Veteran actor Mithun Chakraborty says his partnership with Bappi Lahiri was iconic because the singer-composer understood his dancing and created chartbuster music keeping his “different” style in mind.
Remembering Lahiri, who breathed his last on Tuesday night at the age of 69, Chakraborty said he wants to remember the composer from the days they spent together.
In an interview with PTI, Chakraborty said the composer was an artiste who truly understood his craft. “The best part was that Bappi da understood my dancing. I brought something new – disco dancing, which was a departure from others. Bappi da understood that I dance differently and so he started giving music accordingly. It became like 1+1=2, we connected. When we became one, we gave legendary hits."
Chakraborty's first brush with stardom was with the 1979 hit Surakksha, which was aided by Lahiri's music, especially the track "Gunmaster G9". The duo became a formidable force with their later works Disco Dancer (1982), Kasam Paida Karne Wale Ki, and Dance Dance.
Chakraborty was given the moniker of a dancing star, with Lahiri firmly backing him with songs like "I Am A Disco Dancer", "Jimmy Jimmy Jimmy Aaja", "Yaad Aa Raha Hai", "Come Closer".
Bappi Lahiri at the live concert celebrating 50 years of Bollywood playback singer Amit Kumars musical career (Photo credit should read STR/AFP via Getty Images)
The 71-year-old actor said the best part about Lahiri was that he operated without any ego. If there was a suggestion Chakraborty had, Lahiri was all ears. "Bappi da was very open, he was an ego-less man. If you told him, 'Bappi da I heard a song, would you like to hear? I want a similar song' he would be open to it. If he liked it, he would work on it. That was the best part, otherwise, we would be scared to approach any other music directors, worried how they would react (to suggestions)".
When Lahiri passed away, fans flooded social media with songs of the duo, recalling their collaboration which dominated music charts the entire 80s. Chakraborty said he was in Bengaluru when his long-time collaborator breathed his last but he was so grief-stricken, he didn't want to remember Bappi Da in that state.
"I was in Bangalore (when he passed away). I didn't want to see him like that. I want to remember Bappi da the way I know him, I just don't want to remember this Bappi da, I don't even want to see it because Bappi da will remain with me forever. That is my thinking," the actor said.
"When my father passed away during the pandemic, I could not come. I didn't want to see him like that, I wanted to remember him for how we were. Similarly, I want to remember Bappi da for how we used to sit together and make songs, listen to songs. I just want to remember the good days with him," he added.
Though Lahiri is credited for revolutionising the disco sound for the Hindi film music landscape in the 70s and 80s, the veteran said the composer should never be boxed in that image.
"He should not be confined to just disco; he was a genius. He gave hit songs for every hero, every heroine, every producer. Nobody can forget him; he is a legend and I am sure his soul would be in heaven. I will miss him forever," he added.
Chakraborty currently stars in Prime Video's psychological thriller series Bestseller, which marks his digital debut. Backed by filmmaker Siddharth Malhotra's Alchemy Production LLP and directed by Mukul Abhyankar, Bestseller also stars Shruti Haasan, Arjan Bajwa, Gauahar Khan, Satyajeet Dubey, and Sonalee Kulkarni in significant roles.
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.