Capturing the vibrant pulse of 1980s rural India, Barber of Baadarpur brings the Brij region’s fading traditions and folklore to life. In a compelling Q&A, Devendra Parmar shares his inspiration, his deep-rooted ties to India, and the meticulous approach behind creating an authentic portrayal of village life. This film acts as a cultural homage and a window for global audiences to experience the timeless beauty of rural Indian life, enriched with Brij folk music and the layered simplicity of small-town stories.
What inspired you to capture 1980s rural India in Barber of Baadarpur *?
With over 60% of Indians still living in around half a million villages, rural life is the heart and soul of India. Yet, its representation in Indian cinema is relatively low, even as rural themes gradually gain popularity. The Brij** region, in particular, has a unique culture, upheld for centuries through its rich poetic and musical traditions. Hindustani classical vocal music almost exclusively uses Brij, but the rise of Hindi has marginalised it in literature. Rapid economic growth threatens to further dilute this culture, making it urgent to capture it on film before it is lost.
Village life is often stereotyped as simple or unintelligent compared to small-town or urban life. Our observation was quite the opposite, with rural life sometimes more intricate than urban existence. All of this made a compelling case to recreate the beauty of rural life, highlighting its aspects that, while local, have universal relevance. A story I shared with friends about village barbers doubling as matchmakers became the seed for this film.
As an Australian-based filmmaker, how did you approach creating an authentic portrayal of village life in India?
My connection to India—its people, places, and culture—remains strong, as I spent a significant part of my childhood and youth there, particularly in villages. I also nurture this connection by frequently travelling to India, reading, and exploring its richness. This connection, along with a highly knowledgeable team in India, ensured authenticity in the portrayal of Indian culture.
I aimed to make the story accessible to a global audience, which was both motivating and challenging.
What was it like working with your brother, Sanjeev Rajsingh Parmar, who’s known for his work in Bollywood?
Sanjeev specialises in historical costumes, as seen in his work on YRF’s Samrat Prithviraj and the web series Upanishad Ganga and Surajya Samhita. Working together was a joy. We both brought a deep passion for this project, drawing on our collective experiences of rural Indian life. Sanjeev’s expertise in the historical and philosophical aspects of Indian culture enriched the film.
Can you tell us about the process of casting Nikita Porwal, now Miss India 2024, and what made her the right choice for this role?
When casting, Sanjeev reviewed Nikita’s CV, which came through one of our actors, Kailash Chauhan. He immediately recognised her potential, saying, “I think we’ve found our Sangeeta.” Nikita’s natural presence, as shown in her audition clips, impressed us. Her folk theatre background made her ideal for the role of Sangeeta, a village woman. Her natural performance throughout confirmed Sanjeev’s instincts.
How did your team approach the film’s music and soundtrack?
Most of our live recordings were done with local folk singers in Dholpur, Rajasthan. Final mixing took place in Gwalior and Mumbai. For classical pieces, we collaborated with the talented Pandit Ram Deshpande ji. Sadhu Tiwari from the Brij region composed a song, with lyrics by Sanjeev. My elder sister Suman Parmar contributed her raw, emotive voice to some main songs. Sanjeev supervised the music production with Shantanu Mukherjee and Ashwin Shrinivasan. We’re proud of the authenticity of the soundtrack.
Why was Brij folk music essential to your vision?
Our story is set in rural Brij, so Brij folk and classical music were essential to maintaining authenticity. Hindustani classical vocal music uses Brij, allowing the music to blend seamlessly with the film’s ambience.
What challenges did you face in financing and producing an independent film set in India, particularly as an Australian filmmaker?
Filmmaking requires substantial financing. To retain creative freedom, we avoided big financiers for this project, relying on support from friends and family, resulting in a modest budget. Many team members contributed voluntarily or for a nominal fee. The tight budget pushed us to find creative solutions without compromising production quality. Strong ties in India ensured local support, especially in the villages where we shot the film.
What messages or themes do you hope audiences take away from Barber of Baadarpur?
We hope audiences appreciate the richness and simplicity of village life through the film’s costumes, music, architecture, and humour. Village life may lack the refinement of big city life, but it embodies universal values and struggles. Above all, we want viewers to enjoy the film and absorb the slow, steady pace of rural life—the true soul of our story.
How did the premiere at the Stuttgart Indian Film Festival impact you and your team?
The festival offered a chance to connect with potential distributors and gain recognition at an international level. It was rewarding to have our work appreciated by peers and other filmmakers.
What role did your local community in Northern Rivers, NSW, play in supporting this project?
Our film-loving friends in Northern Rivers, NSW, offered financial support. My friend Craig Wise, who’s travelled India extensively, encouraged us to showcase the India often seen by Western travellers but rarely portrayed on screen. Their feedback and encouragement were invaluable.
With global interest in preserving cultural heritage, how do you see Barber of Baadarpur fitting into this wider conversation?
We’re thrilled to contribute to the cause of cultural preservation. This film is a small yet significant step towards this goal. Barber of Baadarpur marks the first time Brij culture and language reach a global audience through cinema. By highlighting the universal within the local, we hope to make a meaningful contribution.
Are there any other untold stories from Indian culture or history that you’re eager to bring to the screen in the future?
Absolutely. Many stories from our own lives and those of our parents carry global appeal. We aim to continue telling these stories, encouraged by our viewers. Our next project might centre around music or mathematics. We’d also love to hear from viewers about stories they’d like to see on screen.
What advice would you give to aspiring filmmakers, especially those working to bridge cultural stories across borders?
Dream big and make it happen. Our era is ripe for experimentation; technology makes filmmaking accessible. A good story remains the foundation of cinema, and it’s up to today’s filmmakers to keep storytelling alive.
*The Indian version of the film is called Chambal Paar and has a slightly longer duration than Barber of Baadarpur.
**Brij is a large area spread across the adjoining Northern-central Indian states of Rajasthan, Uttar Pradesh, Madhya Pradesh and Haryana where various versions of Brij language are spoken and the culture is still alive. Brij is also considered the area where Lord Krishna lived and operated other than Dwarka, Gujrat—one of the popular names of Krishna being Brij Mohan.
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🌄 'Barber of Baadarpur' beautifully captures 80s rural India's essence, ft. Brij folk music, tradition, & rich storytelling. 🎶 Dive into Devendra Parmar's vision & cultural homage! 📽️💫 Discover more about this cinematic journey! 🌟🔗 #TheIndianSunhttps://t.co/7UgZXuifP6
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