LEGENDARY leading lady Vyjayanthimala was known for her dynamite dance moves and unforgettable presence in songs, but she was also a fine actress who starred in some of the greatest Bollywood movies of all-time.
To mark the iconic star turning 82 on August 13, Eastern Eye went back through her impressive body of work to select her 10 greatest films...
Nagin (1954): The actress became an overnight superstar despite still only being a teenager in the story of star-crossed lovers from warring tribes. The movie boasted great musical numbers and became the highest grossing Bollywood film of that year.
Devdas (1955): The finest onscreen adaptation of the legendary novel saw her deliver a standout turn as kind-hearted courtesan Chandramukhi. Vyjayanthimala was famously nominated for a Filmfare Best Supporting Actress award, but turned it down because she thought her role was just as important as the lead heroine.
Naya Daur (1957): The second highest grossing movie of that year saw her deliver a marvellous performance as the strong-willed village belle opposite Dilip Kumar. The man versus machine drama would be colourised 50 years later and ranked as one of the finest Bollywood films ever made.
Madhumati (1958): The massively-influential movie saw her team up with Dilip Kumar again and play three roles. The ghostly drama would become the highest grossing Bollywood release of that year and would influence films that followed including Karz (1980) and Om Shanti Om (2007).
Gunga Jumna (1961): The highest-grossing film of that year was one of the first to explore the theme of brothers on opposite sides of the law, and would become the highest grossing movie of that year. She would win a Filmfare Best Actress award for her stunning portrayal of the fierce village woman.
Sangam (1964): The highest-grossing film of that year was the first commercial Bollywood blockbuster to be extensively shot in Europe. Her stunning turn of a woman caught between two men in the legendary love triangle would go down in history as one of the greatest.
Leader (1964): The movie may not have clocked up the huge numbers when it released, but it would go onto become a classic, as would the superb songs. The engaging drama would mark the last great collaboration between her and Dilip Kumar.
Amrapali (1966): Vyjayanthimala looked like a dream in the colourful historical, which was India’s official submission for the Academy Award for Best Foreign Language Film, but not nominated. It didn’t clock up the numbers at the box office because it was ahead of its time and featured one of the all-time great dance numbers featuring the actress.
Jewel Thief (1967): She starred opposite Dev Anand in the crime thriller, which generated huge box office numbers and included Vyjayanthimala performing one of the all-time greatest dance numbers.
Prince (1969): Two of the greatest stars of the golden era, Shammi Kapoor and Vyjayanthimala, rounded off their respective careers as leads with this wonderful musical loaded with hit songs. Both played royals in the story of a disillusioned Prince who hides his identity.
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.
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.