PVLF 2026

Interview with Rajesh Talwar

Author of “Bollywood, Hollywood and the Future of World Cinema”
on Mar 12, 2026

Frontlist: Your body of work spans fiction, plays, children’s literature, and legal commentary. What inspired you to turn your attention to cinema in Bollywood, Hollywood and the Future of World Cinema, and how does it connect with your broader writing journey?

Rajesh: Just a couple of weeks ago, towards the end of February, I was in the UK to receive the Outstanding Achievers Award from the India–UK Achievers 2026. Previous awardees have included the former Indian prime minister, Dr Manmohan Singh, Neeraj Chopra, Ananya Birla, etc. It was a great honour to be recognized within the precincts of the House of Lords at the British Parliament, where the committee graciously judged me to be a Global Policy Author. Although my writing spans fiction, plays, and children’s literature, even in those works I engage deeply with culture and social issues, and in my own small way, as an author try and shape policy. For instance, last year I published Harvard, Oxford and Cambridge: The Past, Present and Future of Excellence in Education, which was well received. My new book on cinema - Bollywood, Hollywood and the Future of World Cinema - is very much a continuation of that journey, though in a different field. It reflects my ongoing interest in exploring how culture, whether through literature or film, intersects with society and policy at large. Incidentally in 2025, my alma mater, the University of Nottingham was also kind enough to bestow an Alumni Laureate Award on me. The jury took care to mention my writing, both fiction and non-fiction that has raised important issues pertaining to judicial reform, air pollution, caste discrimination and so on.

Frontlist: In the book, you reflect on several iconic figures from cinema, including Amitabh Bachchan and Madhuri Dixit. What do these personalities reveal about the evolving relationship between film, culture, and society in India?

Rajesh: In Amitabh Bachchan’s case, I explore how his remarkable “second innings” was deeply influenced by his father’s guidance. His father, one of the country’s greatest Hindi poets, insisted that he read and master Hindi, which eventually enabled him to straddle both Western and Indian cultural worlds with consummate ease. I believe this grounding is one of the reasons for his phenomenal success as host of Kaun Banega Crorepati, where his ability to connect across social divides reflects those early teachings. The essay in the book is, in essence, a study of Amitabh Bachchan’s relationship with his father and how it shaped his public persona.

In Madhuri Dixit’s case, I highlight how her iconic Ek Do Teen song had an unexpected social impact - it promoted numerical literacy among schoolchildren. These are phenomena not immediately apparent, yet they reveal how cinema can influence everyday life in subtle but powerful ways.

Taken together, these examples show how film personalities embody the evolving relationship between cinema, culture, and society in India. Stars like Amitabh Bachchan and Madhuri Dixit are not only entertainers; they become cultural touchstones whose work reflects and shapes social values, education, and identity.

Frontlist: You discuss Charlie Chaplin's influence on Raj Kapoor. How do such cross-cultural inspirations shape the identity of Indian cinema?

Rajesh: Raj Kapoor was a great admirer of Charlie Chaplin and drew significant inspiration from him, while still developing his own distinctive style. This blend of influence and originality is one reason his films resonated so strongly in India as well as overseas in Russia and all across the Eastern bloc. Interestingly, both legends experienced setbacks with later films. In Chaplin’s case it was with A Countess from Hong Kong, whereas in Kapoor’s case, it was Mera Naam Joker that turned out to be a financial disaster. The film might have fared much better had it been released in two or three parts. Audiences loved the first segment featuring Rishi Kapoor and Simi Garewal, which shows how close attention to structure and length can shape reception.

This is a positive example of cross‑cultural influence: Raj Kapoor absorbed Chaplin’s spirit but reinterpreted it through an Indian lens. Unfortunately, not all filmmakers take this path. Too many rely on “cut‑and‑paste” imitations of Hollywood, which rarely succeed. For Indian cinema to thrive globally, it must draw inspiration wisely while remaining rooted in its own originality and cultural identity.

Frontlist: The book also revisits the legacy of filmmakers like Satyajit Ray. In your view, what aspects of his vision remain most relevant for contemporary filmmakers today?

Rajesh: Satyajit Ray was a cinematic genius and a perfectionist who prized authenticity above all else. For instance, he once visited more than a hundred palaces before selecting the right one for his film Jalsaghar. In the early stages of his career, he worked with great composers to create music for his films, but later he began composing the scores himself. While this speaks to his extraordinary talent, it also consumed much of his time and limited the number of films he could make.

Ray’s vision remains deeply relevant today. He reminds us that while filmmakers should remain open to outside influences, true creativity must be rooted in one’s own culture. That cultural grounding gave his work its timeless resonance. At the same time, his career offers a cautionary lesson: perfectionism must be balanced with collaboration and delegation. Contemporary filmmakers can draw inspiration from his authenticity while also ensuring that more stories are told by embracing teamwork.

