Writer of 150+ songs and producer-director of multiple socially driven films like Laadli & Patelan, Vipin Tiwari blended his 25+ years with UNICEF and social activism into cinema. He is known for real-life storytelling, folk music success, and education-driven impact on the lives of 1000+ girls.

Vipin Tiwari is an accomplished film-maker, writer and social reformer.

Tiwari’s multi-dimensional path has been shaped through public service, social commitment, and creative inclination, where his work spans across administration, grassroots activism, and storytelling through cinema.

Beginning his professional phase with Government Service, he later moved into contractual work, where he contributed to infrastructure-related projects including the construction of boats in regions like Udaipur, Jai Samand, and Mahi Kadana under RTDC, and built nearly 1000 boats as part of these efforts.

Alongside his professional engagements, his deep involvement in social work began in 1998, marking a long-standing commitment toward community upliftment. One of his early initiatives included forming the Pink City Cycle Rickshaw Drivers Union, focusing on the welfare of marginalized labor groups such as rickshaw pullers and daily wage workers. His work extended toward addressing critical social issues including child labour, child marriage, and child protection, where he actively worked to connect underprivileged children with education and create awareness at the grassroots level.

His association with UNICEF further strengthened the scale and impact of his work, as he collaborated with the organization for nearly 26 years. Through campaign-based initiatives, his efforts reached across Rajasthan, covering almost every district, where he consistently worked on issues affecting children and vulnerable communities. Operating in a campaign-driven model, his work brought him close to real-life stories, experiences, and ground-level realities, which gradually shaped his understanding of society and human narratives.

Parallel to his social work, he carried a natural inclination toward writing and creative expression from a young age. This artistic sensibility found a strong influence during his early years when he witnessed the shooting of the film “Nadiya Ke Paar” in 1979, directed by Govind Munis Dubey and produced by Rajshri Productions. Being present during the shoot at Vijayipur near Jaunpur, where his father was posted as a station master, he closely observed the filmmaking process at the age of 13–14. Watching how scenes were constructed, understanding the roles of directors and assistant directors, and experiencing the behind-the-scenes environment left a lasting impression on him.

This early exposure to cinema sparked in him a long-term interest in the technical and creative aspects of filmmaking. Although his path later took him to public service and social work, this foundational experience continued to influence his perspective. Eventually, his life transitioned geographically as well, moving from Banaras to Rajasthan, where much of his professional and social work continued to evolve.

After moving to Rajasthan, Vipin Tiwari initially spent a brief period in government service, but soon transitioned into contractual work, including projects like boat construction, where he continued building his professional base. Alongside this, his creative side began to take a definitive shape when, around 1999–2000, he created the song “मारी तीतरी ताने बेल मटको लेहनागो लाडू रे,” which went on to become one of the biggest superhit folk songs of Rajasthan at that time. Its impact extended beyond the state into regions like Punjab and Haryana, while in Hadoti, it continues to remain an essential part of wedding celebrations even today. During the era of cassettes and CDs, the song achieved remarkable commercial success, with nearly 25 lakh CDs sold, making it one of the most significant hits in the regional folk music space.

This success naturally opened his path toward filmmaking, where his work continued to evolve. At a time when reel-based filmmaking was still dominant, he introduced the use of digital cameras in his projects, marking an early shift in production style. His film “Teetri,” developed during this phase, is regarded as one of the earliest digital films in Rajasthan. Built around a social message, the film also featured a special appearance and message by the then Chief Minister, Vasundhara Raje Scindia. The film performed strongly upon release and was screened in theatres and it managed to achieve a good box office response, establishing a successful beginning to his film-related work.

Continuing this momentum, around 2003–2004, he began working on another film project near Golawas, close to Jaipur, in the region known as Bhangarh. Today recognized as a major heritage tourist destination, Bhangarh was relatively unknown at that time. The location had previously been used for the shooting of the film Karan Arjun, directed by Rakesh Roshan, where he was also involved at the production level. Several scenes, including marketplace-style setups like a choodi bazaar, and a song featuring Mamta Kulkarni, were filmed there.

However, the location carried strong local legends associated with supernatural occurrences, particularly the belief that unusual events took place after evening hours. These narratives created an atmosphere of fear among people present during shoots, and on multiple occasions, such beliefs influenced the working environment, with individuals choosing to leave due to the surrounding uncertainty. This phase reflects not only his involvement in cinema but also the unique and unpredictable ground realities that often come with on-location filmmaking.

