Trishul (1978) — Sahi Waqt Aur Sahi Mauke Ka Intezaar Tha

After The Interval (Interval Ke Baad) — Episode 8

1978. Post-Emergency India. A country that had just exhaled after two years of authoritarian rule, hungry for stories about fighting back. About power being taken apart from the inside. About sons who refused to accept what their fathers had built on injustice. 

Into that India, Trishul arrived.

Bharath and Neelima rewatch Yash Chopra's Trishul — the middle film of one of the greatest director-writer trilogies in Hindi cinema history. Yash Chopra. Salim-Javed. Amitabh Bachchan. Three forces that together defined an entire generation of Hindi cinema.

This episode: The year Amitabh Bachchan owned four of the top four highest-grossing films in India — a record that has never been broken. The Yash Chopra and Salim-Javed trilogy — Deewaar, Trishul, Kaala Patthar — and why we believe Trishul is the most complete film of the three. Why we chose Trishul over Deewaar; Sanjeev Kumar is the answer.  The ambulance scene that was not in the original script. And the two women who never share a single scene, and why the whole film is really about them. 

A 2026 reimagining debate that Bharath and Neelima will somewhat agree on. 

Because the best part of any movie isn't the movie — it's always the conversation after.

New episodes every week.

Interval ke baad, the real conversation starts.

Follow us: @aftertheintervalpod
Email us: aftertheintervalpodcast@gmail.com

Produced by The LuminACE Group, LLC

Transcript

SPEAKER_04 0:00

Gita, Askal Kakarayo.

SPEAKER_03 0:02

Dominatosuna Hoga, Jolo Kuchne Kate, book Kamal Kate. May Ajkal Kamal Kardi.

SPEAKER_04 0:08

Me resa Kam Karogi. And Nilba, that is probably one of the few moments of levity in what is otherwise a very serious movie, which is a Salim Chavez special. Hello friends. I am Parat. This is Nilima and welcome to After the Interval.

SPEAKER_03 0:43

Interval kiban.

SPEAKER_04 0:44

Because the best part of any movie is not the movie, it's always the conversation after. Okay, so we know you have been waiting for this one. Seven episodes in. So the movie we are going to talk about today is a blockbuster from 1978. The movie's Trishul. And you all are Trishul, why not Deewar? So Neilima and I thought an explanation is required here. And our belief is Dewar was a complete Amitabh movie. Undisputedly one of the great performances in the history of Indian cinema. But this film, Dewar, was never really a contest. Trishul is different because Neelima Trishul has who?

SPEAKER_03 1:42

Sanjeev Kumar and great women characters as well.

SPEAKER_04 1:46

Yes. And we will talk about the women characters who are what Neilima and I believe the real heroes of this movie. So Sanjeev Kumar in this movie does something that very few people have been able to do, which is match Amitab scene for scene. Sanjeev Kumar plays a man who's guilty, who knows somewhere deep down that he deserves everything coming to him, but he just cannot bring himself to admit it. So the shame, the pride, the ambition, but also the slow recognition. So one of the great performances in Hindi cinema, we believe, of course, Amitab had a phenomenal performance, but Sanjeev Kumar, we believe, matched him toe to toe, and he was a worthy adversary, and that's why we baked through Shul. Neelama, you want to tell us the rest of the cast? What an ensemble cast.

SPEAKER_03 2:56

Yes.

SPEAKER_04 2:56

Crazy. Our first segment, we call it Zamana Kya Ketahe, where Nilima and I try and provide a bit of context in which the movie was made. In many ways, the world is catching its breath. Jimmy Carter's in the White House, still navigating the long shadow of Watergate in Vietnam. The first test tube baby is born. Pope John Paul II becomes the Pope, the first non-Italian Pope in 450 plus years. As music lovers, Nilema and I, Sony launches the Walkman. So the first time in human history, music has become personal. Something that you carried with you, something that belonged to you. And in India, Indra Gandhi had just lost power, the emergency was over, Moraji Desai was PM. And for a two-year period, civil liberties had been suspended, press censorship was in force. So when the Janta Party won, the country felt like a bit of the weight of that authoritarian power was gone. There was definitely this desire for stories that were genuine, stories around fighting back, about ordinary people standing up to power, about folks that don't accept injustice. So into that India, Trishul arrived. And so the audience understood exactly what it was about.

