BIRTH ANNIVERSARY SPECIAL TO CELEBRATE THE POPULAR ACTOR’S ILLUSTRIOUS CAREER
by ASJAD NAZIR
THIS month marks the birth anniversary of legendary Indian actor Shashi Kapoor, who was born on March 18 and passed away on December 4, 2017, aged 79.
A part of the legendary Kapoor dynasty of Bollywood, he is widely regarded as one of the most handsome Indian movie icons in history and distinguished himself with a wide array of roles in all-time great films. The naturally gifted actor was also the first major Indian movie star to build a bridge with the West by acting in international projects. That is why he left behind a brilliant body of work, which is perfect to add to any lockdown watchlist.
Eastern Eye decided to celebrate Shashi Kapoor’s birth anniversary with his top 20 films, in chronological order.
Dharmputra (1961): After appearing in films as a child artist, Shashi Kapoor made his debut as a leading man in this big-screen adaptation of a novel of the same name. The second directorial outing of legendary filmmaker Yash Chopra was the first commercial Hindi movie to revolve around Indian partition and was way ahead of its time in terms of the themes it covered.
The Householder (1963): The path-breaking movie that launched legendary international film banner Merchant Ivory Productions was Shashi Kapoor’s English language debut. The acclaimed movie tells the simple tale of a young couple coping with the pressures of married life and trying to negotiate outside interference.
Shakespeare Wallah (1965): The actor teamed up with Merchant Ivory again for this film loosely based on his father-in-law Geoffrey Kendal’s travelling theatre company, which performed William Shakespeare’s plays across India. He stars opposite his sister-in-law Felicity Kendal in the critically acclaimed film of cross-cultural art and romance.
Waqt (1965): The massively influential film reintroduced the lost-and-found formula back into Bollywood in a big way. The biggest hit of 1965 revolves around a family, including three sons, who get separated during an earthquake and grow up in different circumstances. The Yash Chopra classic also popularised the multi-starrer in a big way.
Jab Jab Phool Khile (1965): The second highest grossing Bollywood film of 1965 is a romantic drama revolving around a rich heiress who falls for a poor village guy during a holiday. The musical love story, which saw Kapoor star opposite Nanda, would inspire 1996 mega-blockbuster Raja Hindustani in a big way.
Suhana Safar (1970): Bollywood has always loved a romantic road movie and this underrated classic is one of the better ones. Kapoor stars opposite Sharmila Tagore in the story of unconnected individuals thrown together, who gradually fall in love. The film includes some great musical numbers composed by Laxmikant–Pyarelal.
Bombay Talkie (1970): Kapoor continued his successful association with Merchant Ivory productions with this English language movie, which saw him star opposite his wife Jennifer Kendal. The comedy-drama saw him play a married Bollywood actor who has an affair with an author researching Hindi cinema.
Chor Machaye Shor (1974): Although this film is best remembered for the top track that inspired the title of record-breaking 1995 film Dilwale Dulhania Le Jayenge, it was so much more than that. The actor stars opposite Mumtaz in the multi-layered story of a wrongly convicted man who escapes jail and with inmates goes on to make a difference.
Deewaar (1975): Kapoor delivered some of his biggest hit films with Amitabh Bachchan, and this was their best. One of the greatest movies in Bollywood history revolves around two brothers brought up by a single mother, on opposite sides of the law, who are on a collision course. The film has many standout moments, including some of the most iconic and often recited dialogues.
Kabhi Kabhie (1976): He may not have had a huge role in this legendary multi-starrer, but it was significant enough to make a huge impact. The multi-layered story of love, heartbreak and poetry has connected with different generations since it released and remains one of Bollywood’s all-time greatest movies.
Satyam Shivam Sundaram (1978): The Raj Kapoor directed romance was way ahead of its time when it released and remains an all-time classic. Kapoor stars opposite Zeenat Aman in the story about inner and outer beauty, along with physical and spiritual love. The cult classic has the same impact over 40 years later and still has the power to bring out all the emotions.
Junoon (1979): Kapoor produced and starred in this National Award-winning film set around the Indian rebellion of 1857. He heads an impressive star cast in this Shyam Benegal directed classic that found the middle ground between commercial and artistic cinema, and sheds light on an important chapter in Indian history.
Suhaag (1979): The masala potboiler has everything from songs, comedy, romance and family drama to action. The multi-starrer once again saw Kapoor and Amitabh Bachchan play brothers on opposite sides of the law. The strong star cast includes Rekha and Parveen Babi. An honourable mention to Shaan, which released the following year and has a similar genre.
Do Aur Do Paanch (1980): The hilarious action comedy sees Kapoor and Amitabh Bachchan portray two rival thieves, who get jobs at a private school in order to kidnap the son of a wealthy man. The film, which also stars Parveen Babi and Hema Malini, is loaded with standout comedy moments that will still make you laugh out loud.
Kalyug (1981): Kapoor produced and played the lead role in this Shyam Benegal directed drama, which would go on to win a Filmfare Award for Best Movie. The critically acclaimed movie of a family feud that slowly goes out of control has a complex story, which has standout performances from a strong cast.
