Khalid Mohamed in conversation with Pravesh Sippy on changing lanes from the big-budget films of his father N.N. Sippy, iconic producer and distributor, to making independent features and documentaries on his own terms.

Pravesh Sippy, son of legendary Bollywood producer N N Sippy, has carved a unique path in Indian cinema by transitioning from big-budget blockbusters like Meri Jung and Sargam to producing critically acclaimed independent films and documentaries. Known for backing socially conscious projects such as The River of Love, My Friend Husain, and The Invisible Visible, Sippy champions meaningful storytelling in a market dominated by the star system and corporate film culture. As streaming platforms redefine audience preferences and multiplexes sideline grassroots cinema, Sippy continues to advocate for the revival of single-screen theatres and equitable opportunities for independent filmmakers. His journey reflects the evolving landscape of Hindi cinema and the enduring relevance of creative integrity in a highly commercialised industry.

He’s one of the rare unusual suspects of Mumbai’s ever-buzzing film industry. From being an integral player in the mega-budget movies of the last millennium, he has slowly but surely shifted to the area of meaningful, smaller-scaled features and documentaries where few ‘angels’ fear to tread, and seems to be the saner and sorted for the switch.

I’ve known Pravesh Sippy (now aged 61), ever since he was a young man accompanying his charismatic father N N Sippy (1931–2006) to shoots, premieres and assorted soirees. It was evident that the son would forward his father’s estimable film legacy—which he has—adapting chameleon-like to the altering scenario, notably the boom in corporatisation, exorbitantly priced multiplexes, and domestic as well as global streaming channels.

The Decline of the Theatrical Experience

Times have been a-changing for Mumbai’s Hindi-language cinema. Hundreds of single-screen theatres have closed down throughout the nation. Inflated multiplex tickets plus staggeringly costly sales of everything from drinking water to popcorn tubs have made these wonderworlds of sorts inaccessible to the lower and mid-income audiences which would once form serpentine queues at the ticket windows. Moreover, ever since the outbreak of the pandemic, viewers have become partial to watching films and series on streaming channels, despite their drastically uneven—at times abysmal—content. Unprecedentedly, there has been a ballooning of Pan-Asian viewers for the Tamil, Telugu, Malayalam, Marathi, Gujarati, Hollywood and Korean fare dropped on the OTT platforms.

Indeed, cynics have come up with the knee-jerk prophecies that Bollywood, as we have known it, is ‘finished’. But the advance obituaries amount to little more than wishful thinking. After all, every now and then, surprise blockbusters collecting globs of crores—take Stree 2 and Chhava—over their investments do fetch up, asserting that the show will go on for posterity.

Origins and Upbringing

Be that as it may, Pravesh Sippy, who has monitored the highs and lows of show business, was the ideal, active filmmaker to answer my questions about the tricky dos and don’ts of the Leviathan-like grid of entertainment. For starters, we kick-started with Sippy Jr.’s backstory to which he parried, “My personal life remains relatively private but here's a glimpse: I was born in Sion, Mumbai, to a refugee family which had lost everything in 1947 with the Partition. However, dad’s fortunes changed for the better by the mid-1960s. We moved to the upscale neighbourhood of Breach Candy in South Mumbai. I had a privileged upbringing but was grounded in my father's values. I studied at the K.C. College and before that at the Green Lawns School, which became famous when its alma mater Karan Johar became a mega-film celebrity.”

After studying in the U.S. at the San Francisco Art School, Pravesh returned to India in keeping with his father's wishes. Unexpectedly though, he chose to work from scratch to learn the craft as an assistant editor with Waman Bhonsle, travelling by public transport. Growing up with four sisters, attending premieres and music parties with celebrities titubated him towards adulthood.

Since N.N. Sippy was a prolific and successful producer-distributor who had made scores of films, did his son want to carry the legacy forward on his own volition? “Sargam directed by K. Viswanath featuring Rishi Kapoor and Jaya Prada was a massive success in 1979,” Pravesh responds. “By then, dad had been tirelessly delivering one hit after another—sometimes twice a year—ever since Woh Kaun Thi? in 1964. But the pace was taking its toll, and he was becoming weary.”

Taking Charge with a New Vision

The father asked his son if he had given any thought to his future. After a few days of weighing the pros and cons, Pravesh said he was seriously interested in the film business but in the same breath clarified that he wasn’t drawn to distribution, requesting him to slow down his activities in that space.

N.N. Sippy had been the President of the Indian Motion Picture Distributors’ Association for two decades straight and had distributed as many as 200 films. Janata Film Distributors was a formidable name in the industry. In fact, if Sippy announced a Mumbai acquisition, the film would quickly find distributors nationwide and a release date, based on a stringent timeline.
Incidentally, before opting for the San Francisco Art School, Pravesh had applied to the Film and Television Institute in Pune but had been rejected in the final round of interviews after the written exams. It was decreed that a seat at the Institute would be ‘wasted’ since the candidate already had the resources and family support to finance his own films and sustain his career.