SPEAKER_03 4:33

1978 was the year of Amitabh. But to understand what that means, you have to understand his journey. It all started in 1973 with Zanjir, a film that invented a new kind of Hindi film hero, not romantic, not the noble, idealistic person, the angry young man. A man who had been wronged by the system and was going to make the system fail. Salim Javad wrote it, Amitab inhabited it, and Hindi cinema was never the same.

SPEAKER_04 5:00

Never the same.

SPEAKER_03 5:02

And 1975 was his greatest artistic year. Think about what happened in the 12-month period. Divar, one of the most significant films made in Hindi cinema. Shole, the highest grossing Hindi film for 19 years. Two all-time classics. Same actor, same year. That is a phenomenon. 1977, Amar Akbar Anthony, the biggest hit since Sholey. Four of the top five highest grossing films of 1978 were Amitabh movies. Mukadharka Sikandar at number one, Trishul at number two, Dawn at number three, Kasme Vade at number four. So much so that the French director Francois Truffon called him a one-man industry. And he wasn't wrong. In 1978, Amitab did not just dominate Hindi cinema. He was Hindi cinema.

SPEAKER_04 5:50

Well said, Nilima. So as you were going through it, two thoughts came to mind. We covered a lot of episodes so far. And we talk about a movie and the hero. And if he has one movie in the top 10, we talk about it like it was an amazing feat. And it really is, right? It's so hard to make, given the volume of Hindi movies we make, for something to be a commercial success. And just then we talk about Amitab, and he's got this 10-year period from 73 to what 85, and he's 82, I guess. Then he gets the second win with Koolie and those movies. But for a 10-year period, one, two, four, one, two, three, just the amount of super duper hits that man has delivered, truly a one-man industry.

SPEAKER_03 6:46

And to keep up the intensity for so many movies, Bharat, and deliver convincing performances movie after movie. It's no small feat.

SPEAKER_04 6:54

Absolutely. And the second thing that comes to mind is Trishul is different from many of the movies. The layers inside Trishul have so much more to offer than so many of the other movies. Some were absolutely classic, Amitabh Filins, Take Dawn, Amarag Baranthini. Single. Yeah. You know what you're gonna get with the Van Mohan Desai movie. You know what you're gonna get with the Prakash Mahera movie. I mean, amazing directors, amazing movies. My argument would be even in that decade of 10 years, the layers and the hidden anger, the rage, the way he portrays the role, Trishul in many ways stands out on its own.

SPEAKER_03 7:43

Absolutely. Uh totally agree with what you said. Trishul certainly stands out, and uh, I think that's why it has endured for so long. Even now, when you watch it, it grips you. We can feel his anger. Uh it was released on May 5th, 1978, directed by Yash Chopra, produced by Gulshin Rai under Trimutti Films. It was written by Salim Javit, music by Kayam, lyrics by Sahir Ludyanvi, cinematography by Keichi. Budget was approximately two and a half crore rupees. They had to spend to afford all the cast, I guess.

SPEAKER_04 8:57

Oh, the ensemble cast.

SPEAKER_03 8:58

Yeah, yeah.

SPEAKER_04 8:59

And I just want to take a minute and uh place uh Trishul uh in the order of this trilogy. So before we go into the story, uh Trishul does not exist in isolation. It is the second film of one of the great director-writer partnerships in the history of Indian cinema. So Yash Chopra and Salim Javid made exactly three films together. So Dewar comes out in 75, Trishul comes out in 78, it's the middle movie, and then Kalapatar comes out in 79, back to back almost. And that movie, similar in terms of coal miners, corporate negligence. So, but the same obsession, if you will, runs through all of them, which is around power. Who's got it, who doesn't, what happens when the man who does not have it decides he's going to take it anyway. So Yash Chopra brought all the visual poetry, Salim Javit brought all the rage, and then Amita brought it all together with the body and the voice to make the rage feel true.

SPEAKER_03 10:58

I want to share a couple of uh behind the scenes stories uh about Trishul. This film almost did not happen the way we know it. It was 70% complete when producer Gulchendrai sat down and watched what had been shot, and he wasn't happy. Something was missing, and so at 70% completion, Yashopra went back to the table, sat with Salim Javer, and told them, you know, something is missing and asked them to fix it. Maybe give it the X factor. What Salim Javed came up was the ambulance scene. That scene that became the film's most iconic moment when uh Amitabh arrives in an ambulance. Yes.

SPEAKER_04 11:36

It's one of my favorites. Okay, we'll let you let you handle it. Yes, yes, yes.

