Singer Kishore Kumar gifted the world with countless classics before his premature death on October 13, 1987, aged just 58. To mark his passing 30 years ago, Eastern Eye decided to take on the impossible task of creating a playlist of 10 key classic songs. The greatness of the singer is, however, perfectly illustrated by the fact no two people will have the same top 10 songs.
Eena Meena Deeka from Aasha (1957): This would become a cult classic, but why the catchy number makes the list is that it was one of the first to showcase his unique vocal range. This was pictured on the great man, who was also a great comic actor and perhaps the only leading man to sing his own songs at the time.
Chhod Do AanchalZamana Kya Kahe Ga from Paying Guest (1957): Kishore delivered magnificent duets over the years and this one with Asha Bhosle was his first blockbuster with another singer. This track would later be sampled, covered and inspire musicians in following generations. It was particularly fresh because it was recorded at a time both future legends were trying to establish themselves.
Ek LadkiBheegiBhaagi Si from Chalti Ka NaamGaadi (1958): Bollywood has always loved the rain songs and this was one of the best. Apart from being a great composition, what made the song extra special was that it was the stand out moment in his biggest hit film as a leading man and pictured opposite his future wife Madhubala. A honourable mention goes to another of the film’s numbers Haal Kaisa Hai Janaab Ka, which was voted the most popular Bollywood song of that year.
Mere SamneWaliKhidki from Padosan (1968): The last truly great number he performed on screen before concentrating almost entirely on playback singing. He sings while a buffoon lip-syncs and pretends the voice is his to impress a hot neighbour. Many singers who followed in his giant footsteps performed the iconic number.
Roop Tera Mastana from Aradhana (1969): The soundtrack to this blockbuster turned him into the king of playback and won him the first of his record-breaking haul of Filmfare Awards for Best Singer. The sensual song remains popular today as do the other big hits from the soundtrack Mere Sapnon Ki Rani and Kora KagazThaYeh Man Mera.
Zindagi Ek Safar from Andaz (1971): This song swept through this romantic drama and across the globe like wildfire when it released. It became an anthem for a new generation and has since uplifted subsequent generations. The then king of Bollywood Rajesh Khanna loved the song so much that he agreed to make a cameo performing it. The most popular Bollywood song of 1971 was such a blockbuster that it turned the movie into a huge hit.
MeraJeewan Kora Kagaz from Kora Kagaz (1974): The king of the 1970s had another resounding hit with what would become his first solo song to be voted the most popular of the year in the main chart show of the day. What made this extra interesting is that it was used as a background score to show the plight of the female protagonist. Listen carefully to the lyrics and it is a gift that keeps giving.
O Saathi Re from Muqaddar Ka Sikander (1978): This song showed there was a lot to more to the singer’s repertoire than fun, energetic and dance numbers. He also did slow emotion-filled love songs really well and this is a perfect illustration of that. The love song grabs hold of your heart and doesn’t let go even after it has ended.
KhaikePaan Banaras Wala from Don (1978): The magnificence of this award-winning song is such that it still lights up the dance floors today. It showed that no one did a fun number better than the late great singer and was the most popular Bollywood song of that year. (We won’t talk about the cover version that appeared in the 2006 remake of Don).
ManzileinApniJagah Hain from Sharaabi (1984): There aren’t too many certainties in life, but one thing is for sure, Kishore Kumar would win the Filmfare Best Male Singer award in 1985 because he got all four nominations for songs featured in Sharaabi. Although many would argueInteha Ho GayiIntezaar Ki deserved to win because, let’s face it, nearly all Indians are late and everyone has experienced the subject of this song.
When film director Danny Boyle saw Sebastião Salgado’s photograph of Churchgate Station in Bombay (now Mumbai), he knew this was where he would end Slumdog Millionaire with the rousing Jai Ho dance sequence, writes Amit Roy.
This was revealed to Eastern Eye by Sundaram Tagore, who owns art galleries in New York and Singapore and is about to open one in London (he is moving from the previous smaller venue in Cromwell Place).
Tagore, who has flown in from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTA) on Friday (23), last week participated in a photography exhibition called Photo London at Somerset House.
Now in its 10th year, “the UK’s leading photography fair” said that Photo London 2025 was “dedicated to the past, present, and future of photography”.