“Right from then every decision was entirely mine,” he notes. “No expectations were imposed on me. My parents were progressive and supportive, offering guidance at most if I asked for it.”

Woh Kaun Thi? helmed by Raj Khosla and Gumnaam by Raja Nawathe became cult classics, blockbusters despite receiving Adults-only certifications. Followed a concatenation of hits, many of which celebrated Silver and Golden Jubilees. Chor Machaye Shor, Devata, Shor, Sargam, Fakira and Kalicharan are just a few from a voluminous list. The success continued into the 1980s and '90s with Meri Jung and Aaj ka Goonda Raaj, the latter featuring the Telugu superstar Chiranjeevi. The relatively medium-budgeted Ghar, with Vinod Mehra and Rekha, was another standout, dealing sensitively with the issue of a woman’s trauma after being raped.

As it happened, of late Woh Kaun Thi? was only a few weeks away from going into production with several big names attached to the remake. However, the project’s partner, Prerna Arora, who had previously delivered several successful and critically acclaimed films, was suddenly entangled in legal trouble. T-Series, which was backing the project financially, promptly withdrew, and the production was dismantled. Gratifyingly, the paperwork was solid, and there was no trouble in asserting the intellectual property rights. Pravesh Sippy stepped away from the project amicably without any drama or complications.

Earning His Stripes

If Pravesh didn’t opt for direction, he admits that he doesn’t have the temperament for it. Clearly, he is more attracted to masterminding and driving successful projects. The process of selecting a story, shaping a project, assembling all the moving pieces like a jigsaw puzzle, and getting involved in everything from logistics and financials to creative decisions—that holistic involvement gives him a sense of fulfilment. Then there’s the marketing, the positioning, and the release strategy, all of which are completely different from the hands-on, day-to-day production. And of course, owning the intellectual property and continually adapting to new modes of exploitation over time keeps each film alive.

“Every film is like a child sent out into the world to entertain, to deliver its underlying message,” he explains. “I’ve always been technically inclined, which led me to specialise in editing even during my years at San Francisco. But film school theories and the real-world chaos of Bollywood are poles apart. I had to unlearn much of what had been taught in the classroom. I was determined not to be taken for a ride by any department. So, I prepared myself thoroughly before stepping into the battlefield. I shadowed my father, learning the nuances of the business. Then I went under the wings of Subhash Ghai on Meri Jung. My father rarely came to the sets, so with Mr. Ghai’s guidance and the support of a few seasoned production professionals, I learned the ropes. I worked day and night to earn my stripes, my first credit as Associate Producer.”

According to him, professionalism, trust, and respect for colleagues were way more prevalent then. Chiranjeevi’s professionalism, particularly, was awe-inspiring given his larger-than-life persona.

While N N Sippy is mostly famous for producing Woh Kaun Thi?, Gumnaam, Sargam, and Kalicharan, his endeavours also included projects that didn't perform well at the box office. Silsila Hai Pyar Kaa in 1999 was a ‘disaster’.

Vis-à-vis such setbacks, Pravesh maintains that his dad was stoic. He would be deeply involved in various aspects of production, from costume design to dialogue delivery. So while he may have been disappointed by box office failures—like the presciently titled Haar Jeet, too—he went on to take the risk of producing Chor Machaye Shor with the then-iffy hero (Shashi Kapoor) and director (Ashok Roy). And eureka, it smashed the box office.

An Independent Turn

On his makeover to off-mainstream projects, he exults, “What a journey from the highs of Meri Jung to the internationally acclaimed Daayraa (directed by Amol Palekar featuring Nirmal Pandey and Sonali Kulkarni). The challenges I have faced, including the loss of a director mid-film, are a testament to the unpredictable nature of the industry. Yet, I persevered and have grown, gaining recognition from renowned critics like Richard Corliss and Derek Malcolm. Sorry to say, but the passion and honesty that once drove filmmakers seem to have given way to a cynical landscape. My advice to stay away from the industry in 2025 is a stark warning, coming as it does from someone who's been a part of it for so long. Like it or not, the industry's deterioration has left me disillusioned. It is truly humiliating—you really have to repress your self-respect and dignity to get through the filmmaking process today.”

How come he isn’t in the ‘good books’ of any of the premium channels? To that Pravesh retorts, “It’s increasingly evident that merit alone no longer guarantees recognition or opportunity. I haven’t actively pursued the mainstream, star-driven market. I have a beautiful film, Akash khurana's The River of Love, about two intriguing love stories, a mystical journey, which has been critically lauded and is a success on the international festival circuit. Yet, it remains unsold domestically.”

