National Award-Winner Manoj Muntashir: ‘From A Colonial Mindset We’ve Returned To Our Roots’

Poet, lyricist, screen and dialogue writer, Manoj Muntashir is a man of words who doesn’t mince words. The National Award-winner dismisses ‘sponsored’ awards and explains why only talent cannot ensure success in this industry. Here, he talks to The Free Press Journal about his musical, Krishna-Radha Se Ranbhumi Tak, his work in Bollywood, and more.

Excerpts from the interview:

What makes Krishna-Radha Se Ranbhumi Tak different from other musicals?

First, it’s not designed as another musical, it’s uniquely different in that one man, that’s me, surrounded by all the paraphernalia, is narrating the entire story over almost three hours. The idea is so new and radical that initially, even I was apprehensive, but the audience’s reaction has been overwhelming.

Second, we are not showing the obvious, like the killing of Kans, baby Krishna draining the life from the demoness Putana, the slaying of Kaliya and similar stories we have grown up hearing. I didn’t want to bring people to the theatre for that, 70 per cent of the audience was surprised, even shocked, because most of what they saw they were clueless about.

Is a spectacle rooted in Indian mythology the future for our audiences as far as live entertainment goes?

Over the last couple of years, our audience has shown a keen interest in live content primarily because they are unsure how much of pre-recorded shows are real and how much AI. Artificial Intelligence has worked to our advantage, made live entertainment a Rs 18,000 crore business. Krishna-Radha Se Ranbhumi Tak has just completed its fifth run in Mumbai with 23 housefull shows despite ticket rates being stiff because. the way it’s staged, we can’t go any lower as we can’t afford to run into losses.

People come to me after the show, crying, and saying emotionally, “We don’t see Manoj Muntashir, we see God in you.” It’s humbling knowing they keep coming back—some have seen it seven times already—not for me but their Krishna.

Can a show steeped in Indian culture and religion connect with a western audience too?

That’s already happening, Ashutosh Rana and Rahul Bhucher’s play Hamare Ram has sold a record 23,000 tickets in London. We are planning to tour the US in March and are optimistic. Over the last couple of years, we have moved from living in ‘India’ to living in ‘Bharat’ and this has shifted the narrative. From a colonial mindset where everything saat samundar paar (seven seas away) was good, we have returned to our roots. We are rediscovering a sense of belonging, and making original content which I’m sure the West will lap up.

Will we see more such stories from you in the future?

Right now, I don’t have a single weekend free, but yes, there will be more stories, woven around other mythological characters, full of colour, flair and Indianness. Pure entertainment because unless it's entertaining, people don’t learn from it.

Has the success of Krishna-Radha Se Ranbhumi Tak taken away the sting of Adipurush’s failure?

I’ve admitted without mincing words that my work in that film was not up to the mark. I won’t go into the reasons of why I did it or who made me do it, I’m just sorry I disappointed those who trusted me. And I believe since I came clean, the audience is large-hearted enough to forgive me because I’m also the same person who gave them Teri mitti (Kesari), Mitti ke bete (Border 2) and Ram aaye hain. Some of the biggest Ram bhajans sung as prayer anthems have come from my pen. I slipped and I’m trying to make up for that mistake.

But you have cut down on films…

I have only a limited number of hours to live and work and in the last three-four months, this play has been consuming a lot of my time. But now, I’m back to writing songs for films like Sidharth Malhotra’s Vvan with Ekta Kapoor, Dharma Productions’ Lag Jaa Gale, Sooraj Barjatya’s next and Shri Ram Bhoomi being shot in Ayodhya.

How did Galliyan, your breakthrough song from Ek Villain, happen?

It’s a gift from nature and I’m grateful God dropped it in my lap. I was out for a jog at 6 am when I saw a stone plaque at the end of my lane. As I looked down at the name Govindji Shroff Marg, I started thinking of synonyms to ‘marg’. Path, pagdandi, raasta, galli, galiyan. Galliyan had a nice ring and inspired, I took out my phone and started tapping…

Yahin doobe din mere,

Yahin hote hai savere,

Yahin marna aur jeena,

Yahin mandir aur madeena…

It wasn’t romantic, I was writing about the house where I lived. Once back, I called Ankit Tiwari, who had just woken up, and read out the lines to him. He asked if he could set them to music and, one day, played Galliyan to Mohit Suri who was scripting Ek Villain. The rest is history.

Now, let’s flashback to the two National Awards you’ve won, Best Lyrics for Saina’s Parinda and Jaane Do from Maidaan.

For me, the National Awards are the only awards that count, the rest are sponsored awards and I’ve publicly said if anyone is thinking of giving me one, they shouldn’t because I consider them useless and worthless. I’ve won quite a few, but the day the jury chose Tu nanga hi toh aaya hai, kyya ghanta lekar jaayega (Gully Boy) over O mai meri kya fikar tujhe, kyun aankh se dariya behta hai, tu kehti thi tera chand hoon main, aur chand hamesha rehta hai (Kesari), I realised I was being judged by the wrong people.

Are you disappointed and disillusioned by the film industry?

No, I’m grateful,  I’m where I am because this industry supports talent. I came to Mumbai, an alien planet, from a small village with Rs 350 in mypocket and no connections whatsoever. I have no complaints and to those who think they were overlooked, I can only say there are other factors that contribute to success. You  may have talent, but maybe you didn’t deliver on other currencies, like perseverance, trust and shameless endurance. Even if people don’t value you today, don’t leave the ground, tike raho, tumhara time aayega (Stay put, your time will come). 

Published on: Sunday, July 26, 2026, 09:00 AM IST