SPEAKER_03 11:40

That's your scene. That's your scene. Yeah. Just one more detail. Rishi Kapoor was originally offered uh the role that eventually went to Sachin Pilgonkar. He refused, and and rightly so. So I mean, there wasn't much for Sachin to do there. Um, but Salim Khan was furious. He confronted Rishi Kapoor directly and threatened his career. Rishi Kapoor wasn't phased and went on to have a thriving career as a leading man and later as a brilliant supporting actor. However, this incident gives us an insight on how serious and confident Salim Javid were about their work.

SPEAKER_04 12:13

Absolutely. So I'll cover that briefly in CTMR, but you brought it up and I can't hold myself back. It's definitely, I mean, Trishul has so many iconic scenes.

SPEAKER_03 12:24

So many CTMR scenes, yes.

SPEAKER_04 12:25

So many CTMR scenes. But this one is interesting because it was not in the original script. And what makes it extraordinary is that it's not just a cool entrance. If that scene is played in a movie today, the hall is going to go crazy. It's a scene that what we would call would go absolutely viral. Because it's not just a cool entrance, it's a statement of intent. I'm going to drive to this place in an ambulance because once I beat these guys up, they'll need an ambulance to take them to the hospital. Just that that layer, that thinking is what makes that scene so iconic. And a few scenes later, it clicks to Sanjeev Kumar that Vijay is Amitab's character is winning.

SPEAKER_07 13:19

You're right, sir.

SPEAKER_12 13:25

Vijay is what business means.

SPEAKER_04 13:39

And Sanjeev Kumar's layered acting where he's starting to recognize that he's no longer in control. So again, amazing, just the layering that Salim Javid brought into the screenplay. This was the original, this was the OG of the OG.

SPEAKER_03 13:57

Yes, yes.

SPEAKER_04 13:58

The other aspect, Neiluma, is Amitab's confidence never falters. From the time he takes this oath with his mom as she's on her deathbed till the almost the very last scene, he has only one intent in mind, which is revenge.

SPEAKER_03 14:18

Yes, yes. And like you said, a worthy opponent.

SPEAKER_04 14:57

All right, we definitely have uh Sanjeev Kumar love going on. Absolutely. And we'll we'll explain why here shortly. So our next segment is Baki Sub First Class, where we talk about the other movies in 78 and why Trishul stands apart.

SPEAKER_03 15:18

To understand how extraordinary Trishul's success was, you need to see the company it was keeping. Azad uh with Dharmendra and Hima Malini, Satyam Shivam Sundaram, Raj Kapoor's most controversial movie A kyoke jaro kose, Sachin and Ranjita with that iconic song. Yeah, Raj Shri movie, the quiet romantic sleeper, Meh tulsi te re Angand ki Parvarish, starring Amitabh and Sheshi Kapoor together again. But Bharat, why do you think Trishul stands apart here?

SPEAKER_04 15:48

Here's a hot take, and I don't think you will disagree with me. The argument would be that this movie is not about power. It could be about power, it's not about land deals, it's not corporate rivalry, not even the father-son confrontation, but the real characters in the movie are the two mothers. Shanti, who is Vijay's mother, who was loved, abandoned, left to raise a son alone, while the man who abandoned her built an empire on her sacrifice. So Vijay's rage is really not about R. K. Gupta, but more so about what R. K. Gupta, which is Sanjeev Kumar's character, has done to his mom. And the second one is Sanjeev Kumar's mother and the way her ambition for Sanjeev Kumar. So when Sanjeev Kumar brings Vaida Raman home, and the way she handles it, it's not the modern Sas Bahu thing, the very nuanced way in which she has bigger dreams for her son and the way she explains it. So my heart take is the movie is really about these two women. What's your take?

SPEAKER_03 17:26

That is a very interesting take, Bharat. You're so on point here. The way she convinces him, even we get convinced because it is so like it is so strong. And when it came to Vaidar and Manya, when when she gets to know there is no Rona Dhuna there. She is like she's a strong woman. And the way she informs Sanjeev Kumar that you know she's expecting his baby, and then just says goodbye, goodbye, Raj, and leaves. And when Sanjay Kumar wants to take care of her or you know provide for her, you know, she is a she is a proud woman. She's like, you are not here for you know to help me, you are here to just clear your conscience, and that is such a wonderful line in. Yeah, that both such strong women coming from you know.

SPEAKER_04 18:32

Absolutely, and she won't let him have it. There is no free lunch here. I'm sorry. And she's like, Goodbye, and she leaves.

