'Abhimaan': A movie that is still relevant and relatable
Eastern Eye celebrates 50 years of Abhimaan, by presenting reasons why it is a fantastic film
By Asjad Nazir and Dharmesh PatelJul 20, 2023
WHETHER it is multiple Hollywood remakes, including one headlined by Lady Gaga, Bollywood musicals like Aashiqui 2 and many others globally, a lot of movies have been inspired by 1937 classic A Star Is Born.
One of the finest is Hindi film classic Abhimaan, which was released on July 27 1973 and celebrates its 50th anniversary this week. The great story of a star mentoring a protégé and it leading to problems remains a great moment in Hindi cinema history.
Eastern Eye decided to mark 50 years of Abhimaan, by presenting reasons why it is a fantastic film.
Empowerment: Despite the presence of a strong male character, the story celebrated the woman, and taught audiences to respect women and encourage them to grow. David’s character at the end even addresses the audience as beheno aur bhaiyo, instead of the usual bhaiyo aur beheno. Other women-centric films, namely Mother India, Kahaani, Khoon Bhari Maang, and Pakeezah, etc., largely relied on the absence of heroes. This wasn’t the case with Abhimaan. It also has a strong feminist message.
Mirror: This is the only version of this story where there would be an off screen connection to the lead couple, and that too in an opposite manner. Jaya Bhaduri was a bigger name when she met the relatively unknown Amitabh Bachchan, and the roles reversed when he went on to become Bollywood’s greatest star. For many it is their defining film together.
Acting: The lead stars delivered great performances, but what made this more interesting was that it was Bachchan’s last raw performance before superstardom kicked in and audiences started looking at him through a magnified lens.
Lessons: Abhimaan delivers many life lessons that remain relevant 50 years after it was released, including the perils of jealousy and ego, and the importance of humility. In one particularly poignant moment Bachchan’s character is told some home truths by Asrani, which really hit home. It is also seen as a movie that teaches working couples an important lesson.
Artistic: Most movies inspired by A Star Is Born are glitzy entertainers, but what director Hrishikesh Mukherjee brilliantly did was find the hallowed middle ground between the commercial and artistic with this film. It gave the movie added depth and realism.
Scenes from the movie
Journey: Instead of the established star committing suicide like in the other films, the lead protagonist goes on a complete journey. In the opening he is seen as a confident celebrity on stage, dressed in western attire. The final scene is also on stage, but by now he has found humility, while his ego is shattered. He is apologetic and appears in traditional Indian clothes.
Songs: One of the last great soundtracks composed by legendary music director SD Burman has timeless songs, which found power in simplicity and remain wonderful 50 years later. With lovely lyrics by Majrooh Sultanpuri, the songs were a connecting point between the golden era of Hindi cinema and more modern music that came later. In many ways, the songs acted like the narrator of a powerful story. SD Burman would win a Filmfare Best Music Director award.
Music: The songs were entertaining, but Abhimaan also showed how much of a big part music plays in people’s lives, which other adaptations did not really do. The movie also showed the real talents and trained maestros as down to earth individuals, who loved the purity of music ahead of any fame, which is something not seen in other adaptations of A Star Is Born.
Nightingale: Lata Mangeshkar delivered some of the finest songs of her illustrious career in the film. In many ways the character played by Jaya Bhaduri represented her natural talent and simplicity.
Themes: The simple story skilfully tackles multiple themes that include toxic masculinity, ego, fragility of marriage, fleeting nature of fame, love, the relationship of an artist with fame, redemption, and mental health. It is also a cautionary tale of letting your own importance take over.
Reality: Abhimaan didn’t need the heroes and villains that have largely defined Hindi cinema. It has grey shaded characters rooted in reality, who are trapped in societal expectations, which is why it remains relevant and relatable 50 years later.
Simplicity: Whether it was the relatively simple setting, stripped back songs or understated performances, the musical drama showed that less could be more. That was largely due to the effective story, skilled direction, and great performances by the actors.
Flawed hero: When the movie was made, the Bollywood hero was nearly always a shining beacon of goodness, but Abhimaan flipped the script and made him flawed. This made him more relatable to audiences.
Ending: Pretty much all the remakes of A Star Is Born have a tragic ending with the
male protagonist giving into suicide, but in Abhimaan he learns an important lesson without resorting to drastic action and subsequently gives a more powerful message to audiences.
Scenes: Whether it is Bindu greeting the newlyweds with grace and dignity, musical moments, Bachchan’s character getting drunk, the confrontations, conflicts, and moments of remorse, Abhimaan is filled with memorable scenes.
Family friendly: It may have dealt with adult themes, but the movie was family friendly and ultimately connected with audiences of all ages across the decades. That is why it remains a classic today.
