for fans of Indian cinema’s new generation. Tune in for a heartfelt, inspiring conversation on legacy, artistry, and ambition!See omnystudio.com/listener for privacy information.

Un enregistrement en date de fin mai, entre insouciance et fatigue déjà présente, sur trois films, ma foi : Anjaam de Rahul Rawail, Karan Arjun de Rakesh Roshan et Zamaana Deewana de Ramesh Sippy. Avec Amandine, Anouck, Clem et Matthieu. 2'52 : nos visionnages de films indiens - Merry Christmas de Sriram Raghavan, Laapataa Ladies de Kiran Rao, Toute une nuit sans savoir de Payal Kapadia, Amigos de Rajendra Reddy, Gaami de Vidyadhar Kagita et Pratyush Vatyam, Shaitaan de Vikas Bahl 14'15 : Anjaam de Rahul Rawail 34'10 : Karan Arjun de Rakesh Roshan 1'01'07 : Zamaana Deewana de Ramesh Sippy

In the twenty-eighth episode of Season 9 (Keep it Musical!) Kyle is joined by stunt actor Danny Hernandez and journalist Kerry Harwin to discuss the onslaught of clashing genre and explosive technical self-assuredness that defined the Star Wars of Bollywood in the grand musical action melodrama of Ramesh Sippy's cultural watershed masterpiece Sholay (1975).

This week on ‘Has It Aged Well?' Abbas and Urjita are joined by fellow ‘IVM Pop' podcaster, Antariksh Takkar AKA Silvery. We're discussing the 1980 potboiler ‘Shaan' which was Ramesh Sippy's follow up to ‘Sholay' starring a stellar star cast of Amitabh Bachchan, Parveen Babi, Shashi Kapoor, Shatrugan Sinha, Kulbhushan Kharbanda and more. Topics discussed include: What made Shakaal an iconic villain, how does the pair or Amitabh and Shashi match up to Amitabh and Dharmendra from Sholay, RD Burman's iconic songs, Hindi film villains with secret lairs, Sunil Dutt's special appearance and a lot more. Watch episodes of ‘Just a Filmy Game Show' here: https://youtube.com/playlist?list=PL0v3ap0F887yaHWe3l3DrGHHBctro1Vmz&si=5px_X5Wd1G_pyTuMFollow Antariksh here: https://www.instagram.com/antariksht/Follow Abbas here: https://www.instagram.com/abbasmomin88/Urjita's Youtube channel: https://youtube.com/@urjitawani.?si=bEG4LheDqszDyMuDAbbas's Youtube channel: https://youtube.com/@abbasmomin?si=9roNoKGQBObFayNMFollow the Weak Roast to keep up with shows happening at the venue: https://www.instagram.com/theweakroast/?hl=enFollow IVM Pop here: https://www.instagram.com/ivmpop/ See omnystudio.com/listener for privacy information.

Sanjay Gadhvi directed Dhoom and Dhoom 2, two of the biggest action films of last 20 years. Sholay is not just the biggest film but probably the biggest action film of all-time as well. (More than) an hour on Sholay with Sanjay Gadhvi! Feedback/comments/questions: loveofcinemasf@gmail.comCredits:Produced and hosted by: Himanshu Joglekar (@loveofcinemasf8)Editor: Devika JoglekarMusic: Nakul AbhyankarCopyrights © Love of Cinema 2022Support the show

