NEW DELHI: According to Forrest Gump, life is like a box of chocolates because “you never know what you’re going to get.” Now, an Indian remake of the movie has been hit by boycott calls over years-old comments by its Muslim star Aamir Khan.
It is the latest example of how Bollywood actors, particularly minority Muslims like Khan, are feeling increased pressure under Hindu nationalist Prime Minister Modi.
“Laal Singh Chaddha,” an Indian spin on the 1994 Hollywood hit with Tom Hanks, is expected to be one of India’s biggest films of 2022.
This is due in large part to its main star, 57-year-old Khan, one of the Indian industry’s most bankable actors with past blockbusters like “3 Idiots” (2009) and “Dangal” (2016).
But ahead of the August 11 release, the Internet is awash with clips from a 2015 interview when Khan expressed a growing “sense of fear” and that he and his then-wife discussed leaving India.
“She fears for her child. She fears about what the atmosphere around us will be. She feels scared to open the newspapers every day,” he said.
More than 200,000 tweets, many from supporters of Modi’s BJP party, have been shared since last month calling for people to spurn the movie with the hashtag #BoycottLaalSinghChaddha.
“Aamir Khan married two Hindu Women, yet named his kids Junaid, Azad & Ira. (Hindu co-star) Kareena (Kapoor) married a Muslim & promptly named her kids Taimur & Jehangir,” said one tweet, referring to the children’s typical Muslim names.
“That’s enough reasons to boycott Lal Singh Chaddha, basically a production from Bollywood’s Love Jihad club. #BoycottLaalSinghChaddha,” it added, using a derogatory term coined by Hindu nationalists who accuse Muslim men of marrying Hindu women and forcing them to convert.
Nicknamed “Mr Perfectionist,” Khan has been credited with pushing films beyond Bollywood’s traditional fare of song and dance into social and cultural issues.
He also hosted a TV chat show — “Satyamev Jayate” — that discussed touchy themes like rape, domestic violence and corruption.
The furor over his new film — which adapts Hanks’ famous line to say that “life is like a golgappa,” an Indian snack — is such that this week Khan stressed his patriotism, a key tenet of the Modi government.
“I feel sad that some of the people... believe that I am someone who doesn’t like India,” he told local media.
“That’s not the case. Please don’t boycott my film. Please watch my film.”
Films have long sparked controversy — as well as violence — in the movie-mad country of 1.4 billion people.
But the heat being felt by Khan, one of a clutch of Muslim megastars in the industry along with Shah Rukh Khan and Salman Khan, mirrors growing intolerance, marginalization and vilification of the minority, commentators say.
“There is no doubt that Aamir is being targeted by those spreading hatred toward Muslims,” one commentator, who wished to remain anonymous for fear of becoming a target himself, told AFP.
Modi’s Bharatiya Janata Party (BJP) owes its origins to Rashtriya Swayamsevak Sangh (RSS), a militaristic group espousing “Hindutva,” or making India an exclusively Hindu state.
Lynchings of Muslims by Hindu mobs over so-called cow protection — a sacred animal for many Hindus — and other hate crimes have sown fear in the 200- million-strong Muslim population.
Social media is full of misinformation claiming that Muslims will soon outnumber Hindus — due to inter-religious marriages — or that the minority is a treasonous fifth column backed by Pakistan.
Critics say that the world’s most prolific film industry and its stars have been gradually changing their output to fit the government narrative since Modi came to power in 2014.
In 2019, the hagiographic “PM Narendra Modi” was too much even for the Election Commission, which delayed its release until after a vote that year.
There has been a recent string of military-themed movies that have been nationalistic, all-guns-blazing stories of heroics by soldiers and police — usually Hindus — against enemies outside and within India.
This year’s “The Kashmir Files,” about the fleeing of Hindus from Muslim-majority Kashmir in 1989-90, saw incidents of people in cinemas calling for revenge killings of Muslims.
Film critic and author Anna MM Vetticad said the methods to “subordinate India’s Muslims and Christians to the majority community... include demonizing these minorities, and constantly demanding proof of their patriotism.”
But little is expected to change.
“India’s tragedy is that a majority in Bollywood... are apathetic, opportunistic or afraid,” Vetticad told AFP.