Did you know?
Abhimaan released weeks after Amitabh Bachchan and Jaya Bhaduri had got married.
It was the first film produced by Amitabh and Jaya under their company Amiya, with their personal secretaries fronting it.
The film was initially titled Raag Ragini.
Jaya Bhaduri won a Filmfare Best Actress award for her performance, which she jointly shared with Dimple Kapadia, for her role in Bobby.
One historical account says the story was inspired by the break-up of Kishore Kumar and his wife Ruma Guha Thakurta. Another claims the story was inspired by the troubled marriage of classical Indian maestros Pandit Ravi Shankar and Annapurna Devi.
Popular singer Anuradha Paudwal started her film journey by singing the song Omkaram Bindu Sanyuktam for Abhimaan.
The film’s song Loote Koi Man Ka Nagar was supposed to be sung by Mukesh. But he refused after hearing the demo version by Manhar Udhas and said he should remain the singer.
Asrani and Bindu got Best Supporting Actor and Actress nominations at the Filmfare Awards, for roles that were dramatically different to their usual comedian and vamp characters.
Abhishek Bachchan wanted to remake Abhimaan with director Rakeysh Omprakash Mehra.
The song Nadiya Kinaare was shot entirely in a tourist village called Asoga.
British-Bangladeshi prop maker Anika Chowdhury has designed a handcrafted glow-in-the-dark chess set celebrating heritage and identity.
The limited-edition set, called Glowborne, launches on Kickstarter in October.
Each piece draws from South Asian, Middle Eastern, and African cultural references, re-rooting chess in its origins.
The project blends art, storytelling, and representation, aiming to spark conversations about identity in play.
Reimagining chess through heritage
When Anika Chowdhury sat down to sculpt her first chess piece, she had a bigger vision than simply redesigning a classic game. A British-Bangladeshi prop maker working in the film industry, she grew up loving fantasy and games but rarely saw faces like hers in Western storytelling.
“Chess originated in India, travelled through Arabia and North Africa, and was later Westernised,” she explains. “I wanted to bring those forgotten origins back to the board.”
The result is Glowborne — a limited-edition, glow-in-the-dark fantasy chess set that blends craft, identity and cultural pride.
Anika Chowdhury says she has many ideas to further fuse craft and culture in future projects Glowborne
Crafting Glowborne
Each character in the set has been carefully designed to reflect cultural narratives: Bengali kings and pawns, Indian bishops with bindis, Arab knights, and African queens. Chowdhury sculpted each piece by hand, drawing on her prop-making training at the National Film and Television School.
Once sculpted, the pieces were cast in resin, painted, and finished with South Asian-inspired motifs filled with glow-in-the-dark pigment. “The characters glow both literally and metaphorically,” she says, “as a chance for them to take the stage.”
Cultural pride and visibility
For Chowdhury, the project is about more than gameplay. “Fantasy doesn’t need to fit into the Western mould to tell a great story,” she says. “South Asian, Middle Eastern and African stories are just as powerful, and they can transform something as traditional as chess by reconnecting it with its roots.”
She hopes Glowborne will resonate with South Asian and Eastern African communities as a celebration of identity and belonging. At the same time, she sees it as a bridge for wider audiences — chess enthusiasts, collectors, and design lovers who appreciate craftsmanship and storytelling.
A personal journey
Chowdhury’s career in film and prop-making has influenced her creative process, but Glowborne marks her first independent project. She created it outside her film work, after hours and on weekends.
“At 28, I finally feel like I’ve found my voice,” she reflects. “For a long time I felt pressure to hide my identity, but now I see my culture as a superpower. This project is about using art to express that.”
Looking ahead
Launching this October on Kickstarter as a collector’s edition, Glowborne is only the beginning. Chowdhury says she has many ideas to further fuse craft and culture in future projects. “This is the proof of concept,” she says. “I can’t wait to create more stories that blend heritage, art and play.”
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The piece was originally one of nine works that appeared across London in August 2024
Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
The piece was originally one of nine works that appeared across London in August 2024.
It will form part of the museum’s new Smithfield site, opening in 2026.
The City of London Corporation donated the artwork as part of its £222m museum relocation project.
Banksy’s police box artwork in storage
A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.
From Ludgate Hill to Guildhall Yard
The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.
Museum’s first contemporary street art
London Museum’s Head of Curatorial, Glyn Davies, said:
“With the arrival of Banksy’s Piranhas, our collection now spans from Roman graffiti to our first piece of contemporary street art. This work by one of the world’s most iconic artists now belongs to Londoners, and will keep making waves when it goes on show next year in the Museum’s new Smithfield home.”
