History books have few lines on Samrat Prithviraj, lot of chapters on Mughals: Akshay Kumar
Ahead of the release of his film Samrat Prithviraj, a historical action drama based on the warrior Rajput king, Kumar said it’s sad we don’t know about our own kings.
The education ministry needs to take cognizance of the contribution of Hindu kings and balance out their stories with those of Mughal emperors who enjoy more space in school texts, Bollywood star Akshay Kumar said on Wednesday
Ahead of the release of his film Samrat Prithviraj, a historical action drama based on the warrior Rajput king, Kumar said it's sad we don't know about our own kings.
"There were only three-four lines about Samrat Prithviraj in the history books that I read. Thanks to this film, I got to know so much about him. I don't think anyone else also knew about him,? Kumar told PTI in an interview.
"When I was talking to my son about him (Prithviraj), he said 'I know about the British empire, Mughal empire, but who's he?' So it's a sad thing that we don't know about our own kings. There were only a few lines about Rana Pratap, Rani of Jhansi. But there are a lot of chapters on Mughals," he added.
Kumar described his film, which was earlier titled Prithviraj and was rechristened last week following protests by the Shree Rajput Karni Sena, as an "educational film set in a commercial way".
"I would appeal to the education ministry to try and (bring about) balance and bring our culture, Hindu kings also in our textbooks," Kumar said
Kumar was in Delhi to promote his film and paid floral tributes at Qila Rai Pithoragarh, a south Delhi complex housing a statue of Prithviraj Chauhan
Samrat Prithviraj, produced by Yash Raj Films, is directed by Chandraprakash Dwivedi.
Kumar said he was surprised when Dwivedi, known for directing the 1991 TV show Chanakya and the 2003 Partition film Pinjar, approached him for the project.
"I was not sure whether I'll be able to pull this off or not. The way Samrat Prithviraj has been depicted in history books, he's a little stout. I don't match it (the image). But he was confident that according to him, his imagination, he (Prithviraj) was an athletic person. I said let's do it," the 54-year-old actor said.
He also weighed in on the 'north versus south' cinema debate, saying he would rather talk about uniting film industries from across the country than comment on a non-issue.
"Both industries are one. The British ruled over us for 200 years using 'Divide and Rule', we are dividing (our country) again by doing all these things. We are India. They are making films in their mother tongue, we are making films in our mother tongue.
"We should talk about uniting us. Let's say, Allu Arjun and I do a film together or Shah Rukh and Vijay are working on a film. Let's wish for such things. Not things like 'They are eating into your (film's) business'," he argued.
Responding to the recent controversy on India's national language, Kumar said, ?All languages are national languages."
"I'm happy speaking my mother tongue (Punjabi), I think my mother tongue is the best. A Tamil person thinks his (language) is the best. I don't understand what the debate is about. We are all in one culture, one country.
"There was suddenly a roar (furore) about all this and I didn't understand what was wrong with us? After reading so much history, we are still fighting about is 'my language is ok', 'that language is wrong'. I just believe in just being together," Kumar, who is currently shooting for the Hindi remake of the 2020 Tamil film "Soorarai Pottru", said.
India doesn't have a national language. The Eighth Schedule of the Constitution recognises 22 languages
Kumar, who completed three decades in cinema last year, belting out a series of hits including Sooryavanshi and Bell Bottom, said he hopes to keep working
"I just want to keep on working till they have to shoot me down. I only know how to do this work. A lot of business opportunities come up but I don't get into them much. I have made some investments in some businesses. That's all I know.
"But I can't run a business. There's no point in getting into something one has no knowledge about. In the coming 30 years, I see myself working in this industry. I can't go anywhere else," he added.
As a child, the actor said he had been more into stories than studies.
"My parents would tell me a lot of stories. Growing up, I watched films and read comics on 'Tarzan'. So my hero was 'Tarzan'. I used to love comics such as 'Amar Chitra Katha', 'Mandrake the Magician', 'Bahadur', 'Phantom', etc."
Samrat Prithviraj also stars Sanjay Dutt, Sonu Sood and marks the screen debut of Miss World 2017 Manushi Chhillar. The film is scheduled to release on Friday.
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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