Shining legacy of 1954 Indian classic ‘Boot Polish’
The movie masterpiece, produced by Raj Kapoor, broke all the rules to become a huge international success and offered audiences something genuinely different.
A still from Boot Polish
By Asjad NazirSep 14, 2024
ONE of the greatest Indian films that very few from the modern generation have seen is the 1954 classic Boot Polish.
The movie masterpiece, produced by Raj Kapoor, broke all the rules to become a huge international success and offered audiences something genuinely different. The emotional story of two orphans trying to survive the harsh realities of homelessness and their journey towards a brighter future received international acclaim, including a special mention at the Cannes Film Festival.
It also won best film at the Filmfare Awards after its release on August 20, 1954.
Eastern Eye marks the recent 70th anniversary of this extraordinary Bollywood movie you likely haven’t seen by revealing 10 reasons why it remains special after so many decades.
Story: The biggest hero of Boot Polish was the writing. Bhanu Pratap delivered a gripping storyline of two orphans, forced to fend for themselves in an unforgiving world, who try to make an honest living by shining shoes. The well-crafted tale takes audiences into the heart of darkness but then lifts them into the light with a wonderfully crafted ending. There are relatable human emotions, great life lessons, and important social commentary, which remain relevant today. Boot Polish showed that if the writing is strong enough, a movie doesn’t need big stars to be successful.
A poster from Boot Polish
Performances: There haven’t been many performances from young protagonists in a commercial Hindi film that can match the brilliance of child actors Ratan Kumar and Naaz. Their portrayals of two siblings trying to survive in cruel surroundings while holding onto their humanity struck a chord with audiences globally. Their innocence added honesty to the emotions onscreen, elevating the film further. Both received international acclaim, with Naaz earning a special mention at the Cannes Film Festival. David also delivers an award-nominated performance as the kind-hearted bootlegger.
Direction: Legendary filmmaker Raj Kapoor may have only been credited as the producer, but it is said that he ghost-directed large parts of the film. Prakash Arora, who had worked as Kapoor’s assistant in previous blockbusters, was officially credited as director. Whether it was one or both of them working together, the direction is flawless from start to finish. From the great pacing to the realistic storytelling inspired by Italian neo-realism and bringing out the best in the cast, everything about the filmmaking was spot-on.
Reality: By the 1950s, most Bollywood movies had a larger-than-life quality, but Boot Polish offered a grounded connection to reality, making it more relatable. It spotlighted poverty without the romanticism of commercial films, which portrayed impoverished characters living carefree lives. This realistic drama inspired other filmmakers to add authenticity to their stories, eventually contributing to the Hindi cinema art house movement. Its raw reality also helped it connect with international audiences.
A still from Boot Polish
Timeless: Themes such as child poverty, homelessness, struggling to make an honest living, and the plight of orphans make this film timeless. The human emotions and the universal dream of a better tomorrow covered in the movie remain relatable even today. This shows how special this time-transcending treasure is.
Music: The songs, composed by music duo Shankar Jaikishan, perhaps don’t get the credit they deserve. The standout track, Nanhe Munne Bachche Teri Mutthi Mein Kya Hai, written by legendary lyricist Shailendra, was a huge hit. Sung by Mohammed Rafi and Asha Bhosle, the song became iconic. The other tracks blend seamlessly into the narrative, adding depth to the story.
Moments: The film is filled with memorable moments, from captivating set pieces like the climax to tearjerking scenes and inspiring dialogues about the value of hard work. These unforgettable scenes, built around emotions and key messages, are still impactful today. The songs are also beautifully picturised.
Ending: Boot Polish was inspired by the neo-realism of Italian cinema, which was taking global cinema by storm, but the huge difference was the ending. Whilst Italian cinema took a deep dive into darkness, Boot Polish offered rays of hope, culminating in a feel-good ending that resonated deeply with audiences. The finale tied in with the children’s journey and gave the film great repeat value.
A still from Boot Polish
Path breaker: From its storytelling and unique protagonists to its international success, Boot Polish was a path-breaking film for Bollywood. It helped Indian cinema gain global recognition, becoming the first commercial Hindi film to achieve wide distribution in America. Its achievements gave Indian filmmakers the courage to try new things and expand creatively.
Life-affirming: While some may view it as a tearjerker, Boot Polish is ultimately life-affirming. Decades before Slumdog Millionaire, this film told the story of street orphans overcoming adversity while holding onto their humanity. It shows that kindness can exist in a cruel world and that challenges can be overcome. By illustrating the value of perseverance, Boot Polish has inspired generations and remains a cinematic masterpiece.
