Ideas of India: Amol Palekar Says His Film Daayraa Was Among 1996’s Best Films Worldwide But Never Released In India
Ideas Of India 2025: Veteran actor and director Amol Palekar reflected on his journey in Indian cinema, his sense of social responsibility as an artist, his unexpected rise as the "Common Man’s Hero," and his cult classic Golmaal.
Ideas Of India 2025: Veteran actor and director Amol Palekar reflected on his journey in Indian cinema, his sense of social responsibility as an artist, his unexpected rise as the "Common Man’s Hero," and his cult classic Golmaal at ABP Network's Ideas of India Summit 2025. The session, titled 'Art, Activism, and Acting', featured an insightful conversation with senior journalist Dibang.
The Responsibility of an artist
Discussing the role of artists in shaping public discourse, Amol said that actors and celebrities, given their influence, should use their platform to address pertinent social issues.
He asserted, “I have always believed that when we talk about an artist, they are not an island. They are very much a part of society and, therefore, responsible to it. In fact, an artist carries an even greater responsibility because people listen to them and shower them with love. They are woven into the social fabric, and an actor or artist cannot absolve themselves of this responsibility.”
Entertainment should not be meaningless
Responding to the idea that cinema should be purely entertainment without any social message, he firmly disagreed. “At one point, a trend emerged where we were told that films are meant only for entertainment and nothing more—that they should not carry a social message. I do not agree with that. Even if we accept that the purpose is to entertain, it should not be cheap or mindless entertainment. If the audience is expected to leave their brains at home while watching, then what kind of entertainment is that?”
Choosing stories that matter
When asked how he decides which social issues to highlight in his films, Amol cited his past work, explaining how he has always strived to make cinema that resonates with a deeper purpose.
“I gave it my all and made films that conveyed meaningful messages to the audience. About ten years ago, I made a film called Dhoosar on Alzheimer’s. The Alzheimer’s International Society praised the film and even requested its non-commercial rights to screen it globally.
He also recalled his contributions to LGBTQ+ representation in Indian cinema: “I made films on same-sex relationships—Thang in Marathi and Quest in English—around the same time Brokeback Mountain was released. These films explored man-woman relationships against the backdrop of same-sex relationships. Despite requesting an Adult certificate from the censor board, the Marathi film was denied certification, and they even threatened to ban it."
Similarly, 'Daayraa', a film he directed about a transvestite dancer, was not released in India despite receiving global acclaim. “Many people in India might not be aware of it because it was never released in the country. However, 'Daayraa' won the Grand Prix award and was recognised as one of the top ten films globally that year (1996). The film revolved around a man with transvestite tendencies and a woman who disguised herself as a man to escape an attack. The most interesting part was that at the festival where it won the Grand Prix, the jury awarded Nirmal Pandey as Best Actress and Sonali Kulkarni as Best Actor.”
Becoming the "Common Man’s Hero"
Amol also reflected on how he became the face of the ordinary Indian in cinema, an identity that stood in stark contrast to the larger-than-life heroes of his time.
Recalling how director Basu Chatterjee cast him in 'Rajnigandha', he said, “When Basu da narrated Manu Bhandari’s story to me, I was surprised on multiple levels. The first thought that struck me was—how could a one-and-a-half-page story be turned into a two-hour film? Another thing that puzzled me was that the story had no villain, no dramatic twists. Even more unusual was that the hero never once says ‘I love you.’ “So, what kind of love story was this?” he wondered. But Basu Chatterjee’s response was simple: “Would you like to immerse yourself in this challenge?” That challenge marked the beginning of Amol’s journey in the Hindi film industry.
Speaking about why audiences related to him, he said, “It was an era dominated by the angry young man persona of Amitabh Bachchan. Rajesh Khanna’s reign as the romantic hero wasn’t over yet, Dharmendra was still around as the He-Man, and Jeetendra was also a big name. In comparison to these towering stars, I didn’t stand a chance.
Perhaps, he mused, “the reason audiences connected with me was because I was nothing like them. Maybe that’s what worked—people saw someone ordinary, someone like themselves. When they looked at me, they felt like they had met me before, or experienced something similar in their own lives. They could imagine running into me at a bus stop.”
This relatability struck a chord with audiences, and as a result, his first three films became silver jubilee hits.
The Golmaal Connection
Amol also shared how he landed 'Golmaal', one of his most celebrated films. “The story behind Golmaal is quite interesting. Hrishikesh Mukherjee (Rishi Da) already knew me from my theatre days. He would often come to watch plays, and we used to have conversations. However, he approached me for Golmaal much later."
Initially, Amol had no intention of accepting the offer. “I had heard that he never gave a script in advance, and if anyone asked, he would simply say, ‘Just do as I say.’ On my way to his house, I was rehearsing how to politely refuse without offending him.”
However, his meeting with Mukherjee took an unexpected turn. “We chatted about random things for a while. His mother even offered me coconut laddoos. Then, he narrated the entire story of Golmaal, and it turned out to be one of the most fascinating narrations I had ever heard.”
By the end of the meeting, Amol was sold. “When he brought up dates and remuneration, I laughed and admitted that I had actually come to say no. I also explained my reason. That’s when he surprised me by saying, ‘I don’t just want to make one film with you; I want to make five.’ He then narrated the stories of all five films he had in mind.
And that’s how Golmaal happened—along with a lasting creative partnership.
On the Success of South Indian Cinema
Addressing the current dominance of South Indian films over Bollywood, Amol offered a counter-perspective: “I would like to ask a counter-question—why do you associate a good film solely with its commercial success?
He criticised the obsession with box office numbers: “Nowadays, we are constantly told how much a film has earned—whether it made ₹400 crore or joined some elite box office club. But is that the only measure of a film’s worth? Why does our understanding of cinema end there?”
Highlighting the diversity of regional cinema, he said, “In Malayalam, the renowned writer M.T. Vasudevan Nair, who recently passed away, had a web series made in his honor on an OTT platform. This series was based on his literary works, and it featured top stars like Mammootty and Mohanlal. Not just that, it was even presented by Kamal Haasan. This kind of project is made in the South, but we mostly talk about RRR or Baahubali—why don’t we acknowledge such efforts as well?”
Similarly, he pointed out the recent Hindi film 'Mehta Boys' by Boman Irani, which won appreciation for its simple yet powerful storytelling. “The problem is, we often lack the courage to experiment, so we keep churning out factory-made films of the same kind.
Thanks to OTT platforms, he noted, audiences now have access to diverse global content, and their tastes are evolving. “The doors have opened wide, yet we continue to measure a film's success purely by numbers.”
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