Following the initial experiences at Bhangarh, where fear and local beliefs disrupted on-ground shooting, the remaining portions of that earlier project were eventually completed in Mumbai using constructed sets. However, Vipin Tiwari chose to approach the subject differently, deciding to develop an independent film based entirely on Bhangarh and its layered history. This decision led him into a phase of deep exploration, where he began interacting with local people and gathering narratives to understand why the place had turned into ruins.

During this process, he came across perspectives that suggested Bhangarh was not as ancient in visible form as commonly perceived. Around the 1990s, the area resembled more of a mound-like terrain rather than clearly visible ruins. It was during excavation activities, reportedly linked to figures like Chandraswami, that buried structures began to emerge, revealing an entire architectural layout beneath the soil. The pattern of these ruins closely resembled structured city planning, similar to Jaipur’s Johari Bazaar, with verandas, shops, and storage spaces aligned in sequence. Remains of areas resembling Chhoti Chaupad and Badi Chaupad were also identified, indicating that the site once functioned as a well-organized settlement.

These observations led to the interpretation that Bhangarh may have once served as a significant capital-like settlement, potentially linked to Raja Bhanmal of Jaipur. Geographically, the city was situated within the catchment area of the Ramgarh Dam, which historically held substantial water levels. One plausible explanation that emerged was that flooding, combined with structural collapse from surrounding hills, may have contributed to the destruction and burial of the city over time. This line of thought also aligned with the broader understanding gradually explored by the Archaeological Department as they began studying the site more closely.

Building on these historical and geographical insights, he developed a narrative centered around the unique topography of Bhangarh. The location features a palace situated amidst hills, with distinct elements such as a ‘kund’ believed to be used by the queen, and a ‘chhatri’ positioned above, from where the area could be observed. Alongside these physical elements, strong local legends added another dimension to the story. One such widely known account revolves around Queen Ratnavati and a figure named Sevda, both believed to possess knowledge of tantra practices, creating a dynamic of rivalry between them.

According to these narratives, Sevda became infatuated with the queen and attempted to influence her through a magical substance infused into oil, intended to create attraction. However, the queen, being more adept in such practices, recognized the intent and neutralized it by throwing the oil onto a stone. In turn, the stone is believed to have struck Sevda, leading to his death. Before dying, he is said to have cursed the city, resulting in its sudden destruction overnight. Even today, regions around Ajabgarh and Bhangarh are often associated with such traditions, where the presence of practitioners connected to these beliefs is commonly mentioned.

This combination of historical interpretation, geographical reasoning, and deeply rooted local legends became the foundation of the story he developed, reflecting both a research-driven approach and an engagement with cultural narratives surrounding the site.

Building on his research and interpretation of Bhangarh, Vipin Tiwari developed and produced his second film titled “Chausar Ka Chakravyuh,” a project rooted in historical context and local narratives. Given its scale and subject, the film required significant investment, as it was designed as a historical drama. To bring authenticity and visual depth, large sets were constructed in the sand dunes of Jaisalmer, and the film featured well-composed songs that added to its cinematic appeal.

Continuing his work in socially driven storytelling, his third film emerged from a real issue observed in regions connected to Gujarat, where children were being sent to work in BT cotton fields, leading to serious concerns including child fatalities and human rights violations. In association with UNICEF, a campaign titled “Nanhe Haath Kalam Ke Saath” was initiated, focusing on connecting children with education instead of labor. Based on this campaign, he created the film “Udaan Zindagi Ki,” translating a ground-level social issue into a narrative format that could reach a wider audience.

His fourth film, “Patelan,” was centered around the Panchayati Raj system, particularly focusing on the reservation of 50% seats for women in local governance. The concept explored a practical reality observed in many rural areas, where women were elected as sarpanch, but the actual authority was exercised by their husbands, commonly referred to as “Sarpanch Pati” or “SP Sahab.” The film highlighted this gap between representation and real empowerment, drawing from real social dynamics. This subject later gained wider attention across mainstream platforms, with similar themes appearing in content on OTT platforms such as “Panchayat” and serials like “Ghoonghat,” though his film had already explored this concept earlier around 2013.

In 2017, he directed another socially relevant film titled “Laadli,” which focused on issues like child marriage, respect for daughters, and the empowerment of girls through education. The narrative followed the story of a girl who overcomes the constraints of child marriage and builds her identity by becoming a doctor, emphasizing resilience and determination.

