Besharam Rang: Mukesh Khanna tags the song as ‘an attack on Hindu religion,’ calls Deepika Padukone’s saffron-coloured bikini ‘deliberately provocative’ | EasternEye
Besharam Rang: Mukesh Khanna tags the song as ‘an attack on Hindu religion,’ calls Deepika Padukone’s saffron-coloured bikini ‘deliberately provocative’
The song “Besharam Rang” from Shah Rukh Khan and Deepika Padukone’s much-anticipated film Pathaan has been mired in what seems like an endless controversy ever since Yash Raj Films dropped it on YouTube on Monday.
While a section of the audience loved the catchy song and the sizzling chemistry that Khan and Padukone share on the screen, a large segment of the audience took umbrage of it for a variety of reasons, especially the colour of Padukone’s bikini. A number of politicians have criticised the song over the past few days.
Now actor Mukesh Khanna, who is best remembered for playing superhero Shaktiman, has also commented on the controversy. He tagged the song as “an attack on Hindu religion."
Khanna said, “Our country is no Spain or Sweden or such a country that allows everything. You dared to bring people in such limited clothing, next you will bring them without the clothes.”
He also questioned the Censor Board of Film Certification for clearing the song without any cuts. “Can they not see all these attacks on the Hindu religion? The job of the censor board is to ensure that films do not hurt anyone’s personal feelings and beliefs. The censor must not pass such films that instigate or lead the youth astray. This song can mess up the minds of the youth, not mislead them. This is not a song made for the OTT, but a film. How could the censor pass it? Did they not see the deliberate provocative dressing?”
In addition to Shah Rukh Khan and Deepika Padukone, Pathaan also stars John Abraham in the lead role. Directed by Siddharth Anand and produced by Aditya Chopra through Yash Raj Films, Pathaan is due on January 25, 2023.
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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