Formerly known as the Museum of London, the institution closed its London Wall site in December 2022 as part of its relocation. It rebranded as the London Museum in July 2024, with £222m allocated by the City of London Corporation to support the move. The project is expected to attract two million visitors annually and create more than 1,500 jobs.
Part of Banksy’s animal-themed series
Piranhas was one of nine animal-themed works Banksy created across London in August 2024. The series also featured a rhino on a car, two elephants with interlocked trunks, monkeys swinging from a bridge, a howling wolf on a satellite dish, and a goat painted on a wall. Some of the artworks were later vandalised, removed, or covered up.
Preserving street art for the public
Chris Hayward, policy chairman of the City of London Corporation, said:
“Banksy stopped Londoners in their tracks when this piece appeared in the Square Mile – and now, we’re making it available to millions. By securing it for London Museum, we’re not only protecting a unique slice of the City’s story, but also adding an artwork that will become one of the museum’s star attractions.”
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Aditya Chopra (right) with his father, Yash Chopra
BOLLYWOOD filmmaker Aditya Chopra was last Thursday (21) named among the nominees of the UK Stage Debut Awards for his Come Fall in Love – The DDLJ Musical, performed at Manchester’s Opera House earlier this year.
Chopra delivered a blockbuster in 1995 with Dilwale Dulhania Le Jayenge, popular as DDLJ, with Kajol and Shah Rukh Khan in the lead roles. It was adapted to a theatrical production and had its UK premiere in May.
Chopra reprised his role as director of the English stage production, which revolves around the love story of Simran and Roger.
Shah Rukh Khan visits the cast of Come Fall in Love The DDLJ Musical during rehearsals in London Danny Kaan
“This year’s nominees embody the future of British theatre, and I can’t wait to celebrate their achievements,” said Alistair Smith, editor of The Stage theatrical publication.
“This year there are several individuals with south Asian heritage being recognised for their excellence in directing: among the nominees is Amit Sharma for Ryan Calais Cameron’s Retrograde (in the Best Creative West End Debut category),” said the awards panel in a statement.
Also nominated are Adam Karim for Guards at the Taj at the Orange Tree Theatre, London, and visionary Indian filmmaker Aditya Chopra for Come Fall In Love at Manchester’s Opera House, who are both in the running for the best director category, the statement added.
The winners will be announced on September 28.
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The group have introduced fresh orchestral elements and added instruments to expand their live sound
The Shahbaz Fayyaz Qawwal Group return to the UK with a nationwide tour after viral success online.
The ensemble of brothers blend centuries-old qawwali traditions with fresh improvisations that connect with young audiences.
From Pakistan to the USA and UK, their performances have won acclaim for their electrifying energy and spiritual depth.
Fans can expect new instruments, reimagined classics, and the same message of love and harmony at this year’s shows.
From viral sensation to global stages
When a performance goes viral, it can change an artist’s career overnight. For the Shahbaz Fayyaz Qawwal Group, their stirring renditions of Bhar Do Jholi and B Kafara propelled them from local fame in Pakistan to global recognition, amassing millions of views across platforms. What set them apart was not just the power of their voices, but the way their music resonated with younger listeners who were hearing qawwali with fresh ears.
That viral momentum soon carried them beyond borders, leading to major performances in the United States and the UK. “It wasn’t just one track,” the group explained. “We revived older gems like Kali Kali Zulfon and Dil Pukare Aaja in our own style, and those went viral again, showing that qawwali still speaks across generations.”
Heritage, family and style
The Shahbaz Fayyaz Qawwal Group’s uniqueness lies in their roots. Composed of seven brothers and joined by fellow musicians from respected musical families, the ensemble was trained by their late father, himself a master of the art form. On stage, as many as 15 to 20 performers create a sound that is both deeply traditional and daringly modern.
Their shows are alive with improvisation. In the middle of a devotional track, harmonium player Shahbaz might suddenly weave in a melody from a contemporary Bollywood hit, while lead vocalist Fayyaz channels his energy into unrestrained movements and audience interaction. “When different styles meet, something new emerges,” they said. “That’s what keeps the music vibrant.”
UK audiences and the international journey
Having performed across the USA, the Middle East and Europe, the group describe UK audiences as particularly electric. “Each time we perform here, the atmosphere is charged. People don’t just listen – they become part of the performance,” they said.
Their repertoire often draws requests from fans who expect to hear viral favourites alongside traditional classics. “Sometimes, if organisers don’t allow us to perform songs like B Kafara or Dil Pukare Aaja, the audience won’t let the show continue. That’s the level of passion here,” they recalled with a laugh.