He emphasises that most platforms and networks engage with an independent producer offering a single film, which isn’t a worthwhile investment of time or resources. The current model favours multi-project deals with established production houses that can promise a consistent slate of content featuring marquee names to ensure visibility, predictability and perceived value.

He adds, “The younger executives of the channels tend to place their trust in the ‘happening’, high-profile professionals. There’s a belief that experience alone cannot deliver innovative, high-quality content on a budget. Additionally, the absence of a massive following on social media appears to be a limiting factor. After all, whom would the channel’s marketing forces tag for instant reach and engagement?”

Accountability in the Age of Algorithms

That’s a new era of marketing which he hasn’t mastered. So, if he’s not in the so-called ‘good books’ of the channels, he accepts that the onus may well be his. Perhaps it’s not the networks or their evolving models that are at fault, it’s simply a shift in the industry’s paradigm that he needs to adapt to pragmatically.

To rewind at this juncture, I ask him—wasn’t Meri Jung meant to be an Amitabh Bachchan project? He responds frankly, “Yes, the script was written by Javed Akhtar for Mr Bachchan, who did take a while to ponder his political moves, and so it was headlined by Anil Kapoor.”

The Burden of the ‘Star System’

Ask Pravesh if the 'star system' has become the bane of Hindi cinema? And his immediate reaction is that there are only a select few who truly embody that stature—Shah Rukh Khan, for instance, unquestionably leads the current generation, following in the footsteps of Amitabh Bachchan, who held that position for decades. But beyond these iconic names, are many of today’s so-called "stars" truly deserving of the title? Even now, when people recognize Pravesh—whether in India or abroad—the first question they ask is ‘Star cast kya hai?’ This enduring mindset speaks volumes. Many stars are largely media-manufactured or agency-promoted personalities, often with limited acting prowess. The result is a culture that prioritizes ‘face value’ over substance.

This system—driven by media hype, streaming platforms, corporate-run cinema chains, and data-driven decision-making—demands recognisable faces at any cost. The overriding philosophy is “No problem, we’ll take what we deserve.” But in practice, it becomes: “No, we’ll take far more.” The channels want guarantees on openings and pre-sales, but assume no responsibility if the project underperforms. Regardless of the outcome though, the fees and perks of ‘stars’ remain untouched.

Right. Who will carry the N N Sippy legacy forward after him? Obviously, he has mulled over that and states, “This long and eventful journey will draw to a close in the coming years. I have certain plans which I intend to implement, based on personal considerations and a thoughtful family decision. My elder son Yash has established his career in the logistics sector, while my younger son Jashan is an architect specialising in food design, currently working outside of India.”

Documenting Lives, Championing Causes

Of the unconventional projects funded by him, there has been the documentary My Friend Husain on the iconic artist M.F. Husain, directed by Barkhaa Roy and Bhavana Seth—it was honoured with the Dadasaheb Phalke Award by the V. Shantaram Foundation. Pravesh was also part of the documentary Saeed Mirza: The Leftist Sufi, directed by Kireet Khurana and N. Padmakumar, which had a highly-rated run on Netflix.

Other notable works include My Home India by Anjali Bhushan, about a woman who helped Polish refugees during World War II to settle in Kolhapur. A third-generation Maharashtrian-Polish community flourishes in Kolhapur to date. Sippy Jr. has been the force behind the documentary The Invisible Visible by Kireet Khurana—which sheds light on the 74 million homeless people in India. Plus he has executive-produced Akash Khurana’s Risk Takers, on the unsung heroes whose bravery ensures a safer city. Each of these projects aims to contribute to a more compassionate world.

The Case for Single Screens

On the topic of the fast-vanishing single-screeners, Pravesh is convinced that they must remain a cultural and economic lifeline in Tier 2 and Tier 3 cities, small towns, and rural areas where multiplexes are scarce and ticket prices at premium venues are unaffordable. They offer access to the masses who may not otherwise engage with the theatrical experience. Many single screens are iconic institutions—steeped in history, nostalgia, and local identity. Losing them means erasing a piece of cinematic and urban history.

Additionally, single screens can serve as platforms for regional cinema and grassroots storytelling, which often struggle to find screens in a multiplex-dominated market that prioritises high-profile releases. With thoughtful investment, curation, and reinvention, the single-screeners can be inclusive and affordable cultural venues in the cinematic ecosystem.

He points out that multiplexes must cater to audiences of all age groups. Senior citizens and differently abled audiences are neglected or find it very difficult to be independent inside the multiplex. It's all digital and a bottle of water will not be sold unless you are digitally savvy. And many elderly are not.

A Career of Disillusionment

On the incidents which have shocked him over the decades, he shrugs, “Very little surprises me anymore in Bollywood. Over time, one becomes accustomed to the unpredictable nature of people’s loyalties, opportunistic behaviour, and the all-too-common tendency to use others as stepping stones. The industry often operates with a crab mentality; individual ambition overrides collective progress. The bigger picture is rarely considered, especially when it comes to the plight of the producer. When we suffer, few take notice.”

