Ever since Bollywood came into existence, it has produced several iconic villains. But when it comes to the greatest Hindi film villain of all times, there is absolutely nobody who can hold a candle to Amrish Puri.
Today marks the 89th birth anniversary of the legendary actor who impressed generations with his unapparelled acting talent. Born on June 22, 1932, Puri acted in more than 350 films between 1967 and 2005 and attained the status of the greatest villain of Hindi cinema. Let’s have a look at the top 5 most memorable villainous acts of Amrish Puri that immortalised him.
Bhairon Nath – Nagina (1986)
Nagina was primarily a Sridevi-starrer wherein she played a shape-shifting serpent with panache. Amrish Puri essayed the character of a snake charmer whose wide kohl eyes and baritone voice would send a chill down viewers’ spine. One of his iconic dialogues ‘Aao kabhi haveli pe’ has been turned into a meme by netizens, but back then, it would invoke nothing but absolute fear in mind. If you do not have enough time to watch the whole film, then at least play its iconic song ‘Main Teri Dushman’ on YouTube and see how terrifying Puri was in his character.
Mogambo – Mr. India (1987)
Directed by Shekhar Kapur, Mr India is one of the most successful Hindi films of all time. Starring Anil Kapoor, Sridevi, and Amrish Puri in lead roles, the film has attained cult status over the years. Kapoor and Sridevi were terrific in their respective roles, but one cannot imagine the film without Amrish Puri’s Mogambo, the villain with a towering personality who mouthed the dialogue ‘Mogambo khush hua’ at the drop of a hat. Do you think that anybody could have played Mogambo better than Puri? Heck no!
Indrajit Chaddha – Damini (1993)
The Rajkumar Santoshi directorial, Damini is regarded as one of the most important films of the 90s. It had some brilliantly written roles and Sunny Deol, Amrish Puri and Meenakshi Seshadri did complete justice to their characters. One of the major highlights of the film was that court scene where Puri’s Indrajit Chaddha discussed the details of sexual assault as a criminal lawyer fighting against Sunny Deol. The audience hated that character so much, which in turn made it iconic.
Thakur Durjan Singh – Karan Arjun (1995)
The best thing about Amrish Puri was that he would always become the character that he portrayed on the screen. Even his greatest critic cannot claim that he looked similar in two different films. Rakesh Roshan’s reincarnation drama Karan Arjun had popular names like Shah Rukh Khan, Salman Khan, and Kajol at the centre stage, but Puri made sure his character Thakur Durjan Singh did not lose steam in their presence.
Ashraf Ali – Gadar: Ek Prem Katha (2001)
Gadar: Ek Prem Katha, which clocked 20 years on June 15, 2021, is one of the biggest blockbusters of Indian cinema. The film had Sunny Deol and newcomer Ameesha Patel in lead roles, while Amrish Puri played the antagonist, Mayor Ashraf Ali. The actor gets some heavy dialogues to mouth in the film. It won’t be an exaggeration to say that his performance did not only add so much to the entire film but also elevated Sunny Deol’s act as well. The scene where Ashraf Ali asks Tara Singh (Deol) to convert to Islam if he wanted his wife Sakeena back, simply raises goosebumps.
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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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