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Time of India

Cinema is taking our folklore to the world now: Malkeet Rauni

'As someone who has lived and breathed cinema, I can say with conviction, the future of (Punjabi) cinema is glowing,' is how veteran actor Malkit Rauni puts modern film industry in perspective. Adds the Ardaas, Warning 2 actor, 'There was a time when we felt our cinematic canvas was too small and films of international scale and big budgets wasn't our domain. But see how far we've come. 28 to 32 Punjabi films releasing globally, and not just for Punjabis, but for audiences across continents. We're no longer toeing the formulas of success.' For Malkit, the beacons of hope have bene films like Harjeeta , Rabb Da Radio , Subedar Joginder Singh , Mastaney , Angrez , and Ardaas. 'Those who ushered in this modern storytellers were Manmohan Singh (Man ji) and Manoj Punj. Man ji's Jee Aayan Nu wasn't just a film, it was a bridge that connected our diaspora, our people abroad, to their roots. Punj's Waris Shah: Ishq Da Waaris, was the only Punjabi film to be considered for the Oscars,' he says. Malkit attributes a large part of this forward movement to filmmakers narrating stories from our folkore, culture and history. 'Cinema, as Bhagat Singh once wrote in his diary, isn't just entertainment. And as a student of literature, I believe this is documenting an era in transition and preserving language, rituals, and beliefs that could otherwise vanish,' he says. He reflects on the changing landscape with veteran actresses like 70-year-old Nirmal Rishi steering films to success. 'We're evolving into a cinema that celebrates the full spectrum of life,' he says, adding, 'Films are now starting from the period after marriage, talking about divorces, pain, struggle and resilience. Our NRI audiences often come up to us, tears in their eyes, saying, 'We saw your film ten times.' They hug us like we're long-lost kin because they feel we're teaching mal boli to their kids through cinema.' He adds, 'Punjab is a musical land, and music is woven into our very fabric. While South Indian cinema may dance its way into hearts, we sing ours open. Translating our folk culture visually—our lok geet , our tappay , our sufi kalam —takes immense care. But it is this very challenge that makes Punjabi cinema so unique. Let's not forget: in 1932, the first Punjabi film was made in Lahore, and by 1935, it was released to the world. We're now in the 90th year of Punjabi cinema , having endured its crests and troughs. And yet, here we are—stronger, bolder, and more committed to authenticity than ever before.'