One particularly disheartening experience involved Madhuri Dixit, who just 10 days before the start of a major film, sent her secretary to N N Sippy’s home at 8 a.m. to communicate her decision to step out from Daag: The Fire, originally planned with Rishi Kapoor and Ajay Devgn also in lead roles. Crores of rupees had already been invested—sets were under construction, and the dates of the actors had been meticulously coordinated over a year in advance. Madhuri’s abrupt exit caused significant financial strain and emotional turmoil. There was no apology, no explanation, just a void.

In the aftermath, Raj Kanwar, who had been working quietly alongside N.N. Sippy, promised to lend support. Oddly enough, soon after, he launched his own production with Sanjay Dutt in Ajay’s role and Mahima Chaudhry in Madhuri’s. The film succeeded. Ironically, much of the strength of that success came from a script which the Sippy banner had developed painstakingly over one year.

Another instance involved N. Chandra, who had once been an assistant to the editor Waman Bhonsle. Narrates Pravesh, “My father, honouring a long-standing commitment, entrusted Mr Chandra with a film project. With Sachin Bhowmick, one of the finest writers of the time, we crafted a concept that was inspired by West Side Story and Streets of Fire. We had spent over a year refining the script. When it was time for the final narration, the meeting was repeatedly delayed under vague pretences. And then we received an invitation to the mahurat of Tezaab, the debut of N. Chandra Productions. When we arrived to wish him well, I recognised instantly that he had taken our story down to its core. We hadn’t yet cast the film or made major financial investments, but we had signed both Sachinda and Mr Chandra, and had extensive notes and records. While we never received a final script draft, my diary documented every meeting, date, venue, and story discussions. We had proof. But my father, ever the dignified professional, simply said ‘Live and let live’. He was disappointed not in the filmmaker, but in the man.”

One of the most unexpected and painful betrayals his father experienced came from Ravindra Jain. The ever-popular song Ankhiyon Ke Jharokon Se was originally recorded for one of his father's films. However, when Rajshri Productions approached Ravindra Jain, he played them that very track and handed it over without seeking permission. N.N. Sippy, who had launched Ravindra Jain’s career with Chor Machaye Shor and Fakira, felt both hurt and let down and never spoke to Ravindra Jain again. It was a silent but resolute end to a professional and personal relationship once built on trust.

Holding Fort at Lamington Road

By the way, Pravesh Sippy is one of the few who has retained his banner's office in the neglected Naaz building, Lamington Road, once the hub of the film trade. That’s because, “The building has recently been upgraded by the young and enterprising landlord, Jesal Anand and we’ve taken the opportunity to refurbish our office as well. It now serves as a versatile, multi-purpose space: ideal for my professional meetings and equally convenient for my younger son’s research and development in food design, which he conducts through his company, Sugar and Space.”

Of the filmmakers who have influenced Sippy Jr., he picks Manmohan Desai and Manoj Kumar, Mani Ratnam, and Balu Mahendran in his formative years. On the global front, Stanley Kubrick is an eternal favourite. And he has watched Saturday Night Fever a hundred times over—no exaggeration. The Godfather and Spielberg’s masterpieces are on the list too. “But choosing favourites from such a vast and rich tapestry of cinema is almost impossible; every film teaches you something, if you're paying attention,” he remarks.

The Healing Power of Art

Pravesh Sippy paints canvases and reads voraciously. Has this enhanced his personal growth? A pause and then he says, “About 15 years ago, I was diagnosed with a severe and rare autoimmune condition. In the midst of learning to cope with it, I discovered painting as a therapeutic outlet. My wife, Nita, a trained artist from the J.J. School of Arts, had her materials around the house and sharing those with me sparked a meaningful creative pursuit. Reading, too, has always been part of my journey, whether it was reviewing scripts or sourcing books for potential adaptations. Unfortunately, in recent years, the reading habit has slowed down. I had long held on to a novel, now in the public domain, with the hope of adapting it into a film. But the shifting landscape of the film industry has made such efforts increasingly discouraging.”

He adds that in the visual arts, he has been a devotee of the artworks of Anjolie Ela Menon, which resonate with depth and quiet emotion. B. Prabha, too, has created stunning work, often capturing beauty in simplicity.

The Few Who Stayed Loyal

Lastly, which actors have remained loyal to his family banner, if any? Ruefully, he wraps up, “Among the senior generation, one could bank on the sincerity and generosity of Manoj Kumar and Rishi Kapoor, both of whom had expressed their willingness to support me. Even now, I believe that artists like Meenakshi Seshadri and Javed Jaffrey would be cooperative and gracious. In sum, it has been a beautiful life, never mind the scars, warts and blemishes.”