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Aamir Khan says he understood the power of ‘namaste’ on sets of ‘Dangal’

Khan played the role of Mahavir Singh Phogat in Dangal, who trains his daughters Geeta and Babita to become world-class wrestlers.

Aamir Khan says he understood the power of ‘namaste’ on sets of ‘Dangal’

Leading Bollywood actor Aamir Khan recently appeared for the first time on Kapil Sharm's show, which is available to stream on Netflix.

In the latest episode of The Great Indian Kapil Show, the award-winning actor shared several anecdotes from his acting career. Talking about the best memory from the sets of his 2016 film Dangal, Khan told Sharma that he learnt the power of 'namaste' from the people of Punjab, when he shot for Dangal (2016) in a village there.


He said, "We shot in a small village of Punjab. You won’t believe, I would reach the set early in the morning. Early morning at five, I would enter that village in Punjab and the people of that village would stand outside their homes just to welcome me. For those 2.5 months, every day they would come of out of their homes and greet me with folded hands and say, ‘Sat Sri Akaal.’ They used to wait, welcome me and they never disturbed me, never stopped my car. Nothing. They used to just welcome me with folded hands and, after pack up at three in the afternoon, again, every person would be standing outside their house to bid me goodbye with folded hands.”

He Laal Singh Chaddha actor further added, “I belong to a Muslim family and hence I'm used to doing 'adaab' and not folding my hands. But after those 2.5 months, I realised the power of namaste.”

Khan played the role of Mahavir Singh Phogat in Dangal, who trains his daughters Geeta and Babita to become world-class wrestlers. The film starred Sanya Malhotra and Fatima Sana Sheikh alongside Khan. It was the highest-grossing film of 2016.

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  • 2025 marks the start of long-form mythological world-building on OTT.

There’s a quiet shift happening on streaming platforms this year. Indian mythological stories, once treated as children’s animation or festival reruns, have started landing on global services with serious ambition. These titles are travelling further than they ever have, including into the UK’s busy OTT space.

It’s about scale, quality, and the strange comfort of old stories in a digital world that changes too fast. And in a UK market dealing with subscription fatigue, anything fresh, strong, and rooted in clear storytelling gets noticed.

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