Frontlist: You examine the creative approaches of artists such as A. R. Rahman and Anurag Kashyap. How do their contrasting styles reflect the changing dynamics of storytelling in Indian cinema?

Rajesh: A. R. Rahman and Anurag Kashyap are both original talents, one in the field of music, the other in film direction. Yet each has shown versatility across disciplines: Kashyap has displayed great originality in the way he integrates music into his films, while Rahman has recently ventured into filmmaking himself, experimenting with new forms of expression.

That said, immense talent alone is not enough. Both artists, in different ways, have faced challenges in sustaining their creative momentum. Rahman, for instance, has spoken about not receiving enough work, but such moments call for introspection rather than blame. The same applies to Kashyap. In today’s fast‑changing cinematic landscape, reinvention is essential. To remain relevant, artists must constantly evolve, adapt, and reimagine their craft. This is not, in any way, to question their brilliance.

Their contrasting journeys reflect the broader dynamics of Indian cinema: originality and experimentation are celebrated, but the industry also demands resilience and the ability to reinvent oneself in order to keep pace with shifting cultural and audience expectations.

Frontlist: One section of the book explores the findings of the Justice Hema Committee Report. Why did you feel it was important to address this report, and what lessons should the film industry draw from it?

Rajesh: This section of the book is hugely important because it highlights many of the systemic problems within the Malayalam film industry. While media coverage has largely focused on sexual exploitation, which is of course a critical issue –the report also draws attention to other serious concerns: the maltreatment of dancers and extras, the existence of corrupt unions, the payment of low wages to extras and technicians, the absence of toilet facilities, the star system, and the influence of a film mafia.

Now what is happening in Kerala is not unique. Similar issues exist across other film industries in India, including Bollywood. The lessons are clear: we need reforms that ensure fair treatment of all workers, the establishment of minimum wages, and stronger measures to curb the power of mafias, nepotism, and the excesses of the star system.

If the industry becomes more professional and transparent, it will not only safeguard its own people but also strengthen Indian cinema’s ability to compete with Hollywood and thrive on the global stage.

Frontlist: You also touch upon global influences, including the rise of K-pop and international collaborations. How can Indian cinema strengthen its global cultural presence while retaining its unique identity?

Rajesh: I have suggested that Indian filmmakers explore collaborations with countries like Japan in the field of animation, where they are world leaders. Just as Hollywood collaborates extensively with the UK, Australia, and Canada, there is no reason why India cannot build similar partnerships within Asia. Collaborating with immediate neighbours may be difficult due to political tensions with Pakistan and now Bangladesh, but there are many other opportunities across the region.

We should also study the phenomenal success of K‑pop and introduce certain changes so that our music can find audiences outside India. Importantly, collaboration does not mean uprooting our identity. A good example is the Indo‑Japanese collaboration on the Ramayan animation, which was hugely successful while remaining true to Indian culture. By Indian culture I do not mean only Hindu culture, but Muslim, Christian, Sikh and Parsi culture. All of our different communities must find proper representation and participation.

The lesson is clear: by embracing smart collaborations and learning from global successes, Indian cinema can strengthen its cultural presence worldwide, while retaining the originality and authenticity that make it unique.

Frontlist: Looking ahead, the book reflects on emerging technologies such as Artificial Intelligence and their potential impact on filmmaking. How do you envision the future of world cinema, and where do you see India’s place within it?

Rajesh: Artificial Intelligence is going to have an increasingly profound impact on filmmaking, including in India. Satyajit Ray once observed that Indian cinema often sought intimacy because it lacked the budgets for grand epics depicting war, famine, or disasters. That is beginning to change – not only because budgets are rising, but also because AI now makes it possible to create such scenes at a fraction of the cost.

I speak from experience here. I have just completed an AI‑generated animation film on toxic air pollution called Smoky Sky Songs with my colleague and co-director Ananya Sharma, which we are now in the process of submitting to festivals. My background in filmmaking, having studied at the London Film Academy, combined with AI tools, is enabling me to explore new creative possibilities. We already have three projects in mind, including one on the Rani of Jhansi’s regiment in the INA, a story that I believe could energize global audiences.

Looking ahead, I envision world cinema becoming more democratized, with technology lowering barriers and allowing diverse voices to tell ambitious stories. One of the festivals to whom we submitted an entry wrote to us about a record number of entries from first time directors. India, with its rich cultural heritage, young filmmaking talent and growing technological capabilities, is well‑placed to play a leading role in this transformation.