You can lose yourself in cinema -- and you can find yourself in it. Jai Arjun Singh and Subrat Mohanty join Amit Varma in episode 294 of The Seen and the Unseen to talk about the films in their lives, why we should watch old films, why we should watch new films, why Bollywood and Hollywood and other woods are all great, and why we live in a wonderful technicolor world. This episode is a celebration of cinema! (For full linked show notes, go to SeenUnseen.in.) Also check out: 1. Jai Arjun Singh on Twitter and Instagram. 2. Haal-Chaal Theek Thaak Hai -- Subrat Mohanty and Pavan Jha's podcast. 3. Jai Arjun Singh Lost It at the Movies -- Episode 230 of The Seen and the Unseen. 4. Jabberwock — Jai Arjun Singh's blog. 5. Jaane Bhi Do Yaaron: Seriously Funny Since 1983 — Jai Arjun Singh. 6. The World of Hrishikesh Mukherjee -- Jai Arjun Singh. 7. Popcorn Essayists: What Movies do to Writers -- Edited by Jai Arjun Singh. 8. The Golden Era -- Subrat Mohanty's YouTube playlist of 100 lesser-known songs from the golden era of Hindi film music (mostly 1935-65). 9. The Unseen Lata -- Subrat Mohanty's YouTube playlist of 54 lesser-heard songs from Lata Mangeshkar, from 1948 to 1976. 10. Old posts by Subrat Mohanty from the Passion For Cinema web archives. 11. Some Spotify playlists, courtesy Nishant Shah, from Haal-Chaal Theek Thaak Hai episodes: 1, 2, 3, 4. 12. Pavan Jha's YouTube channel. 13. The only 1980s Maltova Mum commercial I could locate from the 1980s. (Couldn't find Singer.) 14. Kashmir Ki Kali -- Shakti Samanta. 15. Mughal-E-Azam -- K Asif. 16. Khuda Nigehbaan Ho -- Song from Mughal-E-Azam, sung by Lata Mangeshkar, music by Naushad, lyrics by Shakeel Badayuni. 17. Cinema Paradiso -- Giuseppe Tornatore. 18. Phool Khile Hain Gulshan Gulshan -- talk show by Tabassum.  19. Old episodes of Phool Khile Hain Gulshan Gulshan with RD Burman, Deepti Naval, Anand Bakshi and Bhupinder. 20. The Indiana Jones and Superman franchises. 21. The Evil Dead -- Sam Raimi. 22. Sam Raimi, Wes Craven and John Carpenter. 23. The Fugitive and The Bodyguard. 24. The Unbearable Lightness of Being -- Milan Kundera. 25. The Antichrist -- Friedrich Nietzsche. 26. The 400 Blows -- Francois Truffaut. 27. Salò, or The 120 Days of Sodom -- Pier Paolo Pasolini. 28. Łódź Film School and Andrzej Wajda. 29. Do the Right Thing -- Spike Lee. 30. On Exactitude in Science (Wikipedia) -- Jorge Luis Borges. 31. Titus Andronicus -- William Shakespeare. 32. A Chess Story (previously published as The Royal Game) -- Stefan Zweig. 33. The World of Yesterday -- Stefan Zweig. 34. The Friday the 13th franchise. 35. Tracy and Hepburn -- Garson Kanin. 36. Bhimsen Joshi, Mallikarjun Mansur, Kumar Gandharva and Lata Mangeshkar on Spotify. 37. Vijay Anand, Guru Dutt, Raj Kapoor, Bimal Roy and Hrishikesh Mukherjee. 38. Guide -- Vijay Anand. 39. Kaagaz Ke Phool -- Guru Dutt. 40. Jean-Luc Godard and Federico Fellini. 41. Shankar–Jaikishan, Hasrat Jaipuri, Shailendra, Mukesh, KA Abbas, Ramanand Sagar and Kidar Sharma. 42. Aag, Satyam Shivam Sundaram, Awaara, Barsaat and Shree 420.43. Nargis and Nadira. 44. Mud Mud Ke Na Dekh -- Song from Shree 420, sung by Asha Bhosle and Manna Dey, music by Shankar-Jaikishan, lyrics by Shailendra. 45. Orson Welles. 46. Squid Game on Netflix. 47. The Immediate Experience -- Robert Warshow. 48. Dil Dhadakne Do, Luck by Chance and Gully Boy -- Zoya Akhtar. 49. Casablanca -- Michael Curtiz. 50. Yudh and Tridev -- Rajiv Rai. 51. Amit Varma's Twitter threads on the MAMI festival from 2018 and 2019. 52. The Art of Translation -- Episode 168 of The Seen and the Unseen (w Arunava Sinha). 53. Dead Poet's Society -- Peter Weir. 54. The desire to help, and the desire not to be helped — Roger Ebert's review of Goodbye Solo. 55. Pauline Kael on Amazon. 56. Dekalog — Krzysztof Kieślowski. (And Roger Ebert's essay on it.) 57. The Dead — John Huston. 58. In the Bedroom -- Todd Field. 59. Devdas (Sanjay Leela Bhansali) and Parineeta (Pradeep Sarkar). 60. Salman Rushdie, Arundhati Roy and Vikram Seth. 61. Raag Darbari (Hindi) (English) — Shrilal Shukla. 62. PG Wodehouse on Amazon and Wikipedia. 63. Films, Feminism, Paromita — Episode 155 of The Seen and the Unseen (w Paromita Vohra). 64. Dharmyug and Dharamvir Bharati. 65. Andha Yug (Hindi) (English) -- Dharamvir Bharati. 66. Suraj ka Satvaan Ghoda -- Dharamvir Bharati. 67. Gunahon Ka Devta — Dharamvir Bharati. 68. Sara Rai Inhales Literature — Episode 255 of The Seen and the Unseen. 69. The Life and Times of Mrinal Pande — Episode 263 of The Seen and the Unseen. 70. Anil Biswas, SD Burman, Chitragupt, Roshan, C Ramchandra and Madan Mohan. 71. Naushad and Aan. 72. Maan Mera Ehsan -- Song from Aan, sung by Mohammad Rafi, music by Naushad, lyrics by Shakeel Badayuni. 73. Sebastian D'Souza, Anthony Gonsalves, Ghulam Mohammed and Mohammed Shafi. 74. Khayyam and RD Burman. 75. The Long Tail -- Chris Anderson. 76. The Sound of Music -- Robert Wise. 77. Do-Re-Mi -- Song from The Sound of Music. 78. Giacomo Puccini and Giuseppe Verdi on Spotify. 79. Tosca -- Giacomo Puccini -- performed at Arena di Verona. 80. Dua Lipa, Olivia Rodrigo, Lizzo and Billie Eilish on Spotify. 81. About That Time -- Lizzo. 82. Renaissance -- Beyoncé. 83. Ae Dil Hai Mushkil -- Karan Johar. 84. Aar Paar, Geeta Dutt and Eminem. 85. Pet Shop Boys, Guns N' Roses, U2, REM and Stone Temple Pilots on Spotify. 86. Bob Dylan and Leonard Cohen. 87. How This Nobel Has Redefined Literature -- Amit Varma. 88. Mera Joota Hai Japani -- Song from Shree 420, sung by Mukesh, music by Shankar-Jaikishen, lyrics by Shailendra. 89. Sahir Ludhianvi and Majrooh Sultanpuri. 90. Do Bigha Zamin -- Bimal Roy. 91. Dharti Kahe Pukaar Ke -- Song from Do Bigha Zamin, sung by Manna Dey and Lata Mangeshkar, music by Salil Chowdhury, lyrics by Shailendra. 92. Varun Grover Is in the House -- Episode 292 of The Seen and the Unseen. 93. Mondegreen. 94. Tragedy -- Bee Gees. 95. Aap Jaisa Koi -- Song from Qurbani, sung by Nazia Hassan, music by Biddu Appaiah, lyrics by Masth Ali & Shashi Pritam. 96. Ek Akela Is Shaher Mein -- Song from Gharaonda, sung by Bhupinder Singh, music by Jaidev, lyrics by Gulzar. 97. Jonathan Haidt on Amazon. 98. Amar Akbar Anthony and Andrei Tarkovsky. 99. 2001: A Space Odyssey -- Stanley Kubrick. 100. Mirza Ghalib (and the show on him by Gulzar). 101. Roy Lichtenstein, Drowning Girl, Jackson Pollock, René Magritte, Pablo Picasso and the Pre-Raphaelites. 102. The Wire, Breaking Bad and Better Call Saul. 103. Christopher Nolan, Martin Scorcese, Quentin Tarantino, Coen Brothers and Preston Sturges. 104. Ball of Fire -- Howard Hawks. 105. The Lady Eve -- Preston Sturges. 106. Barbara Stanwyck and Lawrence Olivier. 107. Francis Ford Coppola, Brian De Palma and Alfred Hitchcock. 108. How to Read and Why -- Harold Bloom. 109. Malayankunju -- Sajimon Prabhakar. 110. Muqaddar Ka Sikandar -- Prakash Mehra. 111. Agatha Christie on Amazon and Wikipedia. 112. Nayak -- Satyajit Ray. 113. Prakash Mehra and Kader Khan. 114. Laawaris -- Prakash Mehra. 115. Don and Majboor. 116. Sample SSR conspiracy theory: He's alive! 117. David Cronenberg. 118. Masaan — Directed by Neeraj Ghaywan and written by Varun Grover. 119. Moonlight — Barry Jenkins. 120. Chacha Bhatija, Parvarish, Amar Akbar Anthony and Dharam Veer -- Manmohan Desai. 121. Man, Woman and Child -- Erich Segal. 122. Man, Woman and Child (1983 film) -- Dick Richards. 123. Masoom -- Shekhar Kapoor. 124. Shyam Benegal, Govind Nihalani, Mani Kaul, Kumar Shahani, Mrinal Sen and Robert Bresson. 125. Au Hasard Balthazar -- Robert Bresson. 126. Uski Roti -- Mani Kaul. 127. Narendra Shenoy and Mr Narendra Shenoy — Episode 250 of The Seen and the Unseen. 128. Calcutta 71 -- Mrinal Sen. 129. Ivan's Childhood, Solaris and Andrei Rublev -- Andrei Tarkovsky. 