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.
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Woodcut prints that explore the fragile threshold between body, time, and transcendence
Inspired by Baul mystics like Lalon Shai and Shah Abdul Karim, as well as sculptural forms from Michelangelo to Rodin
Figures emerge from black holes and womb-like voids — trapped in time yet reaching for freedom
A visual dialogue between flesh and spirit, rootedness and flight
A bold continuation of South Asian metaphysical traditions in contemporary form
Paradox becomes the path: muscular bodies dream of escape through light, memory, and love
Expressionist in tone, haunting in imagery — a theatre of becoming
I imagine Tarek Amin (Ruhul Amin Tarek) has a singular vision as his hands work on his craft, his measuring eyes, the membranes of his fingers. They are mostly woodcut prints on the threshold of becoming, from darkened holes. A human figure dangling in space, yet not without gravitational pull, the backwards tilt of the head is like a modern-day high jumper in the fall position, the muscles and ribcage straining to keep the body's mass afloat. A clock is ticking away in the background of a darkened rectangle. Is it the black hole, the womb, or the nothingness from which the first murmurings of being, its tentative emergence into light, can be heard?
A clock is ticking away in the background of a darkened rectangleManzu Islam
This one is in the darkened inside of a clock, as if in the womb of time, but not quite trapped in the savage tick-tock of the metronome, for the body in its stylised repose is already stirring to take flight. Why else would the face turn away from the body in its sideways position and look beyond the dark hole, beyond the frame of time?
Even the figure deep in sleep in the primal bed of the darkened womb is not as lost to time as it first appears. The legs have already wriggled their way beyond the frame. Besides, the folds of the garment covering the lower body are billowing in the wind, as if responding to the summons of the beyond to take flight into the infinite. They are all over, these black holes that imprison even a tiny flicker of light. Staged almost as an expressionist theatre reminiscent of Ludwig Kirchner et al and the Bridge Group’s woodcut prints where dark areas, looming large, provide abodes for the likes of Nosferatu or the sinister zones of danger in a Hitchcock film, but always pointing to the lighted outside, the avenue of escape, even transcendence, as Tarek Amin tends to think.
Often bathed in metamorphic ochre and orange, these figures inspired by Bengal’s deep-rooted philosophers and mystical poets, such as Lalon Shai and Shah Abdul Karim, are swept along by their melodies of love and dread, which, despite being authorised in the name of an ineffable stranger, never fail to touch the very membrane of the soul. Perhaps that’s why Tarek Amin calls this series of artwork Echoes of Existence.
The body in its stylised repose is already stirring to take flightManzu Islam
In Ovid’s Metamorphoses, Narcissus, trapped in the mirroring surface of the water, stays deaf to Echo’s lovelorn calls. From Tarek Amin’s canvases, the echoes resolute not to take no for an answer insist on being heard, even though they speak in whispers.
What do these echoes speak of? Mostly of bodies, sinuous bodies toned and chiselled like Yukio Mishima’s, destined for a metaphysical journey. These journeys are fraught with dangers, as Mishima’s have been, imploding in a manic misadventure. Tarek Amin’s bodies, taken at once from the body-centred metaphysics of the Bauls (of which Lalon Shai and Shah Abdul Karim are preeminent figures), and from the long lines of sculptures from Michelangelo to Rodin and beyond.
Auguste Rodin looked at Michelangelo, who spurred him on his creative journey. But the Frenchman, being a workman and given to the sheer materiality of objects, the thingness of things which prompted Rilke to his poetic exploration of Dinggedicht (thing-poem), gave his figures ample volume, substance, and the rough edges of their emergence. Rodin’s bodies, weighed down by their dense matter, are rooted in places. They are too heavy to take flight. Analogous to Rodin, although working in a different medium, is the work of Bangladeshi painter SM Sultan. His embodied figures, mainly peasants bulging with muscle, know only work. Labouring in the fields, their muscles protruding all over their anatomy, creating fleshy mountains and slopes that even the likes of Arnold Schwarzenegger couldn’t dream of in their wildest imagination, is too heavy. They seem more likely to sink under their own weight than take flight. If there is an escape route for them, it is by digging deep, like Kafka’s moles.