Expanding into a larger cinematic scale, he later worked on “Bahubali Rajasthani,” a high-budget production estimated to be between 1.5 to 2 crore rupees. This project recreated historical elements such as the Battle of Haldighati of Maharana Pratap, with scenes shot on location in Haldighati itself, involving elephants, horses, and large-scale setups. Additional sequences were filmed in Ogana, near Udaipur, where a natural waterfall flowing throughout the year was incorporated into the set design, adding to the visual authenticity and grandeur of the film.

His current cinematic work continues to expand in scale and depth with the upcoming film “Udhdan,” a project positioned as one of the biggest budget films in Rajasthan with a highly distinctive narrative. The story is built around the concept of “ulte phere,” a traditional ritual associated with detaching relationships after death, and explores the emotional and cultural layers of separation and closure. The entire narrative structure is intricately woven around this theme, presenting it as a unique and exclusive storyline. For the first time, Mukesh Madhwani of Udaipur has joined the project in the role of producer, having previously been associated as a line producer in the industry. The film has already completed around 50–60% of its shooting, with a targeted release planned around July–August, reflecting a focused and time-bound production approach.

Looking back at his roots, Vipin Tiwari shares that he belongs to Uttar Pradesh, from Deoria district, where his village Bharoli falls under the Salempur region. His childhood was shaped by constant movement due to his father’s profession as a Railways Station Master, which led to transfers across multiple locations in the Purvanchal region. As a result, his early education was spread across different places, including Banaras, along with schooling at Swami Devanand Inter College in Math Lar. This dynamic upbringing exposed him to varied environments from an early age.

After moving to Rajasthan, he also explored formal learning in Mass Communication, but his overall development has been more strongly driven by practical experience rather than conventional academic pathways. From a very young age, he stepped into work, beginning professional activities around the age of 14–15. By the time he was 18–19 years old, he had already secured a government job, which he left within a year, choosing instead to pursue independent work. Around the age of 20, he entered into contractual work, marking the beginning of his long-term professional direction. While his formal education continued alongside, much of it was completed privately after his 12th standard, as his focus increasingly shifted toward hands-on experience and real-world learning.

Reflecting on his inspirations and role models, Vipin Tiwari presents a perspective that is more observational than conventional, where instead of following a single defined figure, he draws influence from specific individuals across different aspects of cinema. During his early years, especially around the age of 14–15, he was deeply influenced by films featuring Amitabh Bachchan, whose screen presence and performances left a strong impression, making him an early point of admiration in acting.

However, his deeper creative alignment developed in the field of direction, where he found significant inspiration in Ramesh Sippy. The narrative structure and storytelling style seen in his own films often reflect a similar approach, particularly the use of layered storytelling where narratives move through flashbacks and return to the present. He closely observed the way scenes are constructed, how emotions are built, and how storytelling unfolds visually.

He particularly highlights the cinematic execution seen in films like Sholay, where despite the director’s relatively young age at the time, the film delivered sequences that have become historically significant. Specific scenes, such as those involving symbolic timing and emotional intensity, demonstrate a level of visual storytelling that, according to him, sets a benchmark in filmmaking. Similarly, in Shakti, he refers to a powerful scene involving Amitabh Bachchan and Dilip Kumar, where the timing of a critical moment aligns with environmental elements like sunset and an aircraft’s movement, creating a deeply symbolic and emotionally impactful sequence.

Beyond films, he also emphasizes the influence of television storytelling, particularly the serial Buniyaad, which aired during the early phase of Doordarshan. He considers it one of the most naturally executed narratives, where the direction, story progression, and emotional depth felt authentic and grounded. In comparison to contemporary content, he observes that much of today’s storytelling appears overly dramatized, lacking the natural flow that earlier works maintained.

Another aspect he strongly acknowledges is the technical depth in filmmaking, especially the role of background music in enhancing emotional impact. He points out how sound design and music integration in films like Sholay created lasting impressions, to the extent that even dialogues, particularly those of iconic characters like Gabbar Singh, were widely consumed through gramophone recordings during that era.

Overall, his influences are not limited to individuals alone but extend to specific techniques, narrative styles, and cinematic detailing, which collectively shape his own approach toward storytelling and film direction.