130. Stanislaw Lem on Amazon and Wikipedia. 131. Cahiers du Cinéma and Mayapuri. 132. Black Friday and Paanch -- Anurag Kashyap. 133. Navdeep Singh, Sudhir Mishra, Neeraj Ghaywan, Raj Kumar Gupta and Rajkumar Kohli. 134. Nagin and Nagina. 135. Jaani Dushman -- Rajkumar Kohli. 136. Three Colors: Blue -- Krzysztof Kieślowski. 137. Three Colors: Red -- Krzysztof Kieślowski. 138. Three Colors: White -- Krzysztof Kieślowski. 139. The Double Life of Veronique -- Krzysztof Kieślowski. 140. The legendary Babbar Subhash. 141. Dance Dance -- Babbar Subhash. 142. Aagaya Aagaya Halwa Wala -- Song from Dance Dance. 143. Jaane Bhi Do Yaaro -- Kundan Shah. 144. Leke Pehla Pehla Pyar -- Song from CID, sung by Shamshad Begum, Asha Bhosle and Mohammad Rafi., music by OP Nayyar, lyrics by Majrooh Sultanpuri. 145. Rote Hue Aate Hain Sab -- Song from Muqaddar Ka Sikandar, sung by Kishore Kumar, music by Kalyani-Anandji, lyrics by Anjaan. 146. Kai Baar Yun Bhi Dekha Hai -- Song from Rajnigandha, sung by Mukesh, music by Salil Chowdhury, lyrics by Yogesh. 147. Rim Jhim Gire Saawan -- Song from Manzil, sung by Lata Mangeshkar, music by RD Burman, lyrics by Yogesh. 148. Andrew Sarris and André Bazin. 149. Sergei Eisenstein and the Odessa Steps sequence. 150. Court — Chaitanya Tamhane. 151. Khosla Ka Ghosla, Oye Lucky! Lucky Oye!, Love Sex Aur Dhokha, Shanghai and Detective Byomkesh Bakshy! -- Dibakar Banerjee. 152. Jean Renoir. 153. Akira Kurosawa and Yasujirō Ozu. 154. Tokyo Story -- Yasujirō Ozu. 155. Rashomon -- Akira Kurosawa. 156. The 2012 Sight and Sound poll of the 100 Greatest Films of All Time. 157. Early Summer -- Yasujirō Ozu. 158. Make Way for Tomorrow -- Leo McCarey. 159. Citizen Kane -- Orson Welles. 160. Vertigo -- Alfred Hitchcock. 161. Setsuko Hara. 162. Sara Akash -- Basu Chatterjee. 163. Bhuvan Shome -- Mrinal Sen. 164. KK Mahajan. 165. One Cut of the Dead -- Shin'ichirō Ueda. 166. Unsane -- Steven Soderbergh. 167. Promising Young Woman -- Emerald Fennell. 168. Psycho -- Alfred Hitchcock. 169. Hitchcock's Films Revisited -- Robin Wood. 170. Picnic at Hanging Rock, Gallipoli, Witness, Dead Poet's Society and The Truman Show -- Peter Weir. 171. Buster Keaton and Charlie Chaplin. 172. John Ford and Girish Shahane. 173. Everything is Cinema -- Don Palathara. 174. Hi Mom! -- Brian De Palma. 175. Taxi Driver -- Martin Scorcese. 176. Joyful Mystery -- Don Palathara. 177. The Postman Always Rings Twice -- Tay Garnett. 178. Treasure of the Sierra Madre -- John Huston. 179. Noir's arc - notes on an excellent anthology -- Jai Arjun Singh. 180. Key Largo -- John Huston. 181. Gun Crazy -- Joseph H Lewis. 182. Sullivan's Travels -- Preston Sturges. 183. O Brother, Where Art Thou? -- Coen Brothers. 184. Winchester '73 and Bend of the River -- Anthony Mann. 185. Shaheed (1948) -- Ramesh Saigal, starring Dilip Kumar. 186. Andaz -- Mehboob Khan. 187. Duniya Na Mane -- V Shantaram. 188. Some Like it Hot and Ace in the Hole -- Billy Wilder. 189. Ernst Lubitsch and James Wong Howe. 190. Sweet Smell of Success -- Alexander Mackendrick. 191. Mere Apne -- Gulzar. 192. Haal Chaal Thik Thak Hai -- Song from Mere Apne, sung by Kishore Kumar and Mukesh, music by Salil Chowdhury, lyrics by Gulzar. 193. Mr Sampat -- SS Vasan. 194. Miss Malini -- Kothamangalam Subbu. 195. Mr. Sampath: The Printer Of Malgudi -- RK Narayan. 196. Achhe Din Aa Rahe Hain -- Song from Mr Sampat, sung by Shamshad Begum and ML Vasantakumari, music by Balkrishna Kalla, lyrics by Pandit Indra Chander. 197. Parakh -- Bimal Roy. 198. O Sajna Barkha Bahaar Aayee -- Song from Parakh, sung by Lata Mangeshkar, music by Salil Chowdhury, lyrics by Shailendra. 199. Oonche Log -- Phani Majumdar. 200. Major Chandrakanth -- K Balachander. 201. Jaag Dil-E-Deewana -- Song from Oonche Log, sung by Mohammad Rafi, music by Chitragupt, lyrics by Majrooh Sultanpuri. 202. Birendranath Sircar, RC Boral and Timir Baran. 203. PC Barua, Bimal Roy and KL Saigal. 204. Devdas (1936) -- PC Barua. 205. President -- Nitin Bose. 206. Ek Bangla Bane Nyara -- Song from President, sung by KL Saigal, music by RC Boral, lyrcs by Kidar Sharma. 207. Street Singer -- Phani Majumdar. 208. Babul Mora Naihar Chhooto Hi Jaye -- Song from Street Singer, sung by KL Saigal, music by RC Boral, lyrics by Nawab Wajid Ali Shah. 209. Wajid Ali Shah. 210. Shatranj Ke Khilari -- Satyajit Ray. 211. Duniya, Yeh Duniya, Toofan Mail-- Song from Jawab, sung by Kanan Devi, music by Kamal Dasgupta, lyrics by Pandit Madhur. 212. Rajnigandha -- Basu Chatterjee. 213. Rajnigandha/राजनीगंधा -- Mannu Bhandari. 214. The Conversation -- Francis Ford Coppola. 215. Deer Hunter -- Michael Cimino. 216. The Godfather -- Francis Ford Coppola. 217. The Godfather: Part 2 -- Francis Ford Coppola. 218. Sisters -- Brian De Palma. 219. Blow Out -- Brian De Palma. 220. Blowup -- Michelangelo Antonioni. 221. The Long Goodbye and Nashville -- Robert Altman. 222. The Missouri Breaks -- Arthur Penn. 223. The Last Picture Show, Paper Moon, What's Up, Doc? and Targets -- Peter Bogdanovich. 224. This is Orson Welles -- Orson Welles and Peter Bogdanovich. 225. Hitchcock -- Francois Truffaut. 226. Bringing Up Baby, His Girl Friday, The Big Sleep and To Have and Have Not  -- Howard Hawks. 227. The Big Sleep -- Raymond Chandler. 228. William Faulkner and Ernest Hemingway on Amazon. 229. Johny Mera Naam and Jewel Thief -- Vijay Anand. 230. Sholay -- Ramesh Sippy. 231. Back to the Future -- Robert Zemeckis. 232. Mr India -- Shekhar Kapoor. 233. Rahul Rawail, JP Dutta, Mukul Anand and Rajiv Rai. 234. Hathyar and Ghulami -- JP Dutta. 235. Raat Bhat Jaam Se Jaam Takrayega -- Song from Tridev with galaxy of villains. 236. Naseeb -- Manmohan Desai. 237. Dan Dhanoa, Mahesh Anand, Dalip Tahil and Tej Sapru. 238. The Ramsay Brothers! 239. Don't Disturb the Dead: The Story of the Ramsay Brothers -- Shamya Dasgupta. 240. Do Gaz Zameen Ke Neeche -- Tulsi and Shyam Ramsay. 241. Veerana -- Ramsay Brothers. 242. Purana Mandir -- Ramsay Brothers. 243. Govinda! 244. Ilzaam -- Shibu Mitra. 245. I am a Street Dancer and Main Aaya Tere Liye from Ilzaam. 246. Jackie Brown and Pulp Fiction -- Quentin Tarantino. 247. Halloween -- John Carpenter. 248. A Nightmare on Elm Street -- Wes Craven. 249. Scream -- Wes Craven. 250. Terminator 2: Judgment Day -- James Cameron. 251. Mad Max: Fury Road -- George Miller. 252. Nicholas Cage and Keanu Reeves. 253. Wild at Heart -- David Lynch. 254. Red Rock West -- John Dahl. 255. The Last Seduction -- John Dahl. 256. Edward Norton in American History X and Rounders. 257. New Delhi Times -- Ramesh Sharma. 258. Drohkaal -- Govind Niahalani. 259. Gupt and Mohra by Rajiv Rai. 260. Sonam! 261. Wild -- Nicolette Krebitz. 262. Waves -- Trey Edward Shults. 263. Climax -- Gaspar Noé. 264. Mother! -- Darren Aronofsky. 265 Eho — Dren Zherka. 266. The Magic Mountain -- Thomas Mann. 267. Invisible Cities -- Italo Calvino. 268. Cosmicomics -- Itali Calvino. 269. If on a Winter's Night a Traveller -- Italo Calvino. 270. A House For Mr Biswas -- VS Naipaul. 271. A Bend in the River -- VS Naipaul. 272. Middlemarch -- George Eliot. 273. Mrs Dalloway -- Virginia Woolf. 274. To the Lighthouse -- Virginia Woolf. 275. Decline and Fall -- Evelyn Waugh. 276. Scoop -- Evelyn Waugh. 277. Brighton Rock -- Graham Greene. 278. Brighton Rock (1948 film) -- John Boulting. 279. Kingsley Amis and Martin Amis. 280. Lucky Jim -- Kingsley Amis. 281. The Siege Of Krishnapur -- JG Farrell. 282. Alfie -- Lewis Gilbert. 283. Get Carter -- Mike Hodges. 284. Blame it on Rio -- Stanley Donen. 285. Gangs of Wasseypur -- Anurag Kashyap. 286. Tamas -- Govind Nihalani. This episode is sponsored by Capital Mind. Check out their offerings here. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art by Simahina, in a homage to Jackson Pollock.