Sure, bodies are houses of being, but some bodies are bent on dragging their being elsewhere. This, I sense, is the case in Tarek Amin’s work. Muscular bodies, bound by the sheer force of their materiality, and yet they want to fly elsewhere, it doesn’t matter how one names it: beloved, divine, or even God (Lalon imagines him as a strange neighbour in a hall of mirrors so close and yet aeons away). It seems we’ve ended up with a paradox. Rooted in bodies and yet looking for lines of flight. Imprisoned by the clock and yet wishing to melt it away as Salvador Dalí so theatrically wanted, or as Henri Bergson so patiently waited to experience his durée, as the cubes of sugar dissolved in water, which sent young Marcel Proust wild with excitement, thinking he had found the key to retrieving lost time.
Yet paradox is not a negative force. In carnival, particularly in the Caribbean one sees some figures in their limbo dancing, lowering themselves to almost ground level to pass the bar, while others elongate themselves on stilts to touch the sky. The high and the low, all at the same time, is the force that disrupts the habitual orders of things. It unleashes the forces of creation.
Tarek Amin’s bodies, then rooted in their flesh and chiselled muscles, and in dreams of escape with the melodies of Lalon Shai and Shah Abdul Karim are the figures of freedom. It will be a bumpy ride, but I wish them well.
Exhibition Title:Echoes of Existence
Artist: Tarek Amin Date: 20–27 June 2025 Venue: Spitalfields Studios, London E1
Manzu Islam is a British-Bangladeshi writer and academic, author of The Mapmakers of Spitalfields, Burrow, and Godzilla and the Song Bird. His fiction explores migration, racism, and cultural identity through vivid storytelling rooted in postcolonial experiences.
WHAT is it like for an Asian actor to be cast in the litmus test role of the great wartime leader and India hater, Sir Winston Churchill?
“I always start with the script,” Tony Jayawardena told Eastern Eye, just before going on stage to play Churchill in an evening performance of Nye at the National Theatre.
The play, with a brilliant script by Tim Price, tells of Aneurin “Nye” Bevan’s battle to establish the National Health Service “on 5 July 1948” after Clement Attlee had defeated Churchill in the general election of 1945.
Jayawardena’s role is crucial because in parliament the opposition to Nye’s plans for an NHS was led by Churchill.
Jayawardena, who was born in the UK in 1978 of Roman Catholic parents who arrived from Sri Lanka, said he glanced through a couple of books on Churchill – “one was given to me by my girlfriend’s mother” – but he emphasised: “You’ve got to start with the script no matter what the character is because we’re not doing a biography, we’re not doing a documentary, we’re doing a piece of theatre, a piece of drama. Then you do research if you need to. There’s not a huge amount of research, to be honest, that needs to be done. My previous understanding of Churchill was pretty good in terms of history and what is relevant.”
For those Britons with knowledge of the dark days of the Second World War, Churchill is still “the greatest Englishman who ever lived”. But the new generation recognises he was a more complex character. His statue in Parliament Square had to be sealed after being daubed, “Racist”, during the Black Lives Matter demonstrations in 2020.
It is a matter of record that he opposed Indian independence: “I have not become the King’s First Minister in order to preside over the liquidation of the British Empire.”
He was thinking of Hindus when he raged: “I hate Indians. They are a beastly people with a beastly religion.”
He reserved special hatred for Mohandas Karamchand Gandhi (whose statue in Parliament Square is, ironically, not far from his own): “It is alarming and also nauseating to see Mr Gandhi, an Inner Temple lawyer, now become a seditious fakir of a type well known in the east, striding half-naked up the steps of the Viceregal Palace, while he is still organising and conducting a defiant campaign of civil disobedience, to parley on equal terms with the representative of the King-Emperor.”
And there are many historians, not all Indian, who allege that as British prime minister, he did little or nothing to tackle the effects of the Bengal Famine of 1943 in which 2-3 million starved to death. His only concern was: “Why hasn’t Gandhi died yet?”
“There is nothing like this in this (play),” explained Jayawardena, “mainly because this is a dream sequence.”
As Nye (played by Michael Sheen) is dying at the Royal Free Hospital in north London in 1960, the doctors, nurses and patients in his ward morph into characters from his past.
“It is Aneurin Bevan living out his life under the fog of a morphine induced coma,” said Jayawardena, who doubles up as a doctor given the responsibility of looking after the founder of the NHS.
“So, my Dr Dain becomes Churchill. His (black) Nurse Ellie becomes his sister (Arianwen), the Matron becomes Clement Attlee, Mr Orchard (his schoolteacher who beat him as a punishment for his stammer) is a patient in there with a leg problem and the same actor plays Herbert Morrison (a cabinet minister hostile to Nye’s NHS proposals).”