His understanding of cinema is shaped by the belief that the medium constantly evolves, with every decade bringing a visible shift in storytelling, technology, and audience preferences. Within this changing landscape, Vipin Tiwari has built a strong body of work in music as well, having written more than 150 songs over time. While “Mari Teetri Tane Bel Matko Lehnago Laadu Re” remains one of his most recognized creations, several of his other compositions have also gained significant popularity.

One such song, “Hans Mat Pagli Pyar Ho Jayega,” originally created as part of his film “Laadli” around 2013–2014, later found its way into mainstream Bollywood when it was used in the film Toilet: Ek Prem Katha. This led to a legal dispute, where he pursued the matter through court proceedings before eventually reaching a settlement. Similarly, he mentions that his composition “Latth Maar Holi” was also used without authorization, reflecting repeated instances where his creative work entered larger platforms without direct control.

In another instance, his widely known song “Mari Teetri” was also adapted in a Bollywood context, where it was performed by Raja Hasan in a film. These experiences highlight a recurring pattern where his work, though originally rooted in regional cinema, reached broader audiences through different channels.

He also reflects on how the dynamics of the music industry have transformed over time. Earlier, success was defined by physical distribution such as cassettes and CDs, whereas today it is largely driven by digital metrics like viewership and subscriber base. He notes that if his original songs had been released through major platforms like T-Series, they could have achieved significantly higher visibility and rankings. The example of “Hans Mat Pagli,” which gained massive viewership after being used in a mainstream film featuring Akshay Kumar, reinforces this perspective.

Despite these opportunities, he consciously chose not to commercialize or sell his creations to external platforms or intermediaries. Even when approached by theatre distributors and stage-related networks, he preferred to retain ownership of his work, believing that his creations should remain under his control. His intent has been to eventually present them through his own platform or channel rather than relinquishing creative ownership.

This approach, while limiting wider exposure in the short term, reflects a strong sense of ownership and creative integrity. Backed by his understanding of music and passion for songwriting, he maintains that the quality and impact of his songs stand at par with mainstream productions, regardless of the platform through which they are released.

His creative expression is not limited to cinema alone but extends deeply into music that carries strong social messaging. One of the most impactful compositions he wrote was for UNICEF under the “Laadli Samman Campaign,” where the song –

…became a powerful medium of awareness. Built around themes of child protection and child marriage, the song was structured in multiple verses, each addressing critical societal concerns. When played in villages, it created a strong emotional response among listeners, with its lyrics resonating deeply at the grassroots level. Lines highlighting issues like the discrimination against daughters and violence against girl children received wide appreciation, even reaching recognition at international platforms associated with the United Nations.

In terms of achievements, his work reflects both measurable impact and long-term social contribution. Through his NGO and the Laadli Samman initiative, he has played a direct role in transforming the lives of a large number of girls by connecting them with education and opportunities. Approximately 1000 girls have been supported through these efforts, helping them move beyond conditions of poverty and build independent paths. In recognition of this work, he was awarded the Best NGO honor by the state government in 2017, specifically for his contribution toward addressing child marriage.

Alongside this, his films have also received recognition at various platforms, including international film festivals such as JIFF and other award forums, while his music continues to hold strong recall value among audiences. However, beyond awards and recognition, one of his most significant contributions lies in sustained grassroots work.

For over 22 years, he has been running a school, Bal Shiksha Ashram, dedicated to children from the most vulnerable sections of society, including those of rickshaw pullers, economically weaker families, and orphaned children. This initiative operates without formal funding support, relying instead on personal resources and contributions from well-wishers. The school provides completely free education, including uniforms, study materials, food, and overall care for the children.

In cases where children lack family support, efforts are also made to connect them with suitable families, ensuring not just education but also stability and basic living arrangements such as ration and daily needs. Several individuals and community members are associated with this initiative, contributing to its continuity. Land support was received from the government, on which infrastructure has been developed, and today children are not only studying but also residing there, receiving care and guidance.

This combination of creative work, social campaigns, and long-term institutional effort reflects a model where impact is not limited to awareness but extends into sustained action and real change at the ground level.

Addressing newcomers in the field of filmmaking and writing, Vipin Tiwari emphasizes a fundamental difference in approach. According to him, many emerging creators tend to derive their stories by watching existing films, whereas his own work is rooted almost entirely in real-life experiences. He highlights that nearly all his characters and narratives are based on actual events, not fictional imagination. For him, authenticity remains the core strength of storytelling.