SPEAKER_03 18:38

Yeah, and she's like, I'll I'll rare this child because it came from a place of love, and I I'm gonna give this child the love. Though you know, she has to go through many hardships to raise him. So dignified the way she leaves uh Sanjeev Kumar. Uh it is so dignified. And while we are on the woman in this movie, Raki has Gita, the efficient personal secretary, lovingly called Madam Computer, honest, diligent, forthcoming, and someone who doesn't take any nonsense from anyone, including her own boss. Hemamali is Sheetal, a female character who is a general manager. She's professionally accomplished, completely self-possessed, in a decade when Hindi cinema's female characters are largely, you know, defined only by their relationship to the hero. Gita and Sheetal have their own identity.

SPEAKER_04 19:45

Without a doubt. And uh Hemamali plays golf in the movie. Firks, the year is 1978. And to see a character in a Hindi movie, a female character in a Hindi movie playing golf. So absolutely Neilima, many years ahead in that sense, no doubt.

SPEAKER_03 20:06

And Bharat, what holds up and what does not?

SPEAKER_04 20:09

Yeah, so what is aged beautifully, the characters, the performances of Amitab, Sanjeev, Shashikapur, Raki, especially those four, absolutely phenomenal in every scene, the writing, all the layering we talked about that Salim Javit built into the screenplay, the psychology underneath the confrontations, none of that has aged a single day. What is not age twelve, the ease in which Shaker accepts that, oh, my dad wronged you, dude, you are the son of you know the biggest construction magnet in town. I would have wanted to see a little bit more fire and fight in him. And my thinking is I think maybe Salem Javids realized that for Amitabh to really shine or for their movies to do well, they need a another strong character. So maybe by Kalapatar, they were like, ah yeah, it's time to add someone that can physically within scenes stand their own. And of course, Shatrugansina and Kalapatra did amazing. Our next segment is uh one of our favorite segments in each episode, which is Ghana Bhajao. So, Nilma, I I know you're a big fan of the album, so I'm gonna just really talk about Kayam and Sahir Ludyanvi real quick. The thing I love about Kayam relative to everyone in that era is his compositions are more restrained, more classical, and his way of making music is that it should serve the emotion rather than to overwhelm it. So, perfect example, Kabi Kabi in 76, Umrah Ujan in 81. So Trishul is sandwiched between those two classics. So that's Kayam for you. And then, of course, you and I have talked about Sahir Ludyanvi before. One of the greatest Urdu poets of the 20th century, he just happened to write film songs too. Very progressive lyrics always carry a social conscience. His messaging has more layers, whereas Gulzar is maybe a little bit more contemporary in the thinking. So again, all-time greats in Kayam and Sahir Ludyanwe.

SPEAKER_03 23:10

Let me go through the Trishul soundtrack. The first one, Apki Mehiki Huizul. This is the song that opens the movie.

SPEAKER_04 23:18

And the credits are coming.

SPEAKER_03 23:20

Yeah. And such a wonderful song. Before a single scene has properly established itself, the song comes and it sets the register for everything that follows. Then came Tu mere satrahega munne by Lata Mangeshkar, the song that depicts the emotional bond between Shanti and her son. It keeps reminding Vijay of all the hardships his mom had to endure to raise him and the fact that she didn't hide anything and expose him to all the struggles of growing up without a dad's support. A playful song picturized on Shashikapur in Hivamalni, where she's playing golf and tennis. A reminder that Yashopra, even in a revenge drama, could not resist a moment of pure romantic joy. Then came Mohabad Bade Kamki cheese.

SPEAKER_04 24:46

The song.

SPEAKER_03 24:47

Yes. Only song with all three legends in one.

SPEAKER_04 24:54

Yes, listeners, the only song where you can get the three great gifted artists, Lataji, Kishur Kumar, and KJ Yesudas, all in one song. The only time. What a song.

SPEAKER_03 25:21

And then comes Joho Yamarapna. Latamangeshkar and Kishur Kumar sing for Shashikapur and Himamalli again. And this is my favorite song from the album. And last but not the least, Gapuchi Gapuchi Gam Gam. Song about young love picturized on Sachin and Punamdilon. Sweet, simple, completely off its era. And somehow sitting inside a film about fathers and sons and 30-year-old wounds, it still works.

SPEAKER_04 26:06

Yeah, it's a fun song. Excellent soundtrack. Always hummable. Alright, our next segment is Kismat Makakheil, where we do some quick casting what ifs. Neilma, when I rewatched the movie, the one question I had was Hemamali Raki Wahida Rahman. They could have headlined any film of that period. So why say yes to Trishul?