Tony Jayawardena
The main reason that Dr Dain becomes Churchill was because the writer and the director, Rufus Norris, wanted to represent a multicultural NHS. “The idea was to have figures from different countries because immigrants have been part of the NHS since it began.”
“When I got the offer to play Churchill, which I was very grateful for, the idea of a south Asian man playing Churchill brought a lot of smiles to people’s faces.”
Anthony Surath Jayawardena, who grew up in Cockfosters in north London, did several plays as a pupil at the City of London School and sang for the Chapel Royal Choir at St James’s Palace. After abandoning a degree course in chemistry at University College London, he “loved” being at the Guildhall School of Music and Drama from 2000 to 2003. His theatre credits include Abdul Karim in Tanika Gupta’s The Empress; George Khan in East is East; and Mr Bhamra in Bend ItLike Beckham the Musical.
Churchill, he said, “had some pretty choice words to say about people in the south Asian continent. He has said some horrendous thing about people of colour, and about Aboriginal people as well in Australia. It is quite funny to think, ‘Well, Winston, old chum, one of those possible barbarians is now playing you at the National Theatre.’”
To the best of his knowledge, no Asian actor has played previously Churchill, so his casting does represent a landmark in the history of British Asian theatre. Fellow Asian actors have been “wonderfully complimentary” to Jayawardena but there has been nothing hostile on social media.
The script depicts Churchill, who represented the typical patrician values of his class, as being hostile to the NHS. But his patriotic qualities are highlighted too.
As Churchill, Jayewardena, who dons a fat suit to enhance the effect, is given some stirring lines: “You ask, what is our policy? I can say: it is to wage war, by sea, land and air, with all our might and with all the strength that God can give us; to wage war against a monstrous tyranny, never surpassed in the dark lamentable catalogue of human crime. That is our policy. You ask, what is our aim? I can answer in one word: it is victory, victory at all costs, victory in spite of all terror, however long and hard the road may be, for without victory, there is no survival.”
Not even the most ardent Churchill devotee could quibble with that. One of the best scenes in the play takes place in the House of Commons tearoom where Churchill convinces his nemesis, Nye, that this was not the time to vote against the prime minister in a no confidence motion because a united Britain was better placed to persuade America to enter the war.
“You seek power, but you’re afraid of it,” Churchill admonishes Nye, offering him a biscuit fetched from his waistcoat pocket. “You demand to govern, yet insist on being ungovernable. You demand solidarity, but don’t vote with your own whips. You are a born contrarian. The educated miner, the stuttering orator. The bed-hopping husband. What you need to learn about power, Aneurin, is this: compromise everything to get it. Because once you have it, you no longer have to compromise. That is the privilege of power. Compromise. Vote for me. Leave the activist behind. Become the politician.”
Nye was first staged at the National last year. It also went to Wales where Jayewardena found the reaction to the character of Churchill was very different.
“This is a Welsh play,” Jayawardena pointed out. “And when you do a Welsh play in Wales, it’s spectacular. You’ve even got a scene where Nye’s father speaks to him in a mine. But when you do it in Wales, in Cardiff, every single audience member knows someone who was in a mine, related to somebody who was in a mine or was in a mine themselves. It takes on a whole new meaning. The other thing in playing Churchill is that I think he (as home secretary in 1910) sent the army into the mines when they were trying to strike. He is a figure of huge hatred in Wales.” Jayawardena plays Churchill to perfection.
Nye is at the National Theatre until August 16, 2025.
First edition of The Hobbit sold for £43,000 by Auctioneum in Bristol.
Only 1,500 copies were printed in 1937; few hundred believed to survive.
Book was found during a routine house clearance without a dust jacket.
Bound in light green cloth, it features original black-and-white illustrations by Tolkien.
Copy once belonged to the family library of Oxford botanist Hubert Priestley.
A rare first edition of JRR Tolkien’s The Hobbit has sold for £43,000 at auction after being discovered during a house clearance in Bristol. The copy, uncovered by Auctioneum, was part of the original 1937 print run of 1,500 copies and is considered “unimaginably rare”, with only a few hundred believed to still exist.
The book was bought by a private collector based in the UK. Auctioneum, which handled the sale, noted that bidding came from across the globe, pushing the final sale price to more than four times the original estimate.
Discovered on an ordinary bookcase
The copy was found without a dust jacket on what was described as a “run-of-the-mill bookcase”. Caitlin Riley, Auctioneum’s rare books specialist, recognised the value immediately upon examining the book.
