As the film commemorates 48 years since its release, we present 12 reasons why it continues to be hailed as a masterpiece
By Asjad Nazir and Dharmesh PatelFeb 24, 2024
WHEN Kabhi Kabhie was released in cinemas on February 27, 1976, it took everyone by surprise.
It was a great romantic movie made during an era dominated by action and presented a reigning superstar in a way thought unimaginable.
By combining the rule-breaking approach with a strong storyline, a big star cast, stunning music and superb performances, ace director Yash Chopra created an all-time classic.
As the film commemorates 48 years since its release, Eastern Eye presents 12 reasons why it continues to be hailed as a masterpiece.
Story: Pamela Chopra, the wife of producer and director Yash Chopra, conceived a multifaceted love story rich in layers. While the primary narrative revolves around a poet grappling with heartbreak, the film also explores subplots touching on the themes of adoption, family dynamics, hidden pasts and even a love triangle among the younger generation. Spanning across different time periods, this narrative approach weaves the diverse elements into a cohesive whole.
Bachchan played against type as aromantic poet
Casting: The magnificent multi-starrer assembled one of the greatest ever star casts, headlined by Amitabh Bachchan, shortly after he had established himself as the undisputed king of Bollywood. Rakhee Gulzar, Shashi Kapoor, Rishi Kapoor, Neetu Singh and Waheeda Rehman were the other stellar names signed by Yash Chopra for his ambitious venture. All of them added a different dimension to their respective roles. The impressive supporting cast included Simi Garewal.
Performances: A story centered on human emotions and relationships demanded stellar performances from the entire cast. The seasoned actors, at the peak of their craft, delivered nuanced portrayals that breathed life into the diverse characters.
From the poignant journeys of separated lovers Pooja (Raakhee) and Amit (Amitabh Bachchan) across different stages of life, to the enigmatic elderly Anjali (Waheeda Rehman) concealing a secret and the adorable Vijay (Shashi Kapoor) navigating his wife’s past, each character embodied a spectrum of emotions. The young lovers embroiled in a complex triangle further added depth to the narrative. With each role finely etched, the supporting cast contributed significantly to enriching the film’s impact.
Rishi Kapoor and Neetu Singh
Rulebreaker: The director dared to be different and delivered a romance during an era that was dominated by action movies, which included his own. From its thematic focus to its innovative narrative structure and ageing Bollywood’s biggest star Bachchan, Kabhi Kabhie broke the rules and created new ones. The film’s themes served as an inspiration for subsequent generations of filmmakers, such as Karan Johar, who embraced similar unconventional storytelling methods.
Music: The story of a poet’s unrequited love meant the music had to be strong and ace composer Khayyam delivered one of the finest soundtracks of his career. He assembled the dream team of ace lyricist Sahir Ludhianvi, along with brilliant singers, led by Lata Mangeshkar and Mukesh for the magnificent collection of timeless musical numbers. The terrific title track is rated as one of the finest Bollywood love songs in history and remains popular to this day. The film was nominated in multiple categories at the Filmfare awards, but won only four honours. Three of them were for best music director (Khayyam), best lyricist (Sahir Ludhianvi) and best male playback singer (Mukesh).
The young Raakhee and Bachchan
Words: Whether it is the lyrically rich songs, deep poetry or the unforgettable dialogues, there are few films filled with more beautiful words than this classic. Yash Chopra took his lifelong love for wonderful writing and injected it into each frame. The result was a rare contemporary film that was an audio delight for audiences watching and why many of the lines are still quoted almost 50 years later.
Progressive parents: Previously, parents in Bollywood were often depicted as disapproving patriarchs entrenched in tradition. However, with Kabhi Kabhie, a shift towards more progressive portrayals of parenthood emerged.
When Vijay learns of his wife’s past with the poet, his jealousy is tempered by reason, showcasing a more nuanced approach to marital conflicts.
Additionally, instead of resorting to strictness, Vijay fosters a friendly rapport with his son, promoting open communication over authoritarianism. Similarly, Pinky’s (Neetu Singh) parents choose honesty by revealing her adoption. Furthermore, Anjali’s acceptance of her adopted daughter and Vijay urging his son to embrace life reflect a departure from the traditional parental role.
Locations: Predominantly set in the picturesque landscapes of Kashmir, the movie showcases eye-catching locations. The director adeptly captures the region’s diverse natural elements, portraying its beauty and serenity, with all four seasons seamlessly woven into the narrative.
Inspiration: There are elements of Kabhi Kabhie in many of the all-time greatest movies that were made in subsequent decades, including the two distinct storylines across different time periods being stapled together. Then, there are themes like parental approval, a more understanding husband, adoption, unrequited love and past secrets, which would later pop up in movies in a similar way to the 1976 classic.
Rishi and Shashi
Values: While love takes centre stage in Kabhi Kabhie, the director ensures that traditional Indian values remain integral to the narrative. This is exemplified by Pooja’s acceptance of her arranged marriage, without rebelling against her parents’ decision and Amit’s tearful acceptance of this outcome.