On this weeks episode we're talking all about a movie that is renown in Bollywood cinema history and what has been referred to as a classic "curry western" film, Sholay!  Directed by Ramesh Sippy and released in 1975, Sholay has become a staple in Bollywood cinema that showcases numerous genres of film all in one great story. Crime, drama, action, romance, it has it all and expands on it for more than 3 hours! What is it that keeps the story growing through all that time? We discuss this and more on our episode this week! Plot: In the village of Ramgarh, retired police chief Thakur Baldev Singh (Sanjeev Kumar) plots to bring down the notorious bandit Gabbar Singh (Amjad Khan) and enlists the help of two lesser criminals, Jai (Amitabh Bachchan) and Veeru (Dharmendra). When Gabbar attacks the village, however, Jai and Veeru wonder why Thakur does nothing to help them. They soon learn that he has no arms, and that Gabbar was the one who cut them off. Enraged by this, they redouble their efforts to help.

Film historian and writer Gautam Chintamani joins us for a deep dive into Ramesh Sippy's Shakti (1982).  A film that Sippy is most proud of, by some accounts. A film that's Salim Khan's personal favorite among the films he co-wrote with Javed Akhtar.  A film that pits together two giants of Hindi cinema, Dilip Kumar and Amitabh Bachchan.  Gautam and I tried to unpack why Shakti is one of Dilip Kumar's greatest films and how the legendary actor was able to elevate the performances of his co-actors. We also discussed the craft of Shakti, the women of Shakti and how they are projected as the mature counterparts of their partners, how the film can be seen as an amalgamation of Salim-Javed's films, the film's terrific score by R D Burman, and how Bachchan was neither overshadowed nor overshadowing in the film. Feedback/comments/questions: loveofcinemasf@gmail.comCredits:Produced and hosted by: Himanshu Joglekar (@loveofcinemasf8)Editor: Devika JoglekarMusic: Nakul AbhyankarCopyrights © Love of Cinema 2021Support the show (https://www.paypal.me/LoveOfCinema)

In this episode, Satish Kaushik talks about the film "Sholay" directed by Ramesh Sippy. Did you know? At the success party of Sita Aur Gita 1972 producer, GP Sippy discussed with Ramesh Sippy that they should make an action film with Hema Malini and Dharmendra and that's how the idea of making the blockbuster film came to their mind. Tune in to find more.