Salgado’s iconic 1995 photograph of Churchgate Station in Bombaygetty images
Tagore had a booth where he showcased work by several celebrated photographers, including three – Salgado, Steve McCurry and Karen Knorr – all of whom have drawn inspiration from India.
The work of the Brazilian-born Salgado has been described by Andrei Netto of The Guardian as an “instantly recognisable combination of black-and-white composition and dramatic lighting”.
“He’s a world-renowned photographer who has a deep relationship with India,” said Tagore, standing in front of Salgado’s famous photograph of Churchgate railway station in Mumbai (previously Bombay).
The photograph was taken by Salgado in 1995 (when Bombay was renamed Mumbai) as part of a decade-long series on the subject of “migration”, said Tagore, who explained the circumstances in which the picture was taken.
“When he got to the station, he knew he wanted a vantage point higher up,” said Tagore. “Then he was told he’d need to go to an office to get clearance (because everything in India is bureaucratic). He was looking around, thinking ‘Where can I take a photograph of Churchgate?’ Just then he saw this scene and, without waiting for official clearance, just snapped the picture. And in the migration context, if you look carefully at the picture, only two people are static. There is this man who appears to be looking across the crowd to a woman sitting down.”
MF Husain in his Bombay studio (1993); Karen Knorr with her works shown at Photo Londongetty images
Tagore said Boyle happened to come across the picture when he was shooting Slumdog Millionaire in 2007, with Dev Patel and Freida Pinto in the lead roles. Boyle is reported to have said, “This is where I will end the film.”
Tagore added, “This is where the Jai Ho dance scene takes place. That was the inspiration. It was all a bit accidental.”
In his booth, Tagore had also included photographs by McCurry, who is just as famous for his images captured in India.
He caught a boy running down a lane in Jodhpur in 2007. On a taxi journey between Jodhpur and Jaisalmer in 1983, he captured a group of women caught in a sudden sandstorm. He photographed the painter MF Husain in his Bombay studio in 1993. And, in China, in 2004 he took a photograph of Shaolin monks in training in the city of Zhengzhou.
The Opium Smoker, Chitrasala, Bundi (2017) by Knorr and Steve McCurry’s photograph of women caught in a sand storm in Rajasthan in 1983getty images
Present alongside Tagore was photographer Karen Knorr, who talked to Eastern Eye about her striking images – she takes pictures of lions, tigers, peacocks, horses, deer, elephants, cheetahs and swans, for example, and inserts them into photographs taken separately of ornate rooms in palaces and forts in Rajasthan.
She is a German-born American photographer, “the product of a photojournalist mum and a father, who was an editor of a Stars and Stripes American paper in Frankfurt am Main, where I was born”.
She grew up in Puerto Rico and now lives in London.
Her website says that her “photography explores cultural heritage and its ideological underpinnings. Questions concerning post-colonialism and its relationship to aesthetics have permeated her photographic work since the 1980s. Her acclaimed work, India Song, researched the stories and myths of India, photographing animals and placing them in temples and palaces across heritage sites in India. In 2024 Sundaram Tagore Gallery held a solo exhibition of her work, Karen Knorr: Intersections.”
Works shown at Photo London included The Opium Smoker, Chitrasala, taken in Bundi in 2017.
Standing in front of two of her photographs – one called The Transgressor, taken at Takhat Vilas in Jodhpur in 2022, and another titled A Moment of Solitude at Amer Fort in 2021 – she spoke about how India had changed her life.
A British photographer called Anna Fox introduced Knorr to Abhishek Poddar, head of the Museum of Art in Bangalore (now Bengaluru).
She remembered: “He picked up the phone and said, ‘Why don’t you come to India?’ And I said, ‘Why not?’”
getty images
There have been numerous trips to India since her first visit – a “very long road trip across Rajasthan”.
“I immersed myself in India. I would revisit places I had visited before. I am very interested in how time changes a building. I just sort of fell in love with the country. Its hybridity is what really interested me, this idea that architecture could be there for diversity, reconciliation, different cultures coming together. I read most of William Dalrymple’s books and his very critical and alternative history of India that didn’t glorify the British empire. Some of the spaces are older than British rule. What interested me were the Muslim inflections in the buildings. I read the Mahabharat and the Ramayan, everything from (American Indologist) Wendy Doniger to Dalrymple.”