Keeping qawwali alive for new generations
While the roots of qawwali stretch back centuries, the group see their role as carrying the tradition into the present. By fusing tabla, harmonium and handclaps with newer instruments and arrangements, they appeal to younger listeners without losing the music’s essence.
“We want every audience to feel peace, harmony and love when they leave our concerts,” they said. “An artist should never belong to just one group of people – music is for everyone.”
What fans can expect this tour
This year’s UK tour promises new surprises. The group have introduced fresh orchestral elements and added instruments to expand their live sound. Fans can expect a mix of beloved classics, spontaneous improvisations, and the chance to hear qawwali reimagined for today’s world.
For Shahbaz Fayyaz Qawwal Group, the mission remains unchanged: to honour their heritage, embrace new audiences, and spread the universal message at the heart of their art. As they put it: “We look forward to growing together with our fans. Let’s celebrate qawwali as a tradition that belongs to everyone.”
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Born in 1864 in Visakhapatnam, Annie began medical studies at Madras Medical College, one of the few institutions in India then open to women.
DR ANNIE WARDLAW JAGANNADHAM was the first Indian woman to gain a medical degree at a British university and have her name added to the UK medical register in 1890.
Her story has been revisited by the General Medical Council (GMC) as part of South Asian Heritage Month. Tista Chakravarty-Gannon, from the GMC Outreach team, explored her life with support from GMC archivist Courtney Brucato.
Chakravarty-Gannon wrote in a blog, “In my role at the GMC much of my work is focused on supporting international doctors, and on anti-racism. It’s work that lies close to my heart. My father was born in India but emigrated to the UK in the 1960s.”
She added, “If you wind the clock back even further, it must have been even harder to make that journey and assimilate into a not particularly diverse society and profession. Unsurprisingly, in the late 19th century doctors were almost all male and white. It was going to take some remarkable women to turn that tide. I’ve been lucky enough to spend time talking to our archivist, Courtney Brucato, about one such woman – Annie Jagannadham.”
Early years Born in 1864 in Visakhapatnam, Annie was the daughter of Christian missionary parents. At 20, she began medical studies at Madras Medical College, one of the few institutions in India then open to women.
She studied practical midwifery under Dr Arthur Mudge Branfoot, who had spoken about the “folly and inadvisability of educating women as doctors.”
Barriers and opportunities Indian medical qualifications were not fully recognised under the colonial system. For women, studying abroad was often the only route to legitimacy.
In 1888, Annie received a scholarship from the Countess of Dufferin Fund to study at the Edinburgh Medical School for Women. The Fund, set up under Queen Victoria, aimed to improve women’s health in India through scholarships and support for health infrastructure.
She studied for the conjoint medical and surgical qualification of the three Scottish Colleges, known as the “Scottish Triple” or “TQ”.
Academic success Annie graduated with special credit, worked as a demonstrator of anatomy at Surgeons’ Hall, and achieved top marks in several examinations. On 2 May 1890, she was granted registration with the General Medical Council.
She then worked as a house officer at the Edinburgh Hospital for Women and Children under Dr Sophia Jex-Blake, who described her as of “fine and finished character.” Annie gained experience in obstetrics and gynaecology and was made a Licentiate of the Royal College of Physicians of Edinburgh, the Royal College of Surgeons of Edinburgh, and the Faculty of Physicians and Surgeons of Glasgow.
Return to India In 1892, Annie returned to India as a House Surgeon at Cama Hospital in Bombay (now Mumbai), under Dr Edith Pechey, one of the Edinburgh Seven who had campaigned for women’s right to study medicine.
Early death Two years later, Annie contracted tuberculosis. She returned to her family in Visakhapatnam and died in 1894 at the age of 30.
The Chronicle of the London Missionary Society published an obituary, noting, “it is to be feared that the early death, which those who knew her now mourn so deeply, was largely due to her self-denying labours on behalf of the sufferers in the hospital.” It added, “though the course [of her life] has been short, it has been useful and bright,” praising her independence, modesty, and “unostentatious service.”
Legacy On the 1891 medical register, Annie was one of 129 female doctors compared to more than 29,000 men. This year, for the first time, there are more female than male doctors practising in the UK, and more ethnic minority doctors than white doctors.
Chakravarty-Gannon wrote, “It’s important to remember that to be listed on the medical register, Annie was required to step outside the Indian system, navigate another culture away from her friends and family, and prove herself all over again – because her original education wasn’t recognised in a colonial hierarchy.”
“Dr Jagannadham may not be a household name, but her courage and determination helped carve out a path that many generations have since followed. Her story is a powerful reminder of how far we’ve come – and how important it is to keep moving forward.”
South Asian Heritage Month runs from 18 July to 17 August each year, commemorating and celebrating South Asian cultures, histories, and communities.