Hindu nationalists push boycott of Bollywood ‘Forrest Gump’ remake
https://arab.news/w5k4g
Hindu nationalists push boycott of Bollywood ‘Forrest Gump’ remake
- Latest example of Bollywood actors, particularly minority Muslims, feeling increased pressure under Hindu nationalist PM Modi
- “Laal Singh Chaddha,” Indian spin on 1994 Hollywood hit with Tom Hanks, expected to be one of India’s biggest films of 2022
Jordanian crown prince meets prince of Brunei in London
- Prince Hussein and Prince Abdul Mateen trained at Royal Military Academy Sandhurst together
LONDON: Crown Prince of Jordan Hussein bin Abdullah and his wife, Princess Rajwa Al-Hussein, met with Prince of Brunei Abdul Mateen and his wife, Princess Yang Mulia Anisha Rosnah, in London on Tuesday.
Al-Hussein and Abdul Mateen trained at the Royal Military Academy of Sandhurst in south England.
Al-Hussein posted a photo with Abdul Mateen from London on his Instagram account. In the image, Princess Rajwa wore a stylish all-black outfit, while Princess Anisha was dressed in a pale blue tweed blazer and black trousers.
Mateen, 33, and Anisha Rosnah, 30, tied the knot in a lavish wedding in Bandar Seri Begawan, the capital of Brunei, in January 2024.
Mateen is the 10th child and fourth son of Sultan Hassanal Bolkiah, the world’s longest-reigning monarch and once the richest man on the planet. Because of his position in the family, Mateen is unlikely to ever ascend to the throne.
Al-Hussien, 30, and Rajwa, 30, married in June 2023. The royal couple welcomed a baby daughter, Princess Iman, last August.
Prince Al-Hussein is the heir to the throne of the Hashemite Kingdom of Jordan. He is the eldest son of King Abdullah and Queen Rania Al-Abdullah.
This week, he is visiting London, where he met with William, Prince of Wales, at Windsor Castle on Monday.
Ithra showcases historic Islamic treasures at second Islamic Arts Biennale in Jeddah
- Ancient edict, prayer carpet fragment, religious manuscript among artifacts
- Event explores ways faith is experienced, celebrated
JEDDAH: Historic Islamic artifacts are being displayed by the King Abdulaziz Center for World Culture at the second edition of the Islamic Arts Biennale currently underway in Jeddah.
Running until May 25 at the iconic Western Hajj Terminal, this year’s biennale, titled “And All That Is In Between,” explores the profound ways faith is experienced, expressed and celebrated.
Pieces on display include an edict from the Ottoman Sultan Mustafa III, who reigned from 1757 to 1774, regarding the Prophet Muhammad’s tomb; a prayer carpet fragment; a tafsir (interpretation of the Qur’an) manuscript; a folding manuscript stand; a mosque lamp; and a large wooden minbar (pulpit).
Ithra, which is renowned as a global leader in Islamic arts and heritage, will feature its pieces in the biennale’s Al-Madar section. This exhibition brings together contributions from prominent local and international institutions, emphasizing the richness and diversity of Islamic culture.
Farah Abushullaih, the head of the museum at Ithra, said: “It is a privilege for Ithra’s Islamic collection to be featured once again at this prestigious biennale, which celebrates the diversity and depth of Islamic arts.
“Our participation underscores our ongoing commitment to preserving and sharing the rich heritage of Islamic art with a global audience while expanding knowledge of key concepts of Islamic traditions that have shaped and continue to shape Islamic identities today.”
The artifacts on display, which were carefully curated in collaboration with Heather Ecker and Marika Sardar from Al-Madar’s curatorial team, reflect the theme of waqf. This fundamental Islamic concept involves dedicating assets for communal benefit, supporting religious, educational, or charitable initiatives.
Ithra’s participation aligns with its mission to inspire, enrich and foster appreciation for Islamic heritage through various initiatives, including its triennial Islamic Art Conference and major exhibitions. Its current “In Praise of the Artisan" exhibition showcases over 130 historic and contemporary works, many of which are on public display for the first time.
With its robust programming of lectures, workshops, and live demonstrations, Ithra continues to honor the past and present, positioning Islamic craftsmanship as a living tradition. Its efforts underscore the institution’s role as a global champion of cultural exchange and creativity.
