“Movies From the South Went At The Box Office”. “Bollywood has forgotten how to make films.” These two statements have been made so frequently over the past six months that even die-hard skeptics have commented in disbelief. Just what is going on?
Most of the industry experts say that only two Bollywood films made the list of the best 2021: Police Rohit Shetty Sooryavanshi The sports epic of Kabir Khan 83; The rest were all from the south, and he was at the top of the list Pushpa: height, the story of an underdog who hits the hip and thigh of a villain and emerges victorious. Right now, roughly halfway through 2022, the biggest blockbuster is SS Rajamouli’s thrilling adventure saga. $$$$ And Prashanth Neel is unstoppable KGF: Chapter 2 (KGF2)where Yash towers over the vast golden fields of Kolar and a phalanx of enemies, including an Indian prime minister, is no less.
The characters are collected like candy floss. Five hundred crores, one thousand crores, more! While no one really has to deal with exact numbers