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Sooraj Barjatya On Bringing Rajshri's Values to OTT Platforms, and Cracking a New Story for Salman Khan
Streaming may be considered the home of edgy, individualistic storytelling, but filmmaker Sooraj Barjatya believes there is also room for Rajshri’s family-first ethos as he enters the space with his first web-series
For decades, Sooraj Barjatya and Rajshri Productions have been synonymous with a certain kind of storytelling — one where families stay together, values are sacrosanct, and love is inextricably tied to duty. Their films have been the cinematic equivalent of a joint family dinner: wholesome and harmonious. So, for Rajshri to step into the streaming space? That feels as paradoxical as a saint in a nightclub.
Streaming was built on rebellion. It disrupted appointment viewing, championed individual choice over collective experience, and became the home of edgier, more subversive narratives — the kind that played better on personal screens than on the family television. While the space is evolving, making room for stories that aren’t strictly counterculture, it still isn’t where one expects a Rajshri project to thrive.
And yet, here we are.
Barjatya, ever the optimist, sees streaming not as a challenge to Rajshri’s ethos but as an opportunity. “Nobody is waiting for Diwali anymore… Unless we show it, how will the next generation learn?” he says, championing his deep-seated belief that pop culture has a role to play in preserving culture. His vision for Rajshri on OTT isn’t about compromise, it’s about expansion. Modern stories can carry the same core values, and if the youth are on streaming platforms, then perhaps it’s time Rajshri met them where they are.
In conversation with The Hollywood Reporter India, the veteran filmmaker spoke about bringing Rajshri’s legacy to a changing industry, navigating an audience that no longer gathers around a single screen, and why, in his world, tradition will always find a way.
Edited excerpts:
Your films have always portrayed love in a way that deeply intertwines with family values. How do you see the concept of love and relationships evolving in today's digital age? And how is that reflected in your new show?
Over the years, I feel that relationships and the concept of love have become much more of a thinking process, a more debatable process. Everyone is very cautious, which has its positives and negatives. But I still feel that the essence of true love, simple love, remains as charming as ever.
I believe that never changes. Because if you look at it, all of us have the same fundamental needs that existed even in 1989 and still exist today — to be wanted, to be respected, to be loved, and to be cared for. That core requirement remains unchanged.
However, there is a lot of distrust in the world today. We see it all around us. The difference I observe is that while people are more evolved and open, the craving to find someone who will respect, love, and cherish us remains constant.
Bada Naam Karenge is a concept rooted in bringing back the purity and simplicity of love and family. The journey began when SonyLIV approached us, wanting a Rajshri show on their platform. They aimed to bring the audience of Hum Saath - Saath Hain and Vivah onto it and to capture ‘Bharat’ on a broader scale. They wanted to create content that wasn’t just meant for individual viewing but could be enjoyed as a family. That gave us the confidence to create something simple yet impactful, even in a space where thrillers, action, and fast-paced narratives dominate.
The entire credit goes to my writers (S. Manasvi, Vidit Tripathi) and our director, Palash Vaswani. I simply told him that it’s a love story and that we should portray youngsters in a true light — not just as a generation that parties and gets spoiled, as is often sensationalised, but as individuals driven by family values. They want to uphold their family name, miss their parents back home, and recall how right their mothers were. That kind of simplicity is what we are aiming for in this show.
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You mentioned Palash, a younger filmmaker who has shaped the series with contemporary sensibilities. What were some key creative discussions between the two of you, and how did you strike a balance between tradition and modernity?
When we got the concept of a boy and a girl leaving their small towns and coming to the big city to build something for themselves — to take forward their family business and name — they struggled to fit in while staying connected to their roots. When this subject came to me as a pure love story, I happened to watch Gullak and immediately fell in love with the filmmaker. It’s not always easy to find like-minded creators in the space I work in, so I contacted Palash right away.
When he came on board, we spent a year on the writing process. I was very clear with him — I said, ‘Palash, take our world of Rajshri, but take it beyond.’ He brought his extensive experience in the web space, and I learned a lot from him about web series' structure — cold openings, pacing, and treatment. He has crafted younger characters while staying true to our world. Coming from Raipur, he understood the essence of Bharat, which made our collaboration seamless.