Namak Halaal (1982): The third highest grossing film of 1982 was later remade in different languages. Kapoor stars alongside Amitabh Bachchan, Smita Patil and Parveen Babi in the masala comedy of a waiter and a hotel owner, who share a connection. There are plenty of laughs, standout musical numbers and action in the classic entertainer.
Heat And Dust (1983): The British film was another dream collaboration with the internationally acclaimed Merchant Ivory banner. Based on a novel by screenplay writer Ruth Prawer Jhabvala, the lavish film with a strong star cast, has two stories set across different time periods about illicit cross-cultural affairs.
New Delhi Times (1986): The political thriller written by Gulzar won a number of honours, including a National Best Actor Award for Kapoor. Another of the actor’s films that was ahead of its time looked at corruption in politics and media. Although it was an Indian production, it was framed very much like an international feature.
Sammy and Rosie Get Laid (1987): The taboo-busting British film directed by Stephen Frears and written by Hanif Kureishi is the story of a promiscuous couple Sammy and Rosie, which is complicated when his father arrives. The acclaimed movie shocked audiences and offered them the kind of story not seen before when it released.
In Custody (1993): The movie based on a Booker Prize nominated novel of the same name won Kapoor another National Film award for his performance. The simple story with deep metaphors revolves around a lecturer, played brilliantly by Om Puri, who goes to interview a poet (Kapoor) he is a huge fan of and learns some hard truths.
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.”
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The piece was originally one of nine works that appeared across London in August 2024
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.”
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Aditya Chopra (right) with his father, Yash Chopra
BOLLYWOOD filmmaker Aditya Chopra was last Thursday (21) named among the nominees of the UK Stage Debut Awards for his Come Fall in Love – The DDLJ Musical, performed at Manchester’s Opera House earlier this year.
Chopra delivered a blockbuster in 1995 with Dilwale Dulhania Le Jayenge, popular as DDLJ, with Kajol and Shah Rukh Khan in the lead roles. It was adapted to a theatrical production and had its UK premiere in May.
Chopra reprised his role as director of the English stage production, which revolves around the love story of Simran and Roger.
Shah Rukh Khan visits the cast of Come Fall in Love The DDLJ Musical during rehearsals in London Danny Kaan
“This year’s nominees embody the future of British theatre, and I can’t wait to celebrate their achievements,” said Alistair Smith, editor of The Stage theatrical publication.
“This year there are several individuals with south Asian heritage being recognised for their excellence in directing: among the nominees is Amit Sharma for Ryan Calais Cameron’s Retrograde (in the Best Creative West End Debut category),” said the awards panel in a statement.
Also nominated are Adam Karim for Guards at the Taj at the Orange Tree Theatre, London, and visionary Indian filmmaker Aditya Chopra for Come Fall In Love at Manchester’s Opera House, who are both in the running for the best director category, the statement added.
The winners will be announced on September 28.
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The group have introduced fresh orchestral elements and added instruments to expand their live sound
The Shahbaz Fayyaz Qawwal Group return to the UK with a nationwide tour after viral success online.
The ensemble of brothers blend centuries-old qawwali traditions with fresh improvisations that connect with young audiences.
From Pakistan to the USA and UK, their performances have won acclaim for their electrifying energy and spiritual depth.
Fans can expect new instruments, reimagined classics, and the same message of love and harmony at this year’s shows.
From viral sensation to global stages
When a performance goes viral, it can change an artist’s career overnight. For the Shahbaz Fayyaz Qawwal Group, their stirring renditions of Bhar Do Jholi and B Kafara propelled them from local fame in Pakistan to global recognition, amassing millions of views across platforms. What set them apart was not just the power of their voices, but the way their music resonated with younger listeners who were hearing qawwali with fresh ears.
That viral momentum soon carried them beyond borders, leading to major performances in the United States and the UK. “It wasn’t just one track,” the group explained. “We revived older gems like Kali Kali Zulfon and Dil Pukare Aaja in our own style, and those went viral again, showing that qawwali still speaks across generations.”
Heritage, family and style
The Shahbaz Fayyaz Qawwal Group’s uniqueness lies in their roots. Composed of seven brothers and joined by fellow musicians from respected musical families, the ensemble was trained by their late father, himself a master of the art form. On stage, as many as 15 to 20 performers create a sound that is both deeply traditional and daringly modern.
Their shows are alive with improvisation. In the middle of a devotional track, harmonium player Shahbaz might suddenly weave in a melody from a contemporary Bollywood hit, while lead vocalist Fayyaz channels his energy into unrestrained movements and audience interaction. “When different styles meet, something new emerges,” they said. “That’s what keeps the music vibrant.”
UK audiences and the international journey
Having performed across the USA, the Middle East and Europe, the group describe UK audiences as particularly electric. “Each time we perform here, the atmosphere is charged. People don’t just listen – they become part of the performance,” they said.