The Islamic Arts Biennale, hosted by the Diriyah Biennale Foundation, provides a platform for exploring Islamic arts and traditions.
The event’s first edition in 2023, at which Ithra also participated, attracted more than 600,000 visitors.
Georges Hobeika hosts Arab stars at Paris Haute Couture Week
DUBAI/ PARIS: Lebanese couturier Georges Hobeika showcased his Spring-Summer 2025 at Paris Haute Couture Week, with the likes of Emirati Egyptian TV personality Mahira Abdelaziz and Lebanese model Nour Rizk on hand to take in the show.
Billed as a tribute to his late mother, Marie Hobeika, the show kicked off with a series of all-black looks before transitioning into the glittering lighter-hued looks Hobeika is known for.
Abdelaziz was also on hand as Schiaparelli opened Paris Haute Couture Week with a dazzling spectacle titled “Icarus” under the gilded ceilings of the Petit Palais. Gleaming gold talismans, envisioned as suns, lined the runway — a nod to the myth of the boy who flew too close to the sun, The Associated Press reported.
The collection embodied themes of risk-taking by subverting classic couture codes, daring to push boundaries. Unlike Icarus, however, this collection did not fall; it soared.
Carla Bruni-Sarkozy, Marisa Berenson and Kelly Rutherford watched Kendall Jenner and other models walk with stately grace, deliberately evoking old-school couture shows’ slow pacing.
Daniel Roseberry’s collection reimagined traditional couture codes with a provocative edge. Inspired by vintage ribbons, he turned soft hues like butter, saffron and “toast” brown into bold baroque silhouettes that disrupted tradition.
Meanwhile, designer Maria Grazia Chiuri delved into the storied archives of Christian Dior for her latest haute couture collection Monday, exploring the transformations of time, AP noted.
The accomplished spring 2025 show — one of Chiuri’s best in seasons — drew from the key silhouettes of Dior’s iconic past designers, such as Yves Saint Laurent, and infusing them with her distinct contemporary vision.
The show was a commentary on how fashion serves as a lens for understanding time.
Key inspirations included the Trapèze line, originally conceived by Saint Laurent in 1958, and Christian Dior’s Cigale silhouette from 1952, both updated with modern fabrics.
South African composer Lebo M reflects on Saudi visit, Disney hits
RIYADH: On his first visit to Saudi Arabia, South African music producer and composer Lebo M sat down with Arab News to discuss his storied career creating Disney hits.
Known for creating the distinctive opening chant of the “Circle of Life” from 1994’s beloved “The Lion King,” M returned to the studio for 2024’s “Mufasa: The Lion King” with a song he composed titled “Ngomso” and “We Go Together,” which he co-composed with Lin-Manuel Miranda.
The creative talent brought his iconic sound to Riyadh on Friday, joining forces with renowned composer Hans Zimmer at the Mohammed Abdo Arena as part of Riyadh Season’s calendar of events.
“I got the privilege of leaving (the hotel) and going to the desert and getting the sense of both worlds… I am looking at the evolution of a society of a country in less than five years (since 2018). I appreciated the fact that I came here when it appears that Saudi Arabia is opening up to the world culturally,” he told Arab News after the show.
“I love interacting with people and learning about the country through people, hanging out here and meeting with people... It feels to me like ‘wow,’ I am coming to Saudi Arabia on a new journey of Saudi Arabia that has not been exposed to the world, and that’s exciting.”
M has been in the music business for more than 40 years, starting with his first gig at 13 in Soweto, South Africa, in the midst of apartheid.
Born in 1964, he was forced into exile at the age of 16 after travelling to Lesotho to perform without an ID or passport. After being denied re-entry to South Africa, he settled in Lesotho before moving to the US.
During that time, M faced homelessness but, regardless of the hardships, he continued to pursue his passion for music.
“It never killed my dream of being somebody. When you come from where I come from, where you grew up with people that die young, that politically get arrested, I dreamed that I was going to be somebody,” said M.
“My passion was rerouted, and I discovered Lebo M, the South African artist, because I had something unique.”
His career kickstarted after meeting Zimmer, who recognized his talent and brought him on board to co-write, co-produce, and perform the soundtrack of 1992’s “The Power of One,” which led to global recognition leading to his contributions in “The Lion King.”