Despite the heartbreak of losing his love, Amit’s dignified response underscores his commitment to upholding the honour and reputation of Pooja and the elders involved. This portrayal of sacrifice is presented in a positive light, distinguishing the film from typical escapist love stories.
Love: Instead of just focusing on one aspect of romance, Kabhi Kabhie presents love in different forms and knits them together seamlessly.
The romantic themes it explores includes the short-lived whirlwind romance, heartbreak, jealousy, moving on, marital bonding, flirting and love triangles. There is someone lamenting of a lost love and romance across different generations.
The movie also explores unconditional parent love and human relationships.
Eternal: A movie many considered ahead of its time, Kabhi Kabhie still remains relevant today, with relatable emotions and themes. Like most Yash Chopra classics, it can still be enjoyed, has important life lessons and continues to find new audiences.
ARUNDHATI ROY’S forthcoming memoir, Mother Mary Comes To Me, is about the author’s close but fraught relationship with her mother, Mary Roy, whose death in 2022 her daughter has likened to “being hit by a truck”.
Mary Roy, who insisted her children call her “Mrs Roy” in school, belonged to the Syrian Christian community. She does not seem a very nice person.
The Financial Times, which interviewed Arundhati at her home in Delhi, reveals: “In an episode to which the writer makes oblique reference early in the book but withholds until later — because of the pain it caused — she returned from boarding school for the holidays, aged 13, to find that Mrs Roy had had her beloved pet dog, Dido, shot and buried as ‘a kind of honour killing’ after Dido mated with an unknown street dog.”
In 1996, someone tipped me off that a publisher had won an auction by paying £1 million for The God of Small Things by an unknown Indian writer. This was unprecedented for a debut novel. But the buzz among the bidders was that the novel was a possible contender for the Booker Prize.
As I was writing my story at the Daily Telegraph, the night editor, Andrew Hutchinson, leant over and quipped: “Writing about your sister again?” As we know, Arundhati Roy did win the Booker in 1997. I had actually met Arundhati two years previously when she had stuck up for Phoolan Devi, the subject of Shekhar Kapur’s movie, Bandit Queen, based on Mala Sen’s biography.
Phoolan had been repeatedly raped by upper class Thakurs (the men were later lined up in the village of Behmai and executed by Phoolan’s gang in 1981). The film was exploitative, claimed Arundhati, because for Phoolan, it was like being raped again. She wrote a piece in Sunday in Calcutta (now Kolkata), headlined, “The Indian rape trick”.
Mala arranged for me to interview Phoolan who was refusing to talk to Channel 4 which was making a documentary in India on the controversial movie. In public, she supported Arundhati, but behind the scenes did a deal with C4 which paid her £40,000.
The FT interview says Arundhati “left home at 16, putting the length of the subcontinent between her mother in Kerala and herself in New Delhi, where she was admitted as one of the few women students at the School of Planning and Architecture. ‘I left in order to be able to continue to love her, because I knew she would destroy me if I stayed,’ she says.
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The mural has been covered and is being guarded by security
A new mural by street artist Banksy has appeared on the Royal Courts of Justice building in central London.
The artwork depicts a judge hitting a protester, with blood splattering their placard.
It comes days after nearly 900 arrests at a London protest against the ban on Palestine Action.
The mural has been covered and is being guarded by security; Banksy confirmed authenticity via Instagram.
Banksy’s latest work at the Royal Courts of Justice
A new mural by the elusive Bristol-based street artist Banksy has appeared on the side of the Royal Courts of Justice building in central London.
The artwork shows a judge in traditional wig and black robe striking a protester lying on the ground, with blood depicted on the protester’s placard. While the mural does not explicitly reference a specific cause or incident, its appearance comes just two days after almost 900 people were arrested during a protest in London against the ban on Palestine Action.
Security and public access
Social media images show that the mural has already been covered with large plastic sheets and two metal barriers. Security officials are guarding the site, which sits beneath a CCTV camera.
Banksy shared a photo of the artwork on Instagram, captioning it: “Royal Courts Of Justice. London.” This is consistent with the artist’s usual method of confirming authenticity.
Location and context
The mural is located on an external wall of the Queen’s Building, part of the Royal Courts of Justice complex. Banksy’s stencilled graffiti often comments on government policy, war, and capitalism.
Previous works in London
Last summer, Banksy launched an animal-themed campaign in London featuring nine works. The series concluded with a gorilla appearing to lift a shutter at the London Zoo. Other notable pieces included piranhas on a police sentry box in the City of London and a howling wolf on a satellite dish in Peckham, which was removed less than an hour after unveiling.
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Works are painted on bark cloth from Lake Victoria
Artist Shafina Jaffer presents a new chapter of her Global Conference of the Birds series.
The exhibition runs from 7–12 October 2025 at Mall Galleries, London.
Works are painted on bark cloth from Lake Victoria, combining spiritual themes with ecological concerns.
Exhibition details
Artist Shafina Jaffer will open her latest exhibition, Whispers Under Wings (Global Conference of the Birds), at the Mall Galleries in London on 7 October 2025. The show will run until 12 October 2025.
This practice-led series reinterprets Farid ud-Din Attar’s 12th-century Sufi allegory, Conference of the Birds, reflecting on themes of unity, self-realisation and the idea that the Divine resides within.