While excellent newsletters on specific themes within public policy already exist, this thought letter is about frameworks, mental models, and key ideas that will hopefully help you think about any public policy problem in imaginative ways.Audio narration by Ad-Auris.  Pranay was on this week’s The Seen and the Unseen discussing all things public policy with ace podcaster, writer and thinker, Amit Varma. India Policy Watch: Dilip Kumar And India  Insights on burning policy issues in India- RSJDilip Kumar passed away this week. You might wonder why should that matter to a public policy newsletter. Well, there are reasons. For one, he has featured more than once in our past editions where we have used his films to clumsily make broader points about the choices we have made as a nation. The other reason is great artists shape our collective identity and contribute to national consciousness. It is no surprise a lot of what has been written about Dilip Kumar this week has touched on this part of his legacy. I guess it will be in fitness of things for me to write one last piece on his legacy and how intertwined it is with our post-independent history. I’m not going to tread new ground here. If you go past the usual hyperbole about his ‘method acting’ ways and how he had to seek medical support to get over his ‘tragedy king’ persona, you will find the more serious commentators usually hold forth on three aspects of his career. First, how he was the embodiment of the Nehruvian ideal of India. Some went all the way to call him Nehru’s hero. Second, how his film ‘Naya Daur’ marked the high noon of India’s tryst with Nehruvian socialism. And third, how in his death we have lost the last link with an era that was marked by idealism and innocence. I think these are all relevant themes that should be brought up while discussing his legacy. But my reasons are a tad different from the popular narrative.Nehruvian IdealWhat did it mean to be the Nehruvian ideal of India in the years after independence? Nehru, Ambedkar and other members of the Constituent Assembly drafted the Indian constitution as a project of radical forgetting of our past. This, to them, was necessary to build a new India. But a radical forgetting of the past for a land as old as ours isn’t really an option. So, it was paired with the notion ‘reawakening from slumber’ which Nehru used in his tryst with destiny address. Nehru set the template for the reimagining of a new nation-state. Benedict Anderson reached a similar conclusion in his book Imagined Communities. Like we wrote in edition #62:Benedict Anderson defined the nation as a social community that’s imagined by people who believe they belong to it while being different from other such communities. Every newly formed nation has to define this imagination. And at that stage, it faces a choice. Or, as Anderson puts it, a paradox:“The objective modernity of nations to the historians' eyes vs. their subjective antiquity in the eyes of nationalists.”This is a tough ask especially for nations that are formed after a period of struggle. There’s a strong desire to start from a clean constitutional slate while paying homage to ‘subjective antiquity’ in areas outside the bounds of law and statecraft.  We concluded the following about the reimagination project of a newly formed nation:Newly independent nations like to make a new start that represents a break from the continuum of their history.Nations or communities that have a long history which can’t be wished away so easily use the trope of slumber and reawakening to represent the departure from the past.Historians are pressed into service to reframe history that shows the past events to be serving the nation-building or myth-making objectives of the present. To me Dilip Kumar was a Nehruvian ideal because he contributed significantly in mainstreaming this project of reimagination through cinema. His ‘natural’ style of acting, specifically his enunciation and dialogue delivery, were a marked departure from the theatrical or the singing style that was popular till then. Though Ashok Kumar and Motilal before him had started the trend, Dilip Kumar was a class apart. His style marked a break from how we watched and assessed a performance. Secondly, as much as he represented a new beginning, he also fitted the trope of reawakening. He was well read, he spoke on a wide-range of issues with acuity and he could quote from Indian, Persian or English literature with equal felicity. Lastly, as an artist, he contributed to the reframing of history and serving the myth-making objectives. His film persona of a sacrificing lover or son, his popularity among the masses who could see past his religion in the years right after partition violence and his social contributions (charities, supporting the troops etc) - they all contributed to the strengthening of the syncretic culture or the Ganga-Jamuni tehzeeb which was part of the reimagination project of Nehru. He was indeed the Nehruvian ideal. On Naya DaurI have written in edition #28 how Naya Daur is a fascinating film about the choice we made between the Gandhian ideal of a self-sufficient village economy that would reform itself organically versus the Nehruvian vision of a state-led modernisation programme that was inherently suspicious of a society rife with deep prejudices and discrimination. But many claim it to be a great example of Nehruvian vision. They have either not seen the film or have no idea what Nehruvian economics was all about. As I wrote then:……Naya Daur is, in fact, a stinging riposte to the Nehruvian state. It asks a fundamental question that had split even the Constituent Assembly – who should be the primary agent of change to modernise India? The state, the society, or the market? In siding with the society, Naya Daur seeks a rethink on the role of the state intervening in the lives of its people. We had a choice to make on how to modernise our society. Change from within or induce it from outside?….The enlightenment values of liberty, freedom and equality that philosophically underpinned the western democracies were difficult to root in the Indian intellectual or social context. Democracy, with equal rights to all citizens, was, therefore, an audacious gamble. But we chose that radical end.All that remained was what means should we adopt to change India?The market was quickly dumped as an option. The imperialist plunder that was seen as the handiwork of markets, the influence of Fabian socialism and the apparent miracle of central planning in the Soviet Union were enough to silence the pro-market voices. One would have assumed that the Gandhian vision centred on the society would have seen the market — that emphasises the merits of voluntary exchange between individuals — in more favourable terms. But that was not to be either.The society and the state, therefore, were the two poles around which the debates coalesced. We chose a top-down approach to change. Change will have to be driven as a programme of the state. That was Nehru’s central planning mantra.The statists won. Our constitution was to be more than a legal construct. It was to be a tool for social revolution engineered by the state. And, so began a schism in the Indian polity. The state was run by liberal-minded modernists who viewed the customs and traditions of the Indian society as impediments to progress. The common citizenry, on the other hand, viewed the rootless elite presiding over the state as a substitute of the colonial power who would ‘rule’ over them with, possibly, greater benevolence. At the heart of Naya Daur is a battle between human toil and the efficiency of the machine. Should a village accept a motorised bus or should it continue with horse-driven tongas?…..The usual last act drama ensues with man winning the race against machine. Dilip Kumar sums it up at the end when he claims the villagers aren’t against machines but want them in their lives on their terms. Let the society decide how it wants to change. Naya Daur was a film against the intervention of the state who would like to change the society from the outside. It was an anti-Nehru film in that sense.The role of the state has remained a principal axis of divergence in the Indian political discourse. These faultlines have greater salience today as the society questions the shibboleths on which the constitution and the modern India project was built. That favourite question of Amit Varma in his superb podcast The Seen and The Unseen – whether a liberal constitution was imposed on an illiberal society – is timely as the democratic mandate seems to offer legitimacy to the efforts of diluting the constitution.  Naya Daur was a huge commercial success. Not merely because the underdog won. Rather, it showed a mirror to the foundation of Indian society. The reflection we saw confirmed our biases. We weren’t as bad as the state made us out to be. Naya Daur has a message for the liberals who wring their hands in despair about the path India is going down today.The society isn’t the problem. Within it, possibly, lies the solution.  End Of An EraIt will be hard to argue with the passing away of Dilip Kumar we have lost something precious that linked us back to the years of hope and idealism post independence. But I would suggest that era had begun its decline from the 80s and was well and truly forgotten in the past decade. What remained was buried this week.So, what was this era about and what ended this week? I wrote about this and the notion of farz in edition #30:In his later years, Dilip Kumar often played an agent of the state (judge, police commissioner etc.) who would place his farz above everything else. In these roles, where he effortlessly blurred the lines between method acting and sky-high racks of piled up ham, Dilip Kumar would often shoot to kill or sentence to untold misery his own kin. Shakti, directed by Ramesh Sippy, is the prime example of this genre.  But I have always argued that the farz of agents of the state stems from their incentives. It often used to be at odds with their personal values.The state drove the agenda for change in society through the right set of incentives. Classic public choice theory at work.The foundational premise of modern India is that the state is ontologically prior to the society. The state should create legislation and structures that shape and change the society. Its agents who emerge from that society itself have the incentives to adhere to the philosophy of the state regardless of whether it aligns to their personal convictions.This created an unstable, yet desirable, equilibrium in India. The state was founded on values of equality, redistribution, secularism, fairness and social welfare. The society from where agents were drawn hadn’t fully accepted and internalised these values. So, you had free-market economists drafting socialist policies or an enlightened district magistrate who preached social equality at work but practised discrimination at home.But as the economy liberalised, the state lost its overbearing grip as the primary provider of employment and its ability to set the societal agenda. This had an unintended consequence.The liberalisation in the 90s led to the creation of a large middle class that didn’t depend on the state for its livelihood. This freed them from the incentives designed by the Indian state. The free-market incentives aren’t the same as that of the state. It rewards efficiency and value creation. For the middle class now, there was no need to live the dichotomous life their parents led – of having a professional code that was different personal code. Liberals are often surprised how well-educated professionals working for MNCs turn out to be bigots. The answer is simple. The state couldn’t change the society as it had expected. And, once the incentives from the state stopped mattering to the citizens, the mask dropped. You didn’t need the state for anything. So what use the code that it set?There’s no farz to adhere to because there’s no incentive. Further, the nature of the government running the state has also changed.You can argue the democratic mandate now is for the idea that the society is ontologically prior to the state. This changes the incentives for the agents of the state too. No longer do they have to align their ethics to that of the state. The state itself is being made to align its incentives to that of society. So, you have a scenario where both, those who depend on state and those outside it, have no conflict between their professional and personal codes. So, what has ended with Dilip Kumar? For new India, a great actor of the past whose films were slow and sad is no more. That’s about it. Life goes on.But what about for a generation and more who grew up believing the ideals of the Indian state as it was founded on? Those who invested in the idea of India that was shaped by Nehru? For them, the death of Dilip Kumar is a painful reminder of how things were, how they could have been and how far we are now from those ideals. Their loss is palpable. Like Shakeel Badayuni wrote in the Dilip Kumar sci-fi starrer Uran Khatola (1955):चले आज तुम जहाँ से, हुई ज़िन्दगी परायीतुम्हे मिल गया ठिकाना, हमें मौत भी न आयीTranslation:You have left this world today and we are bereft. You found your destination while we continue living in despair.If the content in this newsletter interests you, consider taking up the Takshashila GCPP. The certificate course is customised for working professionals. Intake for the 30th cohort ends on 22nd August. A Framework a Week: One Instrument, One TargetTools for thinking public policy— Pranay KotasthaneIn edition #9, I had identified multi-objective optimisation as the bane of policymaking in India. The key claim was that policies and institutions fail when they are laden with several objectives, resulting in a system that fulfils none. I had given three examples of instruments that fail this test in India —tax policy, traffic police, and MGNREGS.Turns out, a more elegant way to formulate this intuition is the Tinbergen Rule. It states that to successfully achieve 𝑛 independent policy targets at least the same number of independent policy instruments are required. A corollary of the Tinbergen rule is the assignment principle. Once a policy instrument has been mapped to a policy target, it becomes unavailable for pursuing other targets. The idea is simple in theory but tough to execute in practice. Forget governments, even smaller organisations burden one project with several targets. As Kelkar & Shah write in In Service of the Republic:Clarity of purpose is efficient for the principal and not the agent. It is our job, as policy thinkers, to hold the metaphoric feet of every agency to the fire, and hold it accountable for a narrow set of goals associated with a narrow set of powers. This principle results in a three-rule heuristic:Reduce the number of targets that the State is held accountable for.If #1 is not possible, increase the number of instruments or organisations, each responsible for a narrow set of targets.If #2 is not possible, coordinate policy instruments within the same organisation to achieve more than one target. The default mode of operation in India is jugaad i.e. #3. #2 requires increasing state capacity. #1 requires a radical reimagination of the State's role, which seems distant given how the welfare state continues to increase in scope across the world.PS: This is an excellent short paper on the need for administrative coordination even if the assignment principle is followed. HomeWorkReading and listening recommendations on public policy matters[Article] Nirpal Dhaliwal in the Guardian on Dilip Kumar: “The actor, who has died at 98, gave expression to the intense cultural complexities raised as independence met modernity – with respect, depth and subtlety”. [Video] From Prasar Bharti archives: Dilip Kumar in an exclusive conversation with Noor Jehan. [Podcast] The next Puliyabaazi is with Disha Ahluwalia, an archaeologist, on recent findings of Indus Valley Civilisation artefacts. Get on the email list at publicpolicy.substack.com