SPEAKER_03 26:45

I think the roles were great, right? But they had great lines to say and they were all strong women characters. I mean, what did you think about it?

SPEAKER_04 26:53

I I yes, I think that's what it is, which is one, they know it's a guaranteed hit, right? Like the commercial element, certainly, there is that part of that. Two, they know that no one portrays women as well as Yash Chopra does. So I think that it's Yash Chopra. The script is going to be written with their characters in mind. They won't be peripheral to the story, and they're going to be part of small roles but consequential roles, is my take.

SPEAKER_03 27:24

Now coming to the male characters, the casting question that I think that changes the entire film, if you answer it differently. Shashikapur Shekhar, the legitimate son, he's wonderful. He's charming, warm, completely believable as a privileged son. But here's my what if. What if this role had gone to Shatrugansina? What do you think would have happened? Because Shatrugansina in 78 was at the peak of his powers. What did you what do you think would have happened had Shatrugansina taken up this role?

SPEAKER_04 27:54

I think uh Shashikapoor instantly gives up the I'm going to be the younger brother, I'm going to bring some fresh energy to the role, but you're going to feel a little sorry for me. Whereas with Shatrugansina, he would have given you a brother you're not entirely sure about.

SPEAKER_02 28:12

Yeah.

SPEAKER_04 28:13

Right? He would have fought for his dad's empire more so than what Shashi Kapoor did. I think one of the plot points is we talked about this earlier, how quickly Shashi Kapoor switches over. And accepts.

SPEAKER_03 28:26

He's always accepting of Amitabh no matter how much he's troubling them. Yeah.

SPEAKER_04 28:30

Absolutely. And maybe that's the way Salim Javed thought about it is that we don't need a character here that Amitab's already fighting and has the rage with Sanjeev Kumar. So we don't necessarily want to bring in a third dimension into what is a story largely about a father-son fight, right? But I mean, clearly they had Chadragansina in mind by the time Kala Patar came around. Alright, this is my 2026 reimagining. You're probably not gonna agree with me, but I feel like this movie can be remade. It was already so much forward-looking for its time. I don't think the central themes of the story would be that different if you were to make the movie today. Neilima, I'm going to share a few names in the remaking of this movie in 2026. I'm so curious.

SPEAKER_03 29:28

I'm so curious to see who you have in mind. Okay, go ahead.

SPEAKER_04 29:30

All right. Bear with me. For Amitab's role, I have Ranbir Kapoor in mind. I think Animal proved beyond a doubt that he can do this. And the father-son dynamic of Animal, yes, it's playing a little bit on my mind. But that wound that is central to Trishul, I think Ranbir can carry it off really well. I have an inspired choice for the dad. Saif Ali Khan. Hear me out.

unknown 29:59

Okay.

SPEAKER_04 30:00

The patrician quality, the contained menace, the sophistication and intelligence of trying to be a few steps ahead, making some tough decisions. I think Omkara in Sacred Games, if Saif can channel that, opposite run beer, I think the dynamic would be electric. Uh for Shekar, I have Ishan Katar. Ishan, because his intensity, I feel, is authentic, not performed. Whereas Shashikapoorin towards some of the later scenes, I think Ishan will bring Ishan Katar will bring a level of loyalty, but also a slow realization. I think Ishan can carry that emotional arc and hold it himself opposite Ranbir without being overshadowed. Sheetal Kriti Sanan, elegance, the confidence, just being natural, having the poise and the pizzas. For Gita, have Rashmika in mind, the warmth, the loyalty, she can absolutely do it. And the line where Jolo Kuchnahi Kartevo Kamal Karte, I think she would nail that. And I think uh Vishhal Bharatwaj as director because Wow.

SPEAKER_03 31:07

Okay.

SPEAKER_04 31:08

Vishhal understands power, betrayal, and family wounds that are complex, devastatingly Indian. What do you think?

SPEAKER_03 31:19

Uh I agree with all your casting choices, but for the director, probably he would set it in rural India. I don't know, because that is Vishhal's strong point. But yeah, it'll be an interesting take. Threshwell set in rural India. But I think it'll be a great movie to watch. I would pay money to watch that movie.

SPEAKER_04 31:37

Alright, somebody please make this movie. Alright, Neilma. We come to our next segment, which is the CT Mar segment, where we pick some of our favorite scenes. My first favorite scene, the ambulance scene, the baddies are leaving in an ambulance. He arrives in one, he's not really angry. He's certain that he's gonna beat them to a pulp and put them in an ambulance. So that iconic scene is my first favorite.

