SHRAVAN KUMAR RATHOD died last Thursday (22) in Mumbai, from Covid complications and organ failure.
Born on November 13, 1954, he was from a music family. His father, Pandit Chaturbhuj Rathod was a classical music maestro. When Shravan was only five, he learned to play the tabla; by the age of seven he was giving live performances. He was inspired to compose music for films after attending a recording session of the composers Kalyanji-Anandji.
Shravan was one part of the dynamic duo, Nadeem-Shravan. From 1987 to 2005 the team produced their most popular hits, working with leading producers and directors, such as Mahesh Bhatt for the film Aashiqui, which was their breakthrough film music album in 1990. It was rated the fourth best soundtrack ever by Planet Bollywood on their hundred greatest Bollywood soundtracks list.
They also worked with producer-director Subhash Ghai of Mukta Arts for the film Pardes, starring Shah Rukh Khan; producer Ratan Jain of Venus Films for the film Dhadkan, starring Akshay Kumar and director Dharmesh Darshan for Raja Hindustani, starring Aamir Khan, among many, many more. Their success helped music label T-Series rise to fame.
Members of the Indian film fraternity spoke of their devastation by his loss. Sonu Nigam said that Nadeem-Shravan were instrumental in his rise. They introduced him to filmmaker Subhash Ghai and Sonu was chosen to sing in the film Pardes.
Ghai remembered Shravan as a “great humble soul” and spoke of his delight with the work they produced for his film Pardes, especially the song I Love My India.
Nadeem Saifi said he was broken, as he has lost a dear brother, “my Shanu is no more. We have seen an entire life together. We saw our highs, we saw our lows. We’ve grown up with each other in many ways. We never lost touch and no physical distance could ever separate the two of us. I am in deep pain as I say this, but my friend and companion, my partner of so many years is no more. It has left such a vacuum. I spoke to his son who was inconsolable”.
Nadeem-Shravan was the success it was because of their teamwork. Oscar-winner AR Rahman said on social media, “Our music community and your fans will miss you immensely”.
Actor Ajay Devgn said, “Shravan (and Nadeem) walked 30 years alongside me in my career with the evergreen album for Phool Aur Kaante. Very sad, very unfortunate to hear of his demise last night.”
Producer Boney Kapoor, who collaborated with the duo on two films, tweeted that he was “deeply pained to hear of the demise of music Director Shravan. Have wonderful memories of working with him”. Shravan’s wife and son are still in hospital fighting the Covid-19 virus.
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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