His writing is self-reflective, his humour is self-deprecatory, and he's one of our finest writers on cinema. Jai Arjun Singh joins Amit Varma in episode 230 of The Seen and the Unseen to describe how he to came to love cinema -- and how that love changed shape as he did. Also check out: 1. Jabberwock -- Jai Arjun Singh's blog. 2. Jaane Bhi Do Yaaron: Seriously Funny Since 1983 -- Jai Arjun Singh. 3. The World of Hrishikesh Mukherjee -- Jai Arjun Singh. 4. Popcorn Essayists -- Edited by Jai Arjun Singh. 5. Seeing is believing? An essay about encounters with religious cinema -- Jai Arjun Singh. 6. Meandering thoughts on the consumer-art relationship, glorification vs depiction, etc -- Jai Arjun Singh. 7. In praise of “commercial” acting -- Jai Arjun Singh. 8. One Moment Please -- Jai Arjun Singh's column for the Hindu. 9. Jai Arjun Singh at Mint Lounge, Scroll and First Post. 10. The First Assault on Our Constitution -- Episode 194 of The Seen and the Unseen (w Tripurdaman Singh). 11. Lessons in Investing (and Life) -- Episode 208 of The Seen and the Unseen (w Deepak Shenoy). 12. Two Girls Hanging From a Tree -- Episode 209 of The Seen and the Unseen (w Sonia Faleiro). 13. A Writer Learns to See -- Episode 215 of The Seen and the Unseen (w Annie Zaidi). 14. Leonard Maltin's TV Movies and Video Guide 1991. 15. Amit Varma's Twitter threads on the MAMI festival from 2018 and 2019. 16. A Meditation on Form -- Amit Varma. 17. The House of the Dead -- Fyodor Dostoevsky. 18. Psycho -- Alfred Hitchcock. 19. The 1980s films mentioned in this episode: Meri Jung, Mr India, Parinda, Tezaab, Eeshwar, Awaargi, Karma, Chameli Ki Shaadi, Saaheb, Teri Meherbaniya, Ghulami, Hathyar, Arjun. 20. Dogme 95 (on Wikipedia). 21. Sholay -- Ramesh Sippy.22. Jai Arjun Singh's many writings on Sholay. 23. We all live in a Cannibal Holocaust -- Amit Varma. 24. Ghost Stories -- Zoya Akhtar, Anurag Kashyap, Dibakar Banerjee & Karan Johar. 25. Eyes Without a Face -- Georges Franju. 26. Amarcord & I Vitelloni -- Federico Fellini. 27. Moonlight -- Barry Jenkins. 28. David Dhawan and Krzysztof Kieślowski on Wikipedia. 29. Piku -- Shoojit Sirkar. 30. Jai Arjun Singh's writings on Piku. 31. Jai Arjun Singh's talk at TEDxNSIT. 32. Dead Poet's Society -- Peter Weir. 33. Louie -- Louis CK. 34. Kabir Singh, Leni Riefenstahl & The Birth of a Nation. 35. Films, Feminism, Paromita -- Episode 155 of The Seen and the Unseen (w Paromita Vohra). 36. The Kavita Krishnan Files -- Episode 228 of The Seen and the Unseen (w Kavita Krishnan). 37. How Social Media Threatens Society -- Episode 8 of Brave New World, hosted by Vasant Dhar, featuring Jonathan Haidt. 38. The Philadelphia Story -- George Cukor. 39. The Wire -- created by David Simon. 40. Dekalog -- Krzysztof Kieślowski. 41. Casey Neistat on YouTube. 42. Alan Moore's books on Amazon. 43. Biwi aur Makan -- Hrishikesh Mukherjee. 44. Ace in the Hole -- Billy Wilder. 45. The Magic Faraway Tree Collecton -- Enid Blyton. 46. Mrutyunjay -- Shivaji Sawant. 47. The Unconsoled -- Kazuo Ishiguro. 48. The Discreet Charm of the Bourgeoisie, The Phentom of Liberty, That Obscure Object of Desire -- Luis Buñuel. 49. Cinefan diary: Jean-Claude Carriere -- Jai Arjun Singh. 50. Pauline Kael on Amazon. This episode is sponsored by Wondrium. Check out their series, How to Look at and Understand Great Art. For free unlimited access for a month, click here. Please subscribe to The India Uncut Newsletter. It's free! And check out Amit's online course, The Art of Clear Writing.