As for the animals inserted into her pictures, she said: “I found the animals were as important as the cultural heritage. I use them as transgressors and disrupters. They are not supposed to be there. I didn’t photograph the animals in situ. That would never work. The animals would move. So, I became a wildlife photographer. Often, I wouldn’t know which animal goes where. I would work on that in London. The animal chosen has to work within the space. It’s about designing an effective image.”
A new play based on Asian author Sathnam Sanghera’s novel traces generations and communities, offering insight into British society, its director has said.
Published in 2013, Marriage Material delves into the experiences of an immigrant family in the UK, as a young man navigates the tensions between his dual British and Punjabi identities, his family’s past, and the life he has built for himself.
Marriage Material has been adapted for the stage under the same name by Gurpreet Kaur Bhatti and is directed by Iqbal Khan.
The play follows the journey of a Sikh family across generations. It begins in the late 1960s in Wolverhampton, where they run a corner shop, and continues through to the present day.
Gurpreet Kaur BhattiHelen Murray
In an interview with Eastern Eye, Khan said, “The play tracks and parallels my life in many ways, because I was born in Birmingham to Punjabi Pakistani parents, and so many of the themes are resonant with what I’ve lived. So, it’s a very significant story.”
He added, “Gurpreet has made changes (from the original version) and it has a slightly different end. Interestingly, there are no stereotypical elements.
“One of the most compelling aspects of Gurpreet’s writing was where the story begins. “Typically, such plays start with the patriarch and matriarch figures from the older generation, often portrayed as duty-bound and lacking passion. But that’s not the case here. We begin with a relatively young couple in their early to mid-30s, deeply in love – and unafraid to show it.
“The play then explores how the pressures of living in British society gradually erode their physical health and what their children inherit from them, both emotionally and culturally.”
Actresses Kiran Landa and Anoushka Deshmukh in a poster of Marriage MaterialHelen Murray
Khan, who is in his early fifties, and is the associate director of Birmingham Rep, said the play speaks direct to Sikh and Punjabi communities, especially those in the Midlands and London.
He said, “Like any great piece of theatre, this story, however, goes beyond one community. It’s about a family, about Britain, and about the journey of identity in today’s world.”
But, he added, “This isn’t just a story about British Asians – it features a range of characters and reflects the wider story of who we are as a country today, shaped by our past. Anyone interested in that journey, or who comes from an extended family or immigrant background, which includes most of us, will find something familiar in it. It’s a warm and funny play, using humour to bring people together and celebrate our differences. It builds bridges across generations and cultures, and I truly believe it will resonate with everyone, no matter their background. It’s a story for all.”
Describing the “inner strength” of the novel, Khan said, “Great writers often use the family and the domestic sphere as a metaphor for the world. This is also very much present in Sanghera’s original novel. By focusing on the family, you create an image of the world and of society. So, it’s not just about a Sikh Punjabi family in Wolverhampton; it’s also an image of how society has developed over time. The more specific we are, the more resonant the story becomes with universal truths – about the world, society, and what makes Britain what it is today.”
Khan explained how in the play’s second half, set in the present day, the youngest son faces questions about who he really is – how he balances his Asian heritage with his British life. He’s also in a relationship with a white British woman, which brings up issues that are still very relevant.
“I hope anyone who enjoys smart comedy, moving drama, and quality theatre will come. It’s a rich, heartfelt story that can connect with people from all walks of life,” the director said.
Khan has been working in the industry for more than three decades. He said the production team used movements and music to show transitions among different time periods in the play.
“Honouring the complexity of that narrative is a significant challenge. Another is the structure – the first half jumps forward in time, sometimes five or 10 years at a stretch. Staging those shifts while maintaining narrative clarity is demanding. We’re not relying solely on realism either; we’re also working to preserve the poetic and lyrical qualities of the piece,” he said.
“I hope it’s a beautiful, playful set, with a poetic element. The great thing about theatre is that it’s inherently non-naturalistic. If you want naturalism or realism, you go to TV or cinema. Theatre is a poetic form; it allows you to suggest truths and transition between moments. The design conveys more than just the setting or period. Without giving too much away, the play does shift across time.”
Khan said it’s an “exciting time” for people from Asian and minority communities to be in the arts.