‘Patelan’ producer-director Vipin Tiwari explains filmmaking through a simple yet effective analogy, comparing a film to a complete meal. Just as a well-prepared meal requires balance in every element—lentils, spices, vegetables, bread, and rice—a film too must carry a combination of components such as devotion, romance, comedy, action, and emotion. Only when all these elements are present in the right proportion does a film feel complete and engaging. However, beyond this structure, he stresses that the foundation must always remain a strong and meaningful story.

One of the most defining examples of this approach can be seen in the story behind his film “Laadli.” The narrative originated from a real-life incident shared with him, where a newborn girl was found abandoned at a public square. The situation drew attention from people nearby, and through his network, it was decided that the child should be taken to a government childcare center. However, on that very day, an individual associated with the incident experienced a major personal breakthrough, winning a long-pending court case. Interpreting this as a positive sign linked to the child’s presence, he chose to adopt and raise her instead. Over time, that same girl grew up to become a doctor. This real incident was then adapted into a cinematic narrative, forming the emotional core of “Laadli.”

A similar process shaped the concept of his film “Patelan.” The idea emerged from observing a woman sarpanch in a rural setting who, despite holding an official position, was largely unaware of her role. She was seen engaged in routine daily activities like feeding cattle, while her husband handled all administrative responsibilities in her name, even signing documents on her behalf. This real-life observation highlighted the gap between representation and actual authority. Additional nuances, such as her natural simplicity, her presence around a tea stall where people gathered, and even a physical trait where her eye movement appeared like a wink, were creatively incorporated into the storyline. In the film, this characteristic was turned into a symbolic element, where her “wink” became a defining factor in her election victory.

Through these examples, he reinforces that meaningful cinema emerges not from imitation but from observing life closely and transforming real experiences into narratives that resonate with authenticity and relatability.

Extending his perspective on storytelling, Vipin Tiwari emphasizes that the real strength of a writer lies not just in identifying real-life characters but in how those characters are shaped within a narrative. According to him, a character observed in reality can be taken in multiple directions depending on the writer’s intent, purpose, and creative interpretation. The responsibility of a writer is to not merely present reality as it is, but to develop it in a way that carries meaning and progression.

This approach is clearly reflected in the evolution of the character in “Patelan,” where the initial observation was of a woman holding the position of sarpanch without awareness of her rights and responsibilities, while her husband managed everything in her name. Instead of limiting the story to this reality, the narrative was developed further to show her transformation—how awareness, education, and understanding gradually empower her to take control of her role. In this way, the story moves from observation to purpose, highlighting the importance of education and self-realization.

At the same time, he draws a distinction between such storytelling and the patterns often seen in commercial cinema. He observes that a large section of current films leans heavily toward violence and formula-based narratives. However, he also acknowledges that there is a growing space for films rooted in realism, where stories based on real events and characters are gaining attention across regions, sometimes even beyond national boundaries. This shift reinforces his belief that authenticity holds long-term value.

For emerging writers and filmmakers, songwriter Vipin Tiwari’s message is clear—creation should not come from imitation. Watching films and replicating ideas does not lead to originality. Instead, he encourages creators to observe life, derive stories from reality, and build something new.

According to him, true creation lies in developing narratives so distinctive that others feel inspired to adapt or reinterpret them, rather than the creator borrowing from existing work. He also reflects on his own experiences, where his songs, such as “Hans Mat Pagli Pyar Ho Jayega,” originally written and composed at his level, later reached a larger scale when rendered by established artists like Sonu Nigam and Shreya Ghoshal, demonstrating how scale and platform can elevate the same content.

Addressing the youth, his message moves beyond career advice into a broader perspective on awareness and identity. He believes that today’s generation often lacks a deep understanding of the country’s history, largely because they are disconnected from the struggles that shaped it. He encourages young individuals, regardless of their chosen field, to study their historical roots and read extensively. Even if immediate outcomes are not visible, this knowledge builds awareness of the sacrifices and realities that led to the present.

He highlights that earlier generations fought for independence without expectation of personal gain, often knowing they might lose everything, yet continuing with conviction. Understanding this contrast, according to him, helps develop a sense of value, responsibility, and perspective. He advises the youth to occasionally look back at history, learn from it, and then move forward with a renewed and informed mindset, combining past understanding with present thinking to shape the future.