Veteran actor and filmmaker Amol Palekar sparked a renewed conversation on nepotism, the state of Indian cinema, and the definition of success during his session at Sahitya Aaj Tak 2025. Speaking at the Dastak Darbar forum, the acclaimed actor reflected on his career, the larger film ecosystem, and why the industry’s current metrics often overshadow genuine artistic merit.

Palekar on nepotism and the idea of success

Addressing a packed audience, Palekar said that conversations around nepotism were neither new nor surprising. He stressed that while family backing could open doors, it could not help anyone sustain a long career without talent and hard work. “Family background may help someone enter, but it cannot guarantee success. After entry, only your work speaks,” he said, recalling many examples from cinema and politics where recommendations had limited impact.

He also questioned the way commercial cinema is evaluated today. Comparing the current scenario to earlier decades, he noted how diverse films once coexisted — from entertainers like Amar Akbar Anthony to Hrishikesh Mukherjee’s relatable middle-class stories and Dara Singh’s action films. “Today, you are told what you like based on box office numbers. Whether the film is good or not is never discussed,” he remarked.

Writer Sandhya Gokhale, who accompanied him, added that many well-made films struggle today owing to lack of screens. Even films released on OTT platforms often fail to be counted as commercial successes.

‘Parallel cinema is not dead’

Palekar firmly rejected the suggestion that parallel cinema no longer exists. He argued that meaningful films are still being made but do not reach audiences as widely as before. “That is the real concern,” he emphasised. He also challenged current revenue yardsticks, asking why a film made on ₹15–20 crore and earning ₹70 crore is treated as a failure simply because it does not cross the ₹100-crore mark.

Reflecting on a life lived ‘against the tide’

The veteran actor discussed his newly released memoir, published in three languages — Avaj (Marathi), Amanat (Hindi), and Viewfinder (English). He described the book as a tribute to people who choose less-travelled paths and resist conformist pressures. “Those who believe in protest will enjoy this,” he said.

Palekar shared that he never consciously saw himself as a rebel but gradually realised the importance of questioning mainstream patterns. “The mainstream always moves in one direction. I found the other path interesting,” he said, adding that many still associate him only with the soft-spoken, relatable characters he played, without knowing the person behind them. Using the metaphor of the blind men and the elephant, he said his memoir offered a fuller picture of his identity.

Remembering his unconventional entry into acting

Palekar also revisited the early days of his career. Before entering cinema, he was a painter and worked as a bank clerk. Theatre legend Satyadev Dubey offered him a role by chance, telling him he simply had the time to explore something meaningful. What followed was a journey filled with unexpected opportunities — including his iconic role in Rajnigandha, which he shot while balancing office hours and rehearsals.

He recounted how he initially refused Basu Chatterjee’s film offer, insisting that if he was genuinely chosen for a role, the director himself should introduce him to the production house rather than ask him to wait in a queue. Chatterjee later convinced him to take up the part.

The session ended with warm applause, marking a moment of reflection on cinema, creativity, and the evolving relationship between art and audiences.

Conclusion

Amol Palekar’s candid insights at Sahitya Aaj Tak 2025 revived key questions about the state of Indian cinema, merit vs. legacy, and the struggles of meaningful filmmaking in a market-driven era. His reflections, rooted in personal experience, struck a chord with an audience eager to hear a voice that has consistently walked “the other path”.