Fingerprints of the Syrian war: How conflict affected Syrian art
- Suffering ‘often becomes a powerful catalyst for impactful creative expression in era of rebuilding,’ Syrian artist Ahmad Elias says
RIYADH: Syria, where graffiti on one of Daraa’s walls was enough reason for a 14-year civil war to break out, causing distress and misery to the people in the country and outside its borders.
The civil war shattered all parts of Syria, once a thriving society with fascinating nature and rich history, and forced millions of people to flee the country for safer, more stable societies, carrying with their documents their memories of a place they once called home.
Syrian art was one form of expression for the people since the beginning of the war and continued to be after. Whether art is written or drawn, it carries a message, an emotion, or a story.
Ahmad Elias, a Syrian artist with more than 38 years’ experience in fine arts, has lived to witness the difference before, during, and after the war.
“It is natural for the average human being to be affected by the events around him, and it is more appropriate for the visual artist to be one of those most affected by his surroundings, as he is a being who carries delicate feelings and emotions and deals with images, formation and color,” he said.
Elias was born in Dayr Atiyah, Syria in the 1950s and has several years of experience during which he displayed his art in 14 local and international galleries.
“I am from a generation of artists who were taught by pioneers of fine art in Syria in the last century, most of whom studied art in Italy and Egypt,” Elias said.
“One of the most important professors whose guidance influenced me was Professor Afif Al-Bahnasi, may God have mercy on him, who used to direct us to benefit from the Arab and Islamic heritage.”
The Syrian artist told Arab News how his style was also influenced by other artists, especially during his early years.
“In my long artistic experience, I was influenced by the great artist Mahmoud Hammad, may God have mercy on him, who was the dean of the faculty of fine arts at that time. Through numerous exhibitions and shows, I developed my experience and introduced techniques specific to my art and style,” he said.
Elias was fortunate not to be directly exposed to the disasters of war and the unfortunate events that occurred in it, yet the significance of unfolding events still left a footprint on his work.
“Although I was not directly and tangibly exposed to the disasters of war and the unfortunate events that occurred in it, it affected my artistic works in terms of color connotations and expressive symbols; despite my keenness to keep such pains away from the artistic aspect of my works, which are characterized by a special abstract language,” he told Arab News.
Furthermore, artists who lived through the war and witnessed its horrors but did not leave Syria as refugees expressed the painful scenes in their own style, Elias said.
Some artists depicted the destruction and human suffering in a realistic way, others expressed the tragedy evident on the faces, and others depicted the sadness and pain in the faces of the bereaved and the crying of women and children.
“Many artists depicted and documented in their artwork the mass displacement and asylum movement fleeing death and destruction,” he said.
“Among those who left abroad and saw the death boats, they had tragic artworks depicting the boats struggling with the waves of the sea, including the human souls of women, men, and children, and telling many tragic stories and tales about the survivors of those horrors that make the body shudder and shake every conscience.”
Describing the devastation of war, Elias said: “The events of the war and its human tragedies will remain in the conscience of the Syrians, and the tragedy of the Syrians who were wronged with all kinds of injustice, abuse, displacement and destruction will remain a stain of shame in the history of those who claim to be civilized, humane and defend human rights.”
On the other hand, Syrian art is ancient and has a distinguished history that was demonstrated by Syrian artists at the beginning of the 20th century.
Artists have documented in their artwork all the events their country has gone through, all the great and tragic forms.
From Elias’s perspective, the artist is by nature “a witness and documenter of his era,” similar to a poet or a writer, and all arts, in all their differences, meet in common and unified orientations and goals, whether visual, literary or auditory. Each artist, he said, expresses themselves in their own language.
“Syrian fine art, with its deep roots and solid foundations, remains resilient despite the years of war and turmoil the country and its people have endured. These hardships will likely serve as a source of inspiration and a drive for rebuilding and renewal. Artists, as always, will stand at the forefront, as suffering often becomes a powerful catalyst for impactful artistic and creative expression,” Elias said.
“With the fall of the former regime in Syria, now consigned to the pages of history, beloved Syria will reclaim its noble, radiant, and cultured status. The foundations of a modern Syria will be built by the dedicated hands of its honorable citizens, with the support of its Arab brothers, led by the sisterly Kingdom of Saudi Arabia and its wise and visionary leadership.”
