Not Danny Dezongpa, Sanjay Dutt, Arjun Kapoor, this actor glamorized the villain culture, overshadowed 2 superstars in blockbuster film, movie name is…, he was…
That menacing figure was Gabbar Singh from the classic film Sholay (1975), which was portrayed by legendary actor Late Amjad Khan, who rose from relative obscurity to stardom through this role, initially offered to another actor, but fate had other plans. Released with giants like Amitabh Bachchan and Dharmendra as leads, Sholay became a blockbuster and is often compared to Star Wars in its cultural impact. While the film itself was a massive hit, it was Gabbar Singh who overshadowed even the heroes; his lines 'Kitne aadmi the?' and 'Jo darr gaya… samjho marr gaya' remain iconic decades later. What other films were done by Amjad Khan?
Amjad Khan went on to feature in over 130 films, playing intense antagonists in movies like Muqaddar Ka Sikandar (as Dilawar) and Parvarish. He was even rooted for humor, appearing in beloved films like Qurbani and Yaarana. His versatility impressed audiences in serious, comic and positive roles as well. His royal stance and subtle acting as Nawab Wajid Ali Shah in Satyajit Ray's film Shatranj Ke Khiladi (1977) was an invaluable contribution to Indian art cinema. The dignity with which he played the role of Akbar in 'Meera' (1979) became a standard in the portrayal of historical characters. More about Amjad Khan
His performance changed the trajectory of character actors in Hindi cinema. He became the first on-screen villain to appear in a mainstream commercial advertisement, endorsing Britannia biscuits as Gabbar Singh himself.
On July 27, 1992, Amjad Khan passed away at age 51 due to a heart attack, yet his legacy as Bollywood's ultimate antagonist remains vivid. Films like Sholay and its villain Gabbar Singh remain benchmarks for generations, with Amjad Khan's compelling portrayal continuing to define pure, unredeemed evil on screen.
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News18
11 hours ago
- News18
Gajraj Rao Compares Raanjhanaa AI Ending To Sholay: ‘We Got Lucky Back Then'
While reacting to Varun Grover's take on the AI-altered ending of Raanjhanaa, Gajraj Rao expressed relief that AI didn't exist during Sholay. In the wake of the ongoing dispute about the AI-altered re-release of Aanand L Rai's 2013 film Raanjahanaa, actor Gajraj Rao voiced his concerns over the impact of AI (Artificial Intelligence) on storytelling. He reacted to Varun Grover's video criticising the AI-edited ending of Raanjhanaa, in which he recalled his uncle suggesting a change to the ending of Masaan. Reacting to this, Gajraj Rao humorously remarked that he was glad Ramesh Sippy's uncle didn't have similar thoughts while making Sholay. He further expressed relief that AI was not available back then, or it might have altered the film's memorable moments including Amitabh Bachchan's emotional farewell. He pointed out that AI-generated approach could have ruined some of the best cinematic moments in Bollywood. Soon after Varun Grover shared the reel criticizing Raanjhanaa's AI-altered ending on Instagram, Gajraj Rao shared it to his Instagram stories and wrote, 'Shukr hai, Ramesh Sippy (director of Sholay) saab ke mama ji ke khayalat aise nahi they, aur AI to khair paida hi nahi hua tha, varna Gabbar ka nishaana chook jaata aur Amit ji ka kirdar, duniya ko alvida na kehta…Bach gaye hum log (Thank God, Ramesh Sippy's uncle didn't have such thoughts, and AI didn't exist. Otherwise, Gabbar's aim would've missed, and Amitabh Bachchan's character wouldn't have been able to say 'Alvida' to the world… We got lucky back then)." Check out his Instagram story below! What Did Varun Grover Say About Raanjhanaa's AI-Edited Ending? In the video, Grover humorously recounts his uncle's reaction to the first showing of Masaan. His uncle praised the film but suggested altering the ending to ensure its success. Grover amusingly describes how he had to invent logistical reasons to avoid making such a change, citing a lack of budget, time, and actor availability. View this post on Instagram A post shared by Varun Grover (@vidushak) He then wryly notes that someone else's uncle seemed to have the resources to use AI to edit Raanjhanaa, giving it a happy ending and re-releasing it. 'But apparently, someone else's uncle has enough to AI-edit Raanjhanaa, make it a happy ending, and re-release it. So, whoever's uncle it is, namaste to them," he said. Raanjhanaa AI-Altered Ending Dispute Twelve years after its original release, Aanand L Rai's Raanjhanaa is set to return to theatres in Tamil Nadu as Ambikapathy on August 1, 2025. Promotional posters for Ambikapathy suggest that the film now features an 'AI-powered" alternate ending in which Dhanush's character does not die, deviating dramatically from the original tragic conclusion. Director Aanand L Rai also expressed his disappointment, and said that the film did not need a new climax. He also raised serious concerns about the legal, ethical, and creative consequences of using AI to tamper with films and performances without consulting their original creators or actors. Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