“It was clearly an early Hobbit at first glance, so I just pulled it out and began to flick through it, never expecting it to be a true first edition,” Riley said. “It’s a wonderful result for a very special book.”
Bound in light green cloth with black lettering, the edition features black-and-white illustrations by Tolkien himself, who was then a professor at the University of Oxford.
Historical connection to Oxford
This laid the foundation for his epic sequel, The Lord of the RingsAuctioneum
Auctioneum said the book was part of the family library of Hubert Priestley, a botanist linked to Oxford and the brother of Sir Raymond Edward Priestley, an Antarctic explorer and geologist. It is believed that the Priestley family had personal or academic ties with Tolkien, and possibly CS Lewis, who was also part of Oxford’s literary circle.
High-value collector’s item
Tolkien’s The Hobbit has sold over 100 million copies worldwide and laid the foundation for his epic sequel, The Lord of the Rings. First editions of The Hobbit are in high demand; in 2015, a copy featuring a handwritten note by Tolkien in Elvish fetched £137,000 at Sotheby’s.
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Tone, clarity, and intention matter more than following trends
Gen Z views several common emojis as outdated, overused, or passive-aggressive
Emojis like 👍, ❤️, and 😂 are still widely used, but may carry unintended tones
Cultural and generational context matters, especially in British Asian households
Alternatives like 💀, 🙌 and 🥲 are gaining popularity among younger users
Tone, clarity, and intention matter more than following trends
Emojis have long been a quick way to express tone, mood, and personality. But with each generation, interpretations change. Gen Z—roughly defined as those born between the mid-1990s and early 2010s—are now driving new emoji norms, and some symbols once considered friendly or expressive are now seen as outdated or awkward.
For British Asians and Indians navigating multi-generational WhatsApp groups, family chats, or workplace conversations, knowing how emojis are perceived can help avoid crossed wires. Here are 10 emojis that Gen Z reportedly considers out of fashion—and why they matter.
1. 👍 Thumbs-Up
Although intended to signal approval, Gen Z often sees this emoji as blunt or dismissive in casual chats. In workplace settings, it may come across as cold or overly formal—especially if sent alone.
2. ❤️ Red Heart
Once a universal symbol of love or support, the red heart can feel generic or overused to younger users. Alternatives like 💖 (sparkling heart) or 🥲 (bittersweet smile) are considered more expressive.
3. 😂 Face with Tears of Joy
This emoji was Oxford Dictionaries’ Word of the Year in 2015, but many Gen Z users now associate it with millennial humour. It’s often replaced with 💀 (skull emoji), used to express “dead from laughter”.
4. 😭 Loudly Crying Face
While still widely used, this emoji has lost its emotional weight for many younger users. It’s often employed ironically or exaggeratedly, which may confuse recipients expecting sincerity.
5. 😊 Smiling Face with Smiling Eyes
Though meant to be friendly, Gen Z sometimes reads this emoji as passive-aggressive—particularly if it’s used in awkward or emotionally charged conversations.
6. 👌 OK Hand
Previously a sign of agreement or reassurance, this emoji has become less popular due to its dated tone. It’s now less common in everyday digital conversations.
7. 🙈 Monkey Covering Eyes
Once used to express embarrassment or playfulness, this emoji can come across as childish. Gen Z tends to prefer more direct or sincere expressions.
8. 👏 Clapping Hands
Often used for emphasis or celebration, it may now feel performative—especially when used between words for dramatic effect .
9. 😬 Grimacing Face
This emoji is sometimes misunderstood, with younger users finding it inauthentic or awkward. It’s fallen out of favour in favour of emojis that express clearer emotions.
10. ✔️ Check Mark
This emoji is still common in formal or list-based messages, but in casual texts it can appear impersonal. Gen Z often opts for typed responses like “noted” or “done” instead.
Cultural context matters
In British Asian households, emojis are often used across generations—from grandparents to teens. The thumbs-up or red heart, for instance, may still be seen as polite or affectionate by older relatives. Similarly, symbols like 🙏 or 🧡 are frequently used to convey blessings, gratitude, or family warmth.
There’s no need to stop using these emojis entirely—but awareness of how different age groups interpret them can help avoid miscommunication, particularly in professional or cross-generational chats.
For British Asians and Indians navigating multiple social circles—family, professional, or peer-based—it’s helpful to consider how emojis might be received. Gen Z isn’t cancelling emojis entirely, but rather reinterpreting their meaning.
The key is simple: choose emojis that match the tone of the message, the relationship you have with the person, and the context of the conversation. After all, communication—emoji or otherwise—should feel genuine.