Shammi Kapoor ruled the big screen in the 1950s, 60s, and 70s as the male lead, and later in the 80s and 90s, he started playing supporting but strong roles. In his career spanning of more than five decades, Kapoor starred in multiple super hit films.
Apart from his amazing performances, the late legendary actor was known for his songs and dance moves. Today, on his 89th birth anniversary let’s look at the list of some of the most memorable songs of Shammi Kapoor...
Chahe Koi Mujhe Junglee Kahe
Yahoo! The first one on the list has to be Chahe Koi Mujhe Junglee Kahe from the movie Junglee. The film had released in 1961, but even after so many years, people love to listen to this song and Shammi Kapoor's energy was simply amazing in it.
Yeh Chand Sa Roshan Chehra
The track Yeh Chand Sa Roshan Chehra from Kashmir Ki Kali is one of the most beautiful romantic songs. Shot in the scenic beauty of Kashmir, the song also featured Sharmila Tagore and the chemistry between both the actors was wonderful in it.
Baar Baar Dekho
Shammi Kapoor was an actor who was loved for his dancing skills. In the song Baar Baar Dekho from the film China Town, Kapoor surely stole the show with his smooth dance moves and expressions.
Badan Pe Sitare
This list would have been incomplete without the song Badan Pe Sitare from the movie Prince. Shammi Kapoor and Vyajantimala, both the actors were graceful in the song.
Govinda Aala Re Aala
Shammi Kapoor starrer Bluff Master released in 1963 and even after 57 years the song Govinda Aala Re Aala from the movie is one of the most famous Janmashtami tracks. Kapoor’s energetic dance moves were the highlight of the song.
O Haseena Zulfonwali Jaane Jahan
The shimmy of Shammi was quite famous and we got to see that a lot in the track O Haseena Zulfonwali Jaane Jahan. With Helen and Shammi Kapoor together, this is surely one of the most iconic songs of Bollywood.
Aaj Kal Tere Mere
Last but not the least, we have the song Aaj Kal Tere Mere Pyar Ke Charche from Brahmachari on the list. Shammi Kapoor was the one who introduced Bollywood to the rock n roll dance style, and Kapoor and Mumtaz showed off some amazing dance moves in this song.
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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