India.com
a day ago
- India.com
Not Danny Dezongpa, Sanjay Dutt, Arjun Kapoor, this actor glamorized the villain culture, overshadowed 2 superstars in blockbuster film, movie name is…, he was…
Over the years, Bollywood has celebrated many memorable villains, Late Amrish Puri's magnetic Mogambo in Mr. India, Danny Denzongpa's chilling presence, Late Ajit Khan's suave evil masterminds with his famous 'Mona darling' flair, Sanjay Dutt's raw and intense character of Kaancha and Adheera, or the recent menacing portrayal of Arjun Kapoor as Danger Lanka. But this one actor from golden era, whose eerie laugh, chilling dialogues and sinister presence became an unforgettable memory etched in the hearts of cinephiles. Who was this villain? That menacing figure was Gabbar Singh from the classic film Sholay (1975), which was portrayed by legendary actor Late Amjad Khan, who rose from relative obscurity to stardom through this role, initially offered to another actor, but fate had other plans. Released with giants like Amitabh Bachchan and Dharmendra as leads, Sholay became a blockbuster and is often compared to Star Wars in its cultural impact. While the film itself was a massive hit, it was Gabbar Singh who overshadowed even the heroes; his lines 'Kitne aadmi the?' and 'Jo darr gaya… samjho marr gaya' remain iconic decades later. What other films were done by Amjad Khan? Amjad Khan went on to feature in over 130 films, playing intense antagonists in movies like Muqaddar Ka Sikandar (as Dilawar) and Parvarish. He was even rooted for humor, appearing in beloved films like Qurbani and Yaarana. His versatility impressed audiences in serious, comic and positive roles as well. His royal stance and subtle acting as Nawab Wajid Ali Shah in Satyajit Ray's film Shatranj Ke Khiladi (1977) was an invaluable contribution to Indian art cinema. The dignity with which he played the role of Akbar in 'Meera' (1979) became a standard in the portrayal of historical characters. More about Amjad Khan His performance changed the trajectory of character actors in Hindi cinema. He became the first on-screen villain to appear in a mainstream commercial advertisement, endorsing Britannia biscuits as Gabbar Singh himself. On July 27, 1992, Amjad Khan passed away at age 51 due to a heart attack, yet his legacy as Bollywood's ultimate antagonist remains vivid. Films like Sholay and its villain Gabbar Singh remain benchmarks for generations, with Amjad Khan's compelling portrayal continuing to define pure, unredeemed evil on screen.
New Indian Express
a day ago
- New Indian Express
The golden year half a century ago
K Balachander's Apoorva Raagangal (Rare Melodies) is a landmark Tamil film often cited for being the breakthrough lead role for Kamal Haasan, the debut vehicle for Rajinikanth and the bearer of one of the most melodic soundtracks of Indian cinema. What's more, it's a milestone in radically positing that love knows no barriers of age. The film turned the idea of romance on its head with its focus on an unusual, complex relationship dynamic where a young man falls in love with an older woman, while her daughter gets attracted to his father. Its ambiguous open-endedness notwithstanding, Apoorva Raagangal feels liberal not just for its own times. The film completes 50 years this August 15, the day that saw the release of one of the most commercially successful Indian films, Ramesh Sippy's Sholay. While this much mythologised film will expectedly be the cause of many celebrations this year, it would be appropriate to also acknowledge the other cinematic saplings born that year that have grown in relevance since. While 1957 is often called the highpoint in Indian cinema's golden age, 1975 was noteworthy in its own way. If it signalled a turning point in Tamil cinema with the arrival of a new generation of accomplished male stars, to eventually take the baton from Sivaji Ganesan and M G Ramachandran, filmmakers like Balachander and later Bharathiraja made mainstream Tamil cinema soar to new heights in the following years. In Telugu cinema, 1975 marked the continuation of the domination of N T Rama Rao. However, Dasari Narayan Rao's Balipeetam is a significant pick from the year's crop, exploring the still-relevant issue of tensions in an inter-caste marriage between a Dalit boy and a Brahmin girl. In Malayalam cinema, the year was one of the most fecund for actor Prem Nazir, with more than a dozen releases. But more important was the arrival of G Aravindan as a force to reckon with in the parallel cinema movement. Though his debut feature Uttarayanam won the national and Kerala state film awards in 1974, its year of release is often attributed as 1975. Aravindan dealt with the crucial issue of unemployment in the 1970s and how it was driven by conflicting ideologies—varied means geared towards the same end. With experiments with storytelling and form, Aravindan made a strong comment on political opportunism and the corruption seeping into the individual and the system.