Their repertoire often draws requests from fans who expect to hear viral favourites alongside traditional classics. “Sometimes, if organisers don’t allow us to perform songs like B Kafara or Dil Pukare Aaja, the audience won’t let the show continue. That’s the level of passion here,” they recalled with a laugh.
Keeping qawwali alive for new generations
While the roots of qawwali stretch back centuries, the group see their role as carrying the tradition into the present. By fusing tabla, harmonium and handclaps with newer instruments and arrangements, they appeal to younger listeners without losing the music’s essence.
“We want every audience to feel peace, harmony and love when they leave our concerts,” they said. “An artist should never belong to just one group of people – music is for everyone.”
What fans can expect this tour
This year’s UK tour promises new surprises. The group have introduced fresh orchestral elements and added instruments to expand their live sound. Fans can expect a mix of beloved classics, spontaneous improvisations, and the chance to hear qawwali reimagined for today’s world.
For Shahbaz Fayyaz Qawwal Group, the mission remains unchanged: to honour their heritage, embrace new audiences, and spread the universal message at the heart of their art. As they put it: “We look forward to growing together with our fans. Let’s celebrate qawwali as a tradition that belongs to everyone.”
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Born in 1864 in Visakhapatnam, Annie began medical studies at Madras Medical College, one of the few institutions in India then open to women.
DR ANNIE WARDLAW JAGANNADHAM was the first Indian woman to gain a medical degree at a British university and have her name added to the UK medical register in 1890.
Her story has been revisited by the General Medical Council (GMC) as part of South Asian Heritage Month. Tista Chakravarty-Gannon, from the GMC Outreach team, explored her life with support from GMC archivist Courtney Brucato.
Chakravarty-Gannon wrote in a blog, “In my role at the GMC much of my work is focused on supporting international doctors, and on anti-racism. It’s work that lies close to my heart. My father was born in India but emigrated to the UK in the 1960s.”
She added, “If you wind the clock back even further, it must have been even harder to make that journey and assimilate into a not particularly diverse society and profession. Unsurprisingly, in the late 19th century doctors were almost all male and white. It was going to take some remarkable women to turn that tide. I’ve been lucky enough to spend time talking to our archivist, Courtney Brucato, about one such woman – Annie Jagannadham.”
Early years Born in 1864 in Visakhapatnam, Annie was the daughter of Christian missionary parents. At 20, she began medical studies at Madras Medical College, one of the few institutions in India then open to women.
She studied practical midwifery under Dr Arthur Mudge Branfoot, who had spoken about the “folly and inadvisability of educating women as doctors.”
Barriers and opportunities Indian medical qualifications were not fully recognised under the colonial system. For women, studying abroad was often the only route to legitimacy.
In 1888, Annie received a scholarship from the Countess of Dufferin Fund to study at the Edinburgh Medical School for Women. The Fund, set up under Queen Victoria, aimed to improve women’s health in India through scholarships and support for health infrastructure.
She studied for the conjoint medical and surgical qualification of the three Scottish Colleges, known as the “Scottish Triple” or “TQ”.
Academic success Annie graduated with special credit, worked as a demonstrator of anatomy at Surgeons’ Hall, and achieved top marks in several examinations. On 2 May 1890, she was granted registration with the General Medical Council.
She then worked as a house officer at the Edinburgh Hospital for Women and Children under Dr Sophia Jex-Blake, who described her as of “fine and finished character.” Annie gained experience in obstetrics and gynaecology and was made a Licentiate of the Royal College of Physicians of Edinburgh, the Royal College of Surgeons of Edinburgh, and the Faculty of Physicians and Surgeons of Glasgow.
Return to India In 1892, Annie returned to India as a House Surgeon at Cama Hospital in Bombay (now Mumbai), under Dr Edith Pechey, one of the Edinburgh Seven who had campaigned for women’s right to study medicine.
Early death Two years later, Annie contracted tuberculosis. She returned to her family in Visakhapatnam and died in 1894 at the age of 30.
The Chronicle of the London Missionary Society published an obituary, noting, “it is to be feared that the early death, which those who knew her now mourn so deeply, was largely due to her self-denying labours on behalf of the sufferers in the hospital.” It added, “though the course [of her life] has been short, it has been useful and bright,” praising her independence, modesty, and “unostentatious service.”
Legacy On the 1891 medical register, Annie was one of 129 female doctors compared to more than 29,000 men. This year, for the first time, there are more female than male doctors practising in the UK, and more ethnic minority doctors than white doctors.
Chakravarty-Gannon wrote, “It’s important to remember that to be listed on the medical register, Annie was required to step outside the Indian system, navigate another culture away from her friends and family, and prove herself all over again – because her original education wasn’t recognised in a colonial hierarchy.”
“Dr Jagannadham may not be a household name, but her courage and determination helped carve out a path that many generations have since followed. Her story is a powerful reminder of how far we’ve come – and how important it is to keep moving forward.”
South Asian Heritage Month runs from 18 July to 17 August each year, commemorating and celebrating South Asian cultures, histories, and communities.