Mumbai: Bollywood is set to pack its bags for Britain again. In a shot in the arm for UK-India creative collaboration, UK Prime Minister Keir Starmer announced in Mumbai that Yash Raj Films (YRF) will start work on three major productions in the UK from early 2026, a move expected to create over "3,000 jobs and boost the British economy by millions of pounds".

Starmer made the announcement on a visit to Yash Raj Studios, which marks 20 years of operations on Oct 12. He was accompanied by a delegation representing film powerhouses such as the British Film Institute, British Film Commission, Pinewood Studios, Elstree Studios, and Civic Studios.

Starmer spent time touring the studio - meeting actor Rani Mukerji, sitting in for a short screening at YRF's private auditorium, chatting with technicians, and even trying his hand at the studio's console board. Mukerji is wife of YRF chairman Aditya Chopra.

"Bollywood is back in Britain, and it's bringing jobs, investment and opportunity, all while showcasing the UK as a world-class destination for global filmmaking. This is exactly the kind of partnership our trade deal with India is destined to unlock-driving growth, strengthening cultural ties and delivering for communities across the country," said Starmer.

The UK PM's two-day visit to Mumbai comes as part of his first major trade mission to India, following the landmark UK-India trade deal signed in July. The trade deal is meant to lower tariffs on British goods, improve market access and raise bilateral trade by £25.5 billion a year, with UK exports projected to grow by nearly 60%.

The 125-member delegation accompanying Starmer includes CEOs, entrepreneurs, vice-chancellors and cultural leaders, marking the largest UK govt trade mission ever to India. Among the companies represented are Rolls Royce, British Telecom, Diageo, the London Stock Exchange, and British Airways, alongside growing SMEs and start-ups from across the UK.

An MoU between the British Film Institute and India's National Film Development Corporation is also proposed to encourage co-productions and sharing of resources.

Culture Secretary Lisa Nandy who visited India earlier this year said, "Partnerships between Bollywood and British studios make complete sense for our Creative Industries Sector Plan."

The potential is huge. Oscar-winning Slumdog Millionaire, made on a £12m budget, generated around £300m for the UK economy.

For YRF, the return to UK will mark the end of an eight-year hiatus in filming there. It also celebrates 30 years of Dilwale Dulhania Le Jayenge (DDLJ), the cult romance that spanned England, Switzerland, and Punjab's mustard fields. "The UK holds a very special place in our hearts," said YRF CEO Akshaye Widhani.

Widhani added that the company is currently producing Come Fall In Love, an English stage adaptation of DDLJ, in the UK. "So, we are thrilled to join hands with UK again... and discuss how India and UK could come together to push the content landscape globally..."

In India, he is known as musician Palash Sen’s son. But in the West, Kinshuk Sen is known for featuring in the Broadway musical, Come Fall In Love: The DDLJ Musical, and Mira Nair’s Monsoon Wedding The Musical. Not many can boast working with Aditya Chopra and Nair so early on in their career. For the actor, it is a dream come true.

“I have watched Dilwale Dulhania Le Jayenge [1995] at least 20 times. So, to play the role of Kuljit and be directed by Aditya sir, whom I have always idolised, was a ‘pinch-me’ moment. Aditya sir was so kind and encouraging. The project gave me the debut of a lifetime,” smiles Kinshuk.

The actor is equally in awe of Nair, whom he rightly describes as the “torchbearer for South Asian creatives in the West.” “She is loving, passionate, and has such a clear vision in her storytelling. She used to come backstage before every show, and give us all hugs and words of encouragement before we went up on stage.”

One can assume that working with the duo has readied Kinshuk for his Bollywood debut, Guzel Kiz, to be helmed by his musician-father. The love story, also starring Gizem Tas, is set in Turkey. He tells us, “Dad is an easy-going director who trusts his actor to bring the character to life. He likes showing a physical and emotional journey in every film.”

If one looks at his trajectory, however, Kinshuk has had better luck in Hollywood than India. That makes us ask: has he not been trying as hard in Bollywood?

“That’s a common misconception. It’s my dream to do more work in Hindi cinema, but I’ve just got more work in the West. Hollywood has opened up for Indian actors. When you see how both musicals were sold out night after night, it shows how much interest people have in seeing Brown faces and hearing our stories. On screen, women like Mira Nair, Mindy Kaling, Priyanka Chopra Jonas, Deepika Padukone and Alia Bhatt are leading the way. My identity as a Brown actor is reminded to me a lot more when I am in Hollywood, than when I am back in India. The roles are far fewer for us here [in Los Angeles], but I see a positive change. Producers here are recognizing our impact as a people,” says the actor, who will soon be seen in an action film written by Star Trek: Voyager writer Arnold Rudnick.

There are some matters that Vishal Dadlani won’t talk about, like the Pathaan track, Besharam Rang, which emerged to be among the best performing songs of 2022, but was mired in controversy with fans stating that it resembled a bunch of old numbers. Then, there are matters on which he pours his heart out, like his work on the recently concluded Dilwale Dulhania Le Jayenge musical, Come Fall In Love, an international production that offered Dadlani, along with his long-time collaborator Sheykhar Ravjiani, a once-in-a-lifetime opportunity. 

Considering the fact that musical adaptations of Bollywood films are a rarity, we are eager to know what transpired behind the scenes as the cult classic found a theatrical adaptation in San Deigo. Stating that the project “changed our sensibilities”, Dadlani says, “Dilwale is the fabric for modern pop culture. We worked with Nell Benjamin, who is a multi-Tony Award-winning [composer], and we learnt a lot about approaching music [from a place of] joy. [We were told to] let the lyrics speak to us, and by the end of each page, we [usually] had the song [conceived]. We got 60 standing ovations, and our crowd comprised both American viewers, and individuals who had flown from Mumbai to see it,” he relives the experience, as though it occurred yesterday.

Given that it marks the amalgamation of story-telling techniques and live music, a musical, Dadlani says, is a powerful medium to express emotions. “Sheykhar and I usually get to head on [tours], but we never get to perform the same set on the same stage, over and over again. This experience provided that. We had people coming back to watch it [twice over]. It was challenging, but was one of the best experiences of our lives.”

Dadlani’s recent work is an upcoming track from Amazon Prime’s Farzi, and one that brings him under the familiar wings of composer duo Sachin-Jigar. “They are friends. When they call me for a song, I don’t even ask them about it, I simply show up. By now, they know my range, texture, and the things that I like to do [as a singer],” says Dadlani, who rendered Paisa Hai Toh, along with Mellow D for Shahid Kapoor’s project.

We would assume that his success as a composer would influence his renditions while working for other composers, in the capacity of a singer. But Dadlani disagrees. He adheres to one principle — “I come in knowing nothing,” he says.

“I only bring my heart. I treat each song as an opportunity to learn something. When a composer calls me, he/she is giving me a chance to improve myself as a musician. You have to put your faith in the composer, because the composer chooses your voice as the instrument for the song.”