SPEAKER_03 32:26

He just rags Bandari and uh, you know, he reveals his deeds to R. And and then later when he goes to meet uh Raki asks her what he what she's up to and her answer Jolo Kuchne karte wa Kamal Karteh, Salim Javid giving the wittiest and most dignified line in the movie to a woman who just lost her job.

SPEAKER_04 33:14

My next one is the blood, I call it the blood exchange scene where Punamdila's character is injured. And there is this back and forth between him and Sanjay Kumar, where Sanjay Kumar said, and then you're like, uh man, it's like father-son. And uh and then Amitabh, a couple of lines later, uh Amitabh says something, and uh Sanjay Kumar said, and Amitab says, Amazing lines, the five lines, the back and forth, each one landing differently. That was my second favorite scene, Nilma.

SPEAKER_03 34:19

My second favourite is when Shashi Kapoor was uh Hemamali using feminism card, woman liberation anger, and he convinces her to have a lunch date and a scene that makes you smile every time.

SPEAKER_04 34:56

And then the way he just reels off all the progress women have made over the last decade or so, uh, even though he's saying all of that for a very self-serving reason. Excellent choice. My next favorite scene is so the housing contract confrontation happens, and this is the scene where Vijay is telling uh Gita and he shows her his mother's frame. And the genius of the scene is Raki never spells out anything. So she quickly connects the dots about who his dad is, no dialogue needed. He just shows her and she understands.

SPEAKER_03 35:38

She understands, yes.

SPEAKER_04 35:40

Beautifully, one of the great silenting acts.

SPEAKER_03 36:26

And Sanjay Kumar is like all over him, like, why do you think so? And he's uh he says, And then the most famous line Sahibat, Sahibak, or Sahimoke Pekija, Mazahi kucharhe, or Sahimokai. Not anger, strategy. A man who has been planning this for years and is now executing it with complete precision and pleasure.

SPEAKER_04 37:17

Oh, without a doubt. And because we are rewatching the movie, you know what happens later, and it is the foreboding of what is going to transpire later. Phenomenal scene. I just have one last pick. I think the final confrontation scene is quite epic as well between father and son, when all of the truth comes out, and Sanjeev Kumar finally just he's run out of any defenses, right? So, and then even for Ramita, then he realizes well, you know, this is not really a victory, it's a reckoning. But the way the two characters handle themselves and 30 years of that wound finally starting to heal, and uh, I think that was brilliantly taken. So, some of our favorite scenes, folks. Nilma, what's your closing take on the movie?

SPEAKER_03 38:29

My closing take is Thrishul represents something that Hindi cinema never quite achieved again. The angry young man template invented by Salem Javid in Zanjee, perfected in Debar, reached its most sophisticated form here. The rage was still there, but it was discipline now, strategy, layered with psychology and consequence in a way the earlier films had only hinted at. And the combination that created it, Yash Chopra's visual elegance, Salim Javed's social conscience, Amitab's absolute conviction, that was a once-in-a-generation convergence and it happened three times. Devar, Trishul, Kalapatar. And Trishul, the middle film, the most complete film, is proof of what it was capable at its peak.

SPEAKER_04 39:16

Well said, Nilima. And for me, the reason I keep watching the movie is how much I appreciate the layering because Trishul, yes, in every scene it is about Vijay and R.K. Gupta. Every confrontation, every corporate battle, they are always at the center of the frame. But the film is really about the two women who never share a single scene together. Everything that happens in the film flows from what was done to one woman and what was accepted by another, right? So Vijay's Rage is really not about his father. It's about his mother, what she deserved, and what he's trying to get back. So Salim Javid's genius of hiding the real story, in our opinion, inside the ribbon story, the two women that never met. So that depth and that layering is why we are still talking about the movie 50 years later. So Nilma, absolutely rewatchable, phenomenal movie, one of our favorite Amitabh Salim Javed movies, folks.

SPEAKER_03 40:20

Next week, we are going somewhere completely different from the revenge drama of the 1978 to the most effortlessly cool Hindi film made in the 2000s by far. Three Friends, Goa, and a film that changed what Hindi cinema thought it looked like. Bharat and I will see you there.

SPEAKER_04 40:37

Thank you so much. Before you go, folks, please keep the requests coming. Sankara Burnham had so many of you writing to us. You all loved that episode. Please keep the love coming. If you have any suggestions, please email us at after the interval podcast at gmail.com. Until next week, Alvida, have a great week. And Neilma, always a pleasure. Thank you.

SPEAKER_03 41:01

Thank you, Bala.