“When I started in the industry, there were a few leading figures like Jatinder Verma (theatre director and activist), but opportunities were limited, especially in the mainstream. The types of stories being told were quite narrow. That has changed a lot. Today, the arts are far more open and eager for a wider range of stories, not just those focused on trauma, but joyful and celebratory ones too. The next big step is encouraging people from all backgrounds to tell any story they feel passionate about, not just ones linked to their heritage,” he said.
“If you’re creative with a strong voice, don’t feel restricted. Tell the stories you want to tell. Don’t limit your ambitions or dreams. Be bold, and don’t be afraid to bring activism into your work. In the past, work from marginalised communities was seen as financially risky, but that view is shifting – and will continue to change faster if the next generation stands firm and refuses to compromise.
“We now have inspiring leaders like Indhu Rubasingham and Natasha Kathi-Chandra, who are genuinely excited about bold, honest, and sometimes challenging stories that reflect the world we live in. So yes, it’s a very exciting time to be in the arts.”
Marriage Material will run at Lyric Hammersmith Theatre until June 21, and at Birmingham Rep from June 25 to July 5.
Perhaps the biggest Bollywood celebration this year is the 50th anniversary of the iconic film Sholay, which smashed box-office records when it was released in 1975.
But what most Hindi cinema fans may not realise is that another film released that same year (technically) made a bigger profit – with a much higher return on investment. In that regard, it remains perhaps the most profitable Bollywood movie in history.
Hindu devotional drama worked miracles at the box office IMDb
That micro-budget film, Jai Santoshi Maa, achieved something so miraculous it has never been replicated. The second-highest box-office grosser of 1975, it earned more than all-time classics released that year, including Deewaar, Dharmatma and Chupke Chupke – all led by superstars. Despite having no big stars, no lavish sets, minimal marketing and being made on a shoestring budget, the Hindu devotional drama worked miracles at the box office after its release on May 30, 1975.
Eastern Eye marks the landmark film’s 50th anniversary by revisiting its remarkable story and impact, one largely forgotten over time.
The film was written with its limitations in mind, using minimal sets and focusing on emotion IMDb
Struggling actor Vijay Sharma made the leap to directing with this deeply religious drama. At a time when Bollywood was dominated by action films headlined by big stars, he secured only a modest budget – thought to be around `500,000 (£5,000) – from low-profile producer Satram Rohra.
With such limited funds, there was no scope for elaborate sets, special effects, a large cast or any major names. Kanan Kaushal, previously seen in minor supporting roles, was cast in the lead. Anita Guha, who had some success in the 1950s but was mostly inactive by the 1970s, was brought in for a guest appearance as the divine title character.
With such limited funds, there was no scope for elaborate sets, special effects, a large cast or any major names Scroll.in
Bharat Bhushan, once a major star in the 1950s and early 60s but by then largely forgotten, took on a role out of necessity. Trilok Kapoor – younger brother of Prithviraj Kapoor and uncle to Shammi, Raj and Shashi – was also struggling for work and joined the cast.
What the film lacked in glamour, it made up for with a powerful, spiritually resonant soundtrack. Composer C Arjun and lyricist Kavi Pradeep, both relatively obscure at the time, delivered career-best work despite budget constraints.
Unable to afford Lata Mangeshkar or Asha Bhosle, they turned to their lesser-known sister, Usha Mangeshkar. They did, however, manage to get Manna Dey and Mahendra Kapoor to sing one song each. The film was written with its limitations in mind, using minimal sets and focusing on emotion.
The film became a case study in how faith can fuel fandomIMDb
The story followed a pious woman who remains devoted to the goddess Santoshi Maa despite enduring severe hardship, poverty and abuse from her in-laws. Her unwavering faith is ultimately rewarded when the goddess intervenes to restore justice and peace.
When the film was ready to be released, no major distributor would take it. A smaller company finally agreed to give it a limited release, and then something extraordinary happened. It's simple storytelling, emotional arc and devotional songs struck a deep chord with audiences. Unlike the more extravagant mythological films of earlier decades, Jai Santoshi Maa was intimate, emotional and spiritual.
It felt less like watching a film and more like experiencing a prayer. What the film lacked in advertising, it made up for with astonishing word of mouth. Its appeal extended beyond the religious – the emotional story of a woman’s resilience resonated especially with female viewers.
Songs like Main To Aarti Utaru Re Santoshi Mata Ki had entire theatres singing along. While wealthier audiences flocked to watch star-studded blockbusters, grassroots viewers embraced everything about this modest devotional film, especially its message of hope.