As a showrunner, my responsibility was to deliver what we had promised SonyLIV, while Palash had the creative freedom to shape his vision. I believe that in any form of cinema, the director is the captain, and storytelling should continue to evolve, even at Rajshri. Family stories should broaden their horizons.
In 2019, you did Hum Chaar, featuring influencers and reality TV personalities, but it didn’t perform as expected. What were your key takeaways from that experience, and do you think there’s a gap between what today’s generation wants and the kind of stories being told?
Some films work, some don’t. At Rajshri, we’ve made 60 films, and if 30 were hits, 25 to 30 didn’t work as well. We start with a concept, intending to tell a story, but sometimes we lose track; it doesn’t resonate, or we don’t structure it correctly. Filmmaking, like any form of storytelling, requires strong dramatics.
With Hum Chaar, we wanted to tell a story about friendship, but in the second half, we missed out on putting the friendship to a real test at a broader level. This could have strengthened the film’s emotional impact. In contrast, Bada Naam Karenge has a very sound dramatic structure. We have parallel narratives — a boy and a girl meeting in an arranged format while their families believe they are shy and coy, unaware that they’ve already fallen in love in Mumbai. The story revolves around how they navigate guilt, family expectations, and their own emotions.
My greatest experiment was, in fact, Hum Aapke Hain Koun. If you ask any screenwriting expert, they’ll tell you how it breaks the traditional structure — it doesn’t follow a conventional three-act structure. But it worked because of the world we created, the music, and the emotions.
There is a lot of discussion about originality versus sequels and franchises in both the theatrical and streaming spaces. You’ve always pursued original content. Do you think there’s a need for more new stories to emerge?
Always. The biggest successes come from originality. Even sequels and second seasons require fresh storytelling. You can’t sell something just because it worked once. At Rajshri, our core subjects are family, but we’ve always gone against the tide. Whenever I’ve tried to follow the trends, I’ve failed. Also, our stories tend to be self-contained, which is why they don’t naturally lead to sequels.
You’ve also been keen on bringing in new voices, like Palash. In the 90s, filmmakers like Karan Johar and Aditya Chopra credited you as their inspiration. Are there any emerging filmmakers whose work you admire today?
There are so many talented young filmmakers doing extraordinary work who are technically powerful. When I started, there was a push toward modernity, shooting abroad, and showcasing an aspirational life. Today, I see a return to rooted storytelling, which is wonderful.
For instance, I love Badhaai Ho by Amit Sharma. I keep messaging him, urging him to make more films like that. Laapataa Ladies by Kiran Rao is another beautiful film. My selfishness lies in supporting those making good family films. Among contemporary filmmakers, Raju Hirani is exceptional. He balances humour, drama, and mass appeal so well. And I always tell Aditya Chopra to make more films — if anyone can make a Pyaasa today, it’s him.
You’ve mentioned that Rajshri’s streaming debut is aimed at family viewing, while OTT has largely been an individual viewing experience. Have you personally enjoyed watching shows like Mirzapur, Made in Heaven, or Family Man?
I watch everything because, as a filmmaker, I need to understand technical aspects and see what young creators are doing. But my favorites are always shows with a strong family essence, such as Panchayat, Gullak, The Family Man, and Maharani. These shows depict life with simplicity, and that’s what I connect with most.
Finally, we heard about your project with Salman Khan, featuring Prem in his 40s or 50s. Can you share any updates?
I’m working on it, but it’s taking time. We have to acknowledge that we’re aging. I can’t have Salman bhai doing what he did 15 to 20 years ago. The challenge is to retain the charm, humour, and warmth of Prem while reflecting his current stage in life. Until we crack that, I’m focusing on another project, which will be announced next month.
Also, do you know that Main Prem Ki Diwani Hoon is having a resurgence on the Internet in the form of memes?
Oh, that makes me so happy! That film didn’t do well commercially, but hearing that a new generation appreciates it is heartwarming. It taught me so much, and I cherish it deeply.