Material and meaning
Each work is painted on sustainably sourced bark cloth from the Lake Victoria region, using natural pigments, minerals and dyes. Large panels are formed from the bark of single trees, aligning material ecology with the spiritual narrative.
The series weaves together sacred geometry, Qur’anic verses and depictions of endangered bird species, underscoring the connection between ecological fragility and spiritual awakening.
Previous recognition
Whispers Under Wings follows earlier presentations in London and Dubai, extending the project’s message of peace, unity and environmental care.
A central work from the series — the Simurgh, conceived as a symbol of light (Noor) — was recently acquired by Prince Amyn Aga Khan for the new Ismaili Centre in Houston. A feature on the exhibition also appears in the September edition of Twiga, Air Tanzania’s inflight magazine.
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Each character in the set has been carefully designed to reflect cultural narratives
British-Bangladeshi prop maker Anika Chowdhury has designed a handcrafted glow-in-the-dark chess set celebrating heritage and identity.
The limited-edition set, called Glowborne, launches on Kickstarter in October.
Each piece draws from South Asian, Middle Eastern, and African cultural references, re-rooting chess in its origins.
The project blends art, storytelling, and representation, aiming to spark conversations about identity in play.
Reimagining chess through heritage
When Anika Chowdhury sat down to sculpt her first chess piece, she had a bigger vision than simply redesigning a classic game. A British-Bangladeshi prop maker working in the film industry, she grew up loving fantasy and games but rarely saw faces like hers in Western storytelling.
“Chess originated in India, travelled through Arabia and North Africa, and was later Westernised,” she explains. “I wanted to bring those forgotten origins back to the board.”
The result is Glowborne — a limited-edition, glow-in-the-dark fantasy chess set that blends craft, identity and cultural pride.
Anika Chowdhury says she has many ideas to further fuse craft and culture in future projects Glowborne
Crafting Glowborne
Each character in the set has been carefully designed to reflect cultural narratives: Bengali kings and pawns, Indian bishops with bindis, Arab knights, and African queens. Chowdhury sculpted each piece by hand, drawing on her prop-making training at the National Film and Television School.
Once sculpted, the pieces were cast in resin, painted, and finished with South Asian-inspired motifs filled with glow-in-the-dark pigment. “The characters glow both literally and metaphorically,” she says, “as a chance for them to take the stage.”
Cultural pride and visibility
For Chowdhury, the project is about more than gameplay. “Fantasy doesn’t need to fit into the Western mould to tell a great story,” she says. “South Asian, Middle Eastern and African stories are just as powerful, and they can transform something as traditional as chess by reconnecting it with its roots.”
She hopes Glowborne will resonate with South Asian and Eastern African communities as a celebration of identity and belonging. At the same time, she sees it as a bridge for wider audiences — chess enthusiasts, collectors, and design lovers who appreciate craftsmanship and storytelling.
A personal journey
Chowdhury’s career in film and prop-making has influenced her creative process, but Glowborne marks her first independent project. She created it outside her film work, after hours and on weekends.
“At 28, I finally feel like I’ve found my voice,” she reflects. “For a long time I felt pressure to hide my identity, but now I see my culture as a superpower. This project is about using art to express that.”
Looking ahead
Launching this October on Kickstarter as a collector’s edition, Glowborne is only the beginning. Chowdhury says she has many ideas to further fuse craft and culture in future projects. “This is the proof of concept,” she says. “I can’t wait to create more stories that blend heritage, art and play.”
Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
The piece was originally one of nine works that appeared across London in August 2024.
It will form part of the museum’s new Smithfield site, opening in 2026.
The City of London Corporation donated the artwork as part of its £222m museum relocation project.
Banksy’s police box artwork in storage
A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.
From Ludgate Hill to Guildhall Yard
The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.
Museum’s first contemporary street art
London Museum’s Head of Curatorial, Glyn Davies, said:
“With the arrival of Banksy’s Piranhas, our collection now spans from Roman graffiti to our first piece of contemporary street art. This work by one of the world’s most iconic artists now belongs to Londoners, and will keep making waves when it goes on show next year in the Museum’s new Smithfield home.”
Formerly known as the Museum of London, the institution closed its London Wall site in December 2022 as part of its relocation. It rebranded as the London Museum in July 2024, with £222m allocated by the City of London Corporation to support the move. The project is expected to attract two million visitors annually and create more than 1,500 jobs.
Part of Banksy’s animal-themed series
Piranhas was one of nine animal-themed works Banksy created across London in August 2024. The series also featured a rhino on a car, two elephants with interlocked trunks, monkeys swinging from a bridge, a howling wolf on a satellite dish, and a goat painted on a wall. Some of the artworks were later vandalised, removed, or covered up.
Preserving street art for the public
Chris Hayward, policy chairman of the City of London Corporation, said:
“Banksy stopped Londoners in their tracks when this piece appeared in the Square Mile – and now, we’re making it available to millions. By securing it for London Museum, we’re not only protecting a unique slice of the City’s story, but also adding an artwork that will become one of the museum’s star attractions.”