Cinema halls screening the movie were transformed into makeshift temples, with patrons arriving barefoot, applying vermillion on their foreheads and distributing prasad after screenings. In some places, audiences performed prayers before the film began. Prasad counters even appeared inside theatres – unheard of in Indian cinema until then.
There were female-only screenings and reports of coconuts being broken at theatre entrances. In rural areas, entire villages organised trips to the nearest towns to catch a glimpse of the goddess on screen. Traditional moviegoers were replaced by worshippers, many of whom wept during the film and sang bhajans in the aisles.
As one historian recalled, “Watching Jai Santoshi Maa wasn’t like watching a movie – it was like participating in a collective act of worship.”
Cinemas that had initially rejected the film scrambled to secure it, leading to a dream run across India. When Sholay released a few months later, it crushed most of the competition, except Jai Santoshi Maa, which continued its successful run. In fact, had Sholay not been released, the devotional drama would likely have earned even more.
While record-breaking films like Sholay returned 10 to 15 times their investment, Jai Santoshi Maa reportedly earned over 100 times its budget. One journalist wrote, “Sholay gave us fire and bullets, while Jai Santoshi Maa gave us faith and devotion – and the box office bowed to both.”
Despite its massive earnings, reports suggest the producer was cheated by distributors and saw little profit. Yet the legacy of Jai Santoshi Maa went far beyond box office success.
Following its release, Santoshi Maa temples sprang up across India. Calendars, posters and religious books featuring her image flooded markets.
The film became a case study in how faith can fuel fandom, inspiring similar devotional films and later mythological television serials.
Lead actress Kanan Kaushal became so adored that fans often greeted her with reverence. Anita Guha, who played the goddess, was so strongly associated with the role that she was referred to as “Santoshi Maa” in public, with some people even seeking her blessings.
In an era dominated by big budgets and big stars, Jai Santoshi Maa remains a timeless reminder that faith and storytelling can achieve what no spectacle can. It had no brooding heroes, no bullets, and not a single superstar – but it accomplished something no other film has matched.
Remakes and similar concepts followed, but none could replicate its divine success. As director Vijay Sharma later said, “We thought it would do okay in devotional circuits. But the response was something else – a tidal wave of emotion and faith.”
The British Asian community, especially the acting fraternity, will be fascinated to learn that film director Waris Hussein is halfway through writing his memoirs. After all, how many British Asian directors can lay claim to straightening Richard Burton’s tie?
He directed Burton and Elizabeth Taylor in the film Divorce His, Divorce Hers in 1973.
Hussein, who is 86 and not as mobile as he used to be since suffering a stroke a few years ago, is expected to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTA) on Friday (23).
As a young man fresh out of Cambridge, he made television history when he directed the first seven episodes of Dr Who in 1963 and established what has since become the BBC’s most successful franchise that has been sold all over the world.
Hussein and Richard Burton getty images
In fact, when the BBC marked the 50th anniversary of Doctor Who in 2013 with a specially written drama called An Adventure in Space and Time, the young Hussein was played by the actor Sacha Dhawan.
Hussein, who has spent many years of his career working in America, has maintained a home in London, where he talked to Eastern Eye.
“I’ve worked with some of the most eminent people in the business – (Laurence) Olivier, (John) Gielgud, Peggy Ashcroft, Sybil Thorndike, and then eminent movie people like Tony Hopkins,” he said.
He laughed: “I have a whole wall on which I keep photos of people I’ve worked with – I call it my wall of fame.”
There is a picture of him with Angela Lansbury and Patricia Hodge – the latter had written, “Darling Waris, I think I look drunk with happiness at working with you again.”
There is an inscription from Anthony Quinn whom he had directed in Onassis: “To Waris, a fantastic director & friend.”
Hussein with Angela Lansbury and Patricia Hodge on the set of The Shell Seekersgetty images
There are photographs of him with Bette Davis; Claire Bloom; Sybil Thorndike; Donald Sutherland and Teri Garr; Ian McKellen and Janet Suzman; Jeanne Moreau, Joan Plowright & Julie Walters; Keith Michell (as Henry VIII); Laurence Olivier and Joan Plowright; Peggy Ashcroft (in Edward & Mrs Simpson); Stephanie Powers & Eva Gardner; Ted Danson & Richard Mansur; and Barry Manilow. There is one with Bill Clinton who played himself in A Child’s Wish – the US president had written, “I enjoyed taking direction from you.”