Chances are, if you love Hindi cinema, you love Amitabh Bachchan and his films. Having grown up in the 90s, well past peak Bachchan mania, I've always wondered what it would've been like to have lived through that peak mania.  What must the thrill have been like to have witnessed his stardom at its peak? To get a better idea, I spoke with a small group of cinephiles and Bachchan fans who were fortunate enough to have watched the actor's 70s and 80s filmography on the big screen. I was joined by hardcore Bachchan fans, Sandeep Loyalka, M. Tanveer and Sandeep Padhi to share their memories of watching Bachchan on the big screen in the 70s, 80s and early 90s. Among the stories and memories they shared: Watching Sholay multiple times, bumping into Ramesh Sippy one fine day, camping overnight outside the theatre for tickets, eagerly awaiting the daily newspaper for updates on the actor's health following his accident on the sets of Coolie (1983), and watching Bachchan's films in a small town in Odisha.Watching Bachchan on the big screen, back in the day!Feedback/comments/questions: loveofcinemasf@gmail.comCredits:Produced and hosted by: Himanshu (@loveofcinemasf8)Editor: Devika JoglekarMusic: Nakul AbhyankarCopyrights © Love of Cinema 2021Support the show (https://www.paypal.me/LoveOfCinema)

In this episode, Satish Kaushik talks about the movie Hum. Did you know? The blockbuster song Jhooma Chumma was originally recorded for Ramesh Sippy's film Ram Ki Sita, Shyam Ki Gita.

Honestly, Soorma Bhopali was only meant to be a comic diversion, something that used to be a norm in those days, says Ramesh Sippy. Listen to all that's making news in the world of #Entertainment & #Lifestyle today. Mallika Bhagat presents this episode.

Asim, our friend from the Khandaan podcast as we talk about Shaan. Shaan (English: Pride) is a 1980 Indian action thriller film. The film was directed by Ramesh Sippy, with a story written by Salim-Javed.  The story is about two brothers (Amitabh Bachchan and Shashi Kapoor) go after the international mafia kingpin who murdered their cop brother. They are later joined by another man who wants revenge against the gangster Shatrugan Sinha. (Source:Imdb). You can listen and subscribe to our podcast on iTunes / Stitcher / TuneIn or on YouTube. You can also listen to this episode right here on this player below.   Podcast Episode Summary: We talk about comparisons between Shaan and Sholay We talk about minority representation in Cinema We talk about all the big villains of the 70s and the 80s   Quotables: We were lucky to see both peak Amitabh and peak Khan period - Asim   He puts life into characters that may seem caricature-ish - Tanvi   I could not see Amitabh with Dharmendra or Amjad Khan. I wanted Shashi Kapoor - Flo

Joining us today is our friend, Yamini. And we are talking about Sholay. Sholay (lit. Embers) is a 1975 Indian action-adventure film written by Salim-Javed (https://en.wikipedia.org/wiki/Salim-Javed) , directed by Ramesh Sippy (https://en.wikipedia.org/wiki/Ramesh_Sippy) , and produced by his father G. P. Sippy (https://en.wikipedia.org/wiki/G._P._Sippy) . The film is about two criminals, Veeru and Jai (played by Dharmendra (https://en.wikipedia.org/wiki/Dharmendra) and Amitabh Bachchan (https://en.wikipedia.org/wiki/Amitabh_Bachchan) respectively), hired by a retired police officer (Sanjeev Kumar (https://en.wikipedia.org/wiki/Sanjeev_Kumar) ) to capture the ruthless dacoit, Gabbar Singh (Amjad Khan (https://en.wikipedia.org/wiki/Amjad_Khan_(actor)) ). (Source:Wikipedia). You can listen and subscribe to our podcast on iTunes / Stitcher / TuneIn or on YouTube. You can also listen to this episode right here on this player below.     Podcast Episode Summary: We talk about director Ramesh Sippy's perfectionism We give a special shout out to all the scenes that involve Amitabh and Jaya We talk about Gabbar Singh Quotables: As for the songs, there is nothing home to write about - Yamini   I loved ALL the songs - Tanvi  That scene could easily be on my top 10 best scenes ever - Flo  

