But before Nolan, before the Matrix, before, even, the iPad, there was Star Wars. It was the film, with its cosmic scale and theme of a transcendental “force” that confers superhuman powers on those who can align with it, which opened up mainstream American culture to Indian esotericism more than anything else. George Lucas was influenced by the mythologist Joseph Campbell, whose work A Hero With a Thousand Faces traced the narrative arc common to all mythic heroes that Luke Skywalker would embark upon.

Interstellar’s box office total is $622,932,412 and counting. It is the eighth highest-grossing film of the year and has spawned an endless raft of thinkpieces testing the validity of its science and applauding the innovation of its philosophy. But it is not so new. The idea that propels the plot – there is a universal super-consciousness that transcends time and space, and in which all human life is connected – has been around for about 3,000 years. It is Vedic.

When the film’s astronaut hero (Matthew McConaughey), declares that the mysterious and all-knowing “they” who created a wormhole near Saturn through which he travels to save mankind – dissolving his sense of material reality in the process – are in fact “us”, he is simply repeating the central notion of the Upanishads, India’s oldest philosophical texts. These hold that individual human minds are merely brief reflections within a cosmic one.

McConaughey’s character doesn’t just talk the talk. He walks the walk. So, the multidimensional tesseract – that endlessly reflective prism he finds himself in as he comes to this realisation, and in which he views life from every perspective – is the film’s expression of Indra’s net, the Hindu metaphor which depicts the universe as an eternal web of existence spun by the king of the gods, each of its intersections adorned with an infinitely sided jewel, every one continually reflecting the others.

Of course, Hollywood’s eager embrace of Buddhism, yoga and other esoteric Indian systems is not new. David Lynch is an outspoken exponent of transcendental meditation, Richard Gere follows the Dalai Lama and Julia Roberts affirmed her Hinduism in the wake of Eat, Pray, Love – a movie that tells the tale of a modern American woman’s journey towards peace through Indian spiritual practises that grossed over $200m (£128.6m). Hinduism can get the tills ringing even when it urges parsimony.

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