Hussein’s record suggests he is probably the most successful director the British Asian community has produced in the last half-century.
Waris Habibullah (he later changed his surname to Hussein) was born in Lucknow in India on December 9, 1938, which is why he felt an instinctive sympathy for the former BBC presenter Mishal Husain when he read that her family had also originated from Lucknow.
Hussein with his mother Attia Hosain and Barry Manilow on the set of Copacabanagetty images
He said: “Lucknow is central to my background, where I was born and raised. It is known for its arts, culture and cuisine, and I am proud of that heritage.”
The young Hussein came to Britain with his family in 1946. He went to public school at Clifton College in Bristol and read English at Queens’ College, Cambridge. He has reservations about his time at Clifton: “I had a hard time, because in my mind, Clifton was created in the mid-19th century to educate administrators for the empire – for the ICS (Indian Civil Service). Most of the older boys were sent off to India to administrate and be a part of that landscape. I was resentful at being told that I should expect to order people around in an authoritarian way.”
In marked contrast, “Cambridge was three years of the most important period of my life. I made so many friends there who are now prominent in their fields. One of my contemporaries was Ian McKellen, whom I had the privilege of working with in the very first film that I made. I had directed him as a student. I was able to express myself in a way that I don’t think I would have been able to do anywhere else. At Cambridge you get not only a scientific university, but it encouraged arts. And some of my professors were very prominent in the arts, and I learned a lot from them.”
Hussein with Bill Clinton on the set of A Child’s Wishgetty images
His mother, Attia Hosain, who had a patrician background, was also a great influence on him. After the Partition of India, she chose not to go to Pakistan.
“I owe much to my mother’s creativity and her incredible resilience, because she was transplanted here (to the UK),” he said. “She wrote her first (semi-autobiographical) novel (Sunlight on a Broken Column) in English way back in 1961. It is still read by many, many women in colleges in India. My book is a tribute to her.”
He said of his memoirs: “What I’m trying to do is reorganise my rambling and my memories about being an outsider looking in. Since my stroke, I have begun to appreciate life even more. Apart from being taken care of by some very good medical people, I’m also surrounded by others who look after me. I’m determined to survive as much as I can, particularly on my own terms. In spite of my condition, I’m very lucid. I’ve got my mental marbles, and I can vividly remember things that have happened in my life – the names and places of people I’ve encountered.
Hussein with Donald Sutherland and Teri Garr on the set of The Winter of Our Discontentgetty images
“I’m hanging my narrative on the people I’ve known and who were important in my life. The only thing to do is to be honest about these things and not hide anything. Most of my friends are people of a literary nature – they are creative, write and think for themselves, and encourage me to do the same. I’m inspired by my friend Miriam Margolyes, who wrote her memoirs. She spoke quite openly about her emotional situation. People might be interested in mine because of my Doctor Who connection.
He recalled: “If you look at my repertoire, at the height of the BBC’s golden age of drama, I was doing up to 10 dramas a year. I did things like (Bernard) Shaw’s Saint Joan and Ibsen’s Hedda Gabler, which are classics with prominent actors. I’ve dealt with everything from Henry VIII to the abdication of Edward VIII.”
Hussein with Donald Sutherland and Teri Garr on the set of The Winter of Our Discontentgetty images
In February 2018, the National Film Institute devoted the whole month to a retrospective on his work called Breaking Through. The season began with a screening of A Passage to India (1965), which he felt had “echoes of my own life in terms of my origin”.
A Passage to India was based on EM Forster’s 1924 novel about the clash between two cultures. The impressionable Adela Quested, freshly arrived in India, imagines Dr Aziz has behaved inappropriately towards her while showing her the mysterious Marabar Caves. The ensuing trial proves he was innocent, but exposed the fault lines in the relationship between Indians and their colonial masters.
Other films in the season included The Possession of Joel Delaney (1972), a psychodrama starring Shirley MacLaine; Chips with Everything (1975); and Copacabana (1985), with Barry Manilow.
Dame Sybil Thorndike in A Passage to Indiagetty images
Some of the stars he had worked with came for the respective screenings of their films. For example, Virginia McKenna attended the screening of A Passage to India, Janet Suzman came for Hedda Gabler (1972), Ian McKellen for A Touch of Love (1968), and Claire Bloom for Intimate Contact (1968), a tale of how heterosexual AIDS devastates a family.
