Megastar Amitabh Bachchan has delivered hundreds of hits and superhits in his storied acting career. The popularity of his films amongst all age groups can be gauged by the fact that some of his blockbusters have been remade by new-age filmmakers, including Sholay (1975) and Don (1978).
If fresh reports are to be believed, yet another film from his electric repertoire is set for a modern adaptation. Yes, you read it right! The remake of superhit film Namak Halaal (1982), wherein Big B starred alongside Shashi Kapoor, Parveen Babi, and Smita Patil, is currently in the works.
The remake rights of the Prakash Mehra directorial, whose music and dialogues are popular even today, have been acquired by filmmaker Murad Khetani, who will bankroll it under his production house, Cine1 Studios.
Confirming the development, Khetani tells a publication, “Yes, I have bought the rights to remake Amitabh Bachchan-Shashi Kapoor-Smita Patil-Parveen Babi starrer Namak Halaal. It is a film that has been loved across generations and by people of all ages. We are working on the script at this point. We have not approached any actor or director for the film as of now. We will work on the casting once we lock the script completely.”
Namak Halaal was the biggest blockbuster of 1982, which went on to become the highest-grossing film of that year. It will be really interesting to see the cast of the forthcoming remake. Do you have any suggestions who all should step into the shoes of Amitabh Bachchan, Shashi Kapoor, Parveen Babi, and Smita Patil?
Meanwhile, Murad Khetani is busy with his upcoming production titles, Bhool Bhulaiyaa 2 and an untitled film with Sidharth Malhotra. While Bhool Bhulaiyaa 2 is a sequel to superhit horror-comedy Bhool Bhulaiyaa (2007), his film with Sidharth Malhotra is an official remake of hit Tamil film Thadam (2019).
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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