OSCAR SFT GIVEAWAY DETAILS (2:28) - DM us a photo of your predictions for the main Oscar categories - 1 FREE GUESS W DM OF SCREENSHOT OF A WRITTEN 5 STAR REVIEW - 1 FREE GUESS W OSCAR PREDICTION ON YOUR SOCIAL MEDIA TAGGING THE SWEET FILM TALK Templates for making your predictions AND the nominees will be uploaded daily on the Sweet Film Talk Instagram page SWEET 250 REVIEWS (7:34) #250 Throne of Blood directed by Akira Kurosawa (9:55) #249 Aladdin (1992) directed by Ron Clement and John Musker (12:45) #248 The Legend of 1900 directed by Giuseppe Tornatore (15:15) #247 Winter Sleep directed by Nuri Bilge Ceylan (19:10) #246 Guardians of the Galaxy directed by James Gunn (23:05) #245 Infernal Affairs directed by Andrew Lau and Alan Mak (25:22) #244 The Battle of Algiers directed by Gillo Pontecorvo (29:20) #243 Sholay directed by Ramesh Sippy (35:20) #242 Neon Genesis Evangelion: The End of Evangelion directed by Hideaki Anno (37:53) #241 In the Mood for Love directed by Wong Kar-Wai (43:57) Thanks for listening like always. Love you guys, SWEEEEEEETTTTTT --- Support this podcast: https://anchor.fm/sweetfilmtalk/support

Saagar is a 1985 Indian drama film directed by Ramesh Sippy, starring Rishi Kapoor, Kamal Haasan and Dimple Kapadia. Raja(Kamla Haasan), a fisherman is secretly in love with Mona(Dimple Kapadia). When wealthy Ravi(Rishi Kapoor) comes to live with his grandmother, Kamladevi, he sees Mona and falls in love with her. Mona also reciprocates his love. Raja is devastated by this turn of events. But when Kamladevi gets to know that Ravi is seeing Mona, she puts pressure on Mona to give up Ravi and marry someone else.(Source:ImdB)   Podcast Episode Summary: We talk about Dimple's hair and her comeback after her marriage We wonder if this rain song was one of the first sexy rain songs in Hindi movies We talk about "quintessential-y hindi movie" this was Quotables: This movie put such a big smile on my face - Tanvi   That is what they have reduced Goa to ..now - Flo I loved SPB's voice on Kamla Hassan as well - Tanvi   The whole movies as a package was good - Flo

Today is the birth anniversary of veteran actor Mac Mohan, who is immortalised in the role of Gabbar Singh's 'sidekick' Sambha in Ramesh Sippy's blockbuster Sholay. To know more watch the video.

Hosted by head of FilmSeekers.com Neil Ramjee @FilmSeekers and co-host Mike Ross @TheLateGreatMR Thank you for downloading and listening! *Please subscribe to get our latest episodes!* We want to hear from you! Tell us about your films and experiences at the cinema: Email us: hello@FilmSeekers.com Follow us @FilmSeekers on Twitter, Facebook.com/FilmSeekers and check out FilmSeekers.com Today we discuss: 0:02:30 Who We Are To Contact Us 0:07:30 Listener's Letters 0:11:45 Film News - Aziz Ansari 0:15:20 Recommendation -Kaitlin Prest - 'NO' 0:22:00 Eliza Dushku, Sharon Stone 0:28:00 Dylan Farrow and Woody Allen 0:30:00 Star Wars - The Last Jedi - '46 Min Men's Cut' 0:34:00 Sundance Film Festival 2018 0:45:30 ONLY YOU w/ Laia Costa, Josh O'Connor via The Bureau - 0:51:00 UK Box Office Top 10 1:19:50 Main Feature Film: SHOLAY (1975) d. Ramesh Sippy starring Dharmendra, Amitabh Bachchan, Sanjeev Kumar, Hema Malini, Amjad Khan, Helen. Thanks to Web Bist @WebisTrying and the Darn That Dream Podcast for our introduction to Sholay. You can listen to his podcast Darn That Dream HERE 2:10:00 Home Streaming Recommendations for Netflix UK, Amazon Prime UK and BBC iPlayer Amazon Prime UK - THE OTHER SIDE OF HOPE d. Aki Kaurismaki, THE RED TURTLE d. Michael Dudok De Witt Netflix UK - CREEP 2 d. Patrick Brice, SUPER DARK TIMES d. Kevin Phillips BBC iPlayer - MADE IN DAGENHAM d. Nigel Cole 2:16:00 Thanks and ways to get in contact with us Music credits: Sholay Title Theme - Composed by Rahul Dev Burman Kishore Kumar and Manna Dey - 'Yeh Dosti' pt I Lata Mangeshkar - 'Haa Jab Tak Hai Jaan' R.D.Burman - 'Mehbooba Mehbooba' Dialogue Excerpt: Amjad Khan as Gabbar Singh Soundtrack available through Universal India FilmSeekers.com Intro: Big Num - 'Too Clever For Words', Outro: Big Num - 'Vital Part You're Missing' Available on all good mp3 purchasing sites.

Sholay may be the most popular Indian film ever released. Beth Watkins of Beth Loves Bollywood and Todd Stadtman, author of Funky Bollywood: The Wild World of 1970s Indian Action Cinema, join Mike in discussing the film.

This week , Sameer, Anoop and Baloch go back in time and talk about one of the greatest Bollywood movie of all time "Sholay". Directed by Ramesh Sippy, and written by the legendary duos Javid Akhtar and Salim Khan. Sholay is a story of a small village of Ramgarh, where, a retired police chief Thakur Baldev Singh (Sanjeev Kumar) plots to bring down the notorious bandit Gabbar Singh (Amjad Khan). He enlists two outlaws Jai (Amitabh Bachchan) and Veeru (Dharmendra) to help him bring down Gabbar.     Hosted by Baloch, Anoop & Sameer   Get Bollywood movie news & funny reviews from Bolly fans like you. We are a team dedicated to bringing you Bollywood movie news and reviews in a fun and entertaining way. What separates us from other movie pages is that we are fans just like you.   Please like us onwww.facebook.com/bollycast Follow us onwww.twitter.com/bollycast And can be visitedwww.bollycast.com

This week, Mike and Sean celebrate Thanksgiving with a pair of Bollywood classics, 1951's Awaara, starring Nargis and Raj Kapoor, who also directed, and 1975's epic Western Sholay starring Amitabh Bachchan and Dharmendra and directed by Ramesh Sippy. They also discuss the late Mike Nichols, celebrate Busby Berkeley's birthday, pick their Essential Movie Buddies and, for some reason, talk about an 80 second commercial for a movie that doesn't open for thirteen months.