When he was interviewed on stage by the arts journalist Samira Ahmed, two-minute clips were shown from some of his other films. They included Daphne Laureola (1978), starring Laurence Olivier and Joan Plowright; Edward & Mrs Simpson (1978), which earned him a BAFTA; and Divorce His, Divorce Hers (1973), starring Burton and Taylor.
Some of Hussein’s early work had been wiped clean by the BBC, it was revealed.
On television in 1976, he directed The Glittering Prizes, which gave Tom Conti’s career a huge boost.
Hussein with Sacha Dhawangetty images
Sometimes, he suffered racist abuse. He once told Eastern Eye that his sister, Shama Habibullah, later a distinguished film producer, “left England because of all this. She went to Cheltenham Ladies’ College, to Cambridge, is highly educated, far more intelligent than me. One day she was waiting at a bus stop on Clapham Common and a drunkard abused her. ‘Why don’t you f****** people go home? You breed like rabbits. You smell of curry.’ Nobody said anything. She came home in tears and said, ‘I can’t live here anymore. What has it all meant? Why did I go to school here when this is what I’m reduced to?’”
An autographed photograph of Hussein with Anthony Quinn on the set of Onassisgetty images
He received worse abuse at a dinner party in the late 1970s. “It was a very smart, upper-class dinner in Campden Hill. All male company. This man sat next to me and said, ‘And what do you do?’ I told him I was directing Edward and Mrs Simpson and he replied, ‘Fancy! I had no idea we’d have colonials telling us about our lives.’ After dinner this man said, ‘Ugh, I really don’t think I can be in the same room as that man over there,’ pointing to me. I stood up and said, ‘I’m going to spare you that embarrassment. One thing I will say is I was brought up to be polite and a gentleman under your British rule, and I know what the rules are. Some of you obviously don’t. I’m going to leave now.’”
In writing his memoirs, he said he hoped he might be providing “a beacon for the younger generation who might want to know what I have done.”
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“This book was born from the belief that no story is ever small,” she said
Banu Mushtaq has made literary history by becoming the first Kannada writer to win the International Booker Prize. The 2025 award was given for her short story collection Heart Lamp, a collaboration with translator Deepa Bhasthi, who rendered the work into English. The pair will share the £50,000 prize, which was presented at a ceremony at London’s Tate Modern on 20 May.
Published by Penguin Random House India, Heart Lamp is a collection of twelve short stories written between 1990 and 2023. It explores the lives of women in southern India, particularly in Karnataka, portraying their struggles and strength within patriarchal communities. The stories are grounded in regional oral storytelling traditions and have been praised for their wit, vividness and emotional depth.
Chair of the judging panel, Max Porter, called the book “a radical translation which ruffles language, to create new textures in a plurality of Englishes,” adding that the result is “genuinely new for English readers.”
Mushtaq, who is also known for her work as a lawyer and activist, reflected on the significance of the award during her acceptance speech. “This book was born from the belief that no story is ever small,” she said. “In a world that often tries to divide us, literature remains one of the lost sacred spaces where we can live inside each other's minds, if only for a few pages.”
Bhasthi’s translation has been praised for preserving the multilingual and musical essence of the original Kannada text. She chose to retain Kannada, Urdu and Arabic words in the English version, aiming to reflect the region’s everyday speech patterns. Speaking at a recent event at Champaca Bookstore in Bengaluru, she said, “None of us speaks ‘proper English’ in Karnataka… I wanted Indian readers to hear the deliberate Kannada hum behind it.”
In an earlier interview with The New Indian Express, Mushtaq addressed the personal dimensions of her writing. “I was asked to write about my contexts, and so I did. But at the same time, I didn’t want to be confined within the identity of the ‘Muslim woman’,” she said.
Heart Lamp is the first short story collection to win the International Booker Prize and only the second Indian title overall, following Geetanjali Shree’s Tomb of Sand, which won in 2022.
Fiammetta Rocco, Administrator of the prize, described the book as “a testament to the enduring fight for women's rights, translated with sympathy and ingenuity,” encouraging readers of all backgrounds to engage with its themes.
The 2025 shortlist featured works translated from Danish, French, Japanese and Italian. Each shortlisted book received £5,000, divided between the author and translator.
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