Likely the most well-known character in mainstream Hindi cinema is the villain of Ramesh Sippy's Sholay (1975). The shot of his boots entering the frame over an hour into the film is as memorable as every other frame Gabbar occupies.
The new chemistry professor's arrival is played for laughs to contrast her stunning presence, which has the kind of effect on the audience it has on Major Ram Prasad Sharma, who is enduring a punishment from his friends.
Shantipriya has already been built up in the minds of the audience through Om's love for her, and so her arrival on-screen can be nothing short of magical, and the film delivers upon it, and how! Everything else recedes into the background once she turns up.
Roohdaar is the catalyst in the final film of Vishal Bhardwaj's Shakespearean trilogy, transforming the narrative with his haunting arrival in the midst of immense snowfall.
The introduction of the son of the deceased Peshwa is verbose but also traditional, old-fashioned but with a relatively fresh face. With the cockiness of youth and the determination of someone not given his due, Bajirao quickly shapes up to prove why he ought to be the new Peshwa.
The audience stared shamelessly as Major Kabir Dhaliwal emerged from a chopper, greying hair flying, muscles bulging out of his tight t-shirt. Dhaliwal's on-screen colleagues Khalid and Colonel Luthra also became the audience in that moment, taking in the sight before their eyes.
Hailed by some as one of the greatest interval blocks in the cinema of India, the greying, grizzled, cigar-chomping Vikram Rathore transforms Jawan with his arrival to foot-tapping score and a methodical madness with which he takes down the bad guys.