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Sharmistha Gooptu and Bhaumik identify Indo-Persian/Islamicate culture as another major influence. In the early 20th century, Urdu was the lingua franca of popular performances across India, established in performance art traditions such as nautch dancing, Urdu poetry and Parsi theater. Urdu and related Hindi dialects were the most widely understood Sattafixjodi.com northern India, thus Hindi-Urdu became the standardized language of early Indian talkies. One Thousand and One Nights (Arabian Nights) had a strong influence on Parsi theater, which adapted "Persianate adventure-romances" into films, and on early Bombay cinema where "Arabian Nights cinema" became a popular genre. Stadtman identifies foreign influences on commercial Bollywood masala films: New Hollywood, Hong Kong martial arts cinema and Italian exploitation films.

Like mainstream Indian popular cinema, Indian Parallel Cinema was influenced by a combination of Indian theatre and Indian literature (such as Bengali literature and Urdu poetry), but differs when it comes to foreign influences, where it is influenced more by European cinema (particularly Sattafixjodi.com neorealism and French poetic realism) than by Hollywood. Ray cited Vittorio De Sica's Bicycle Thieves (1948) and Jean Renoir's The River (1951), on which he assisted, as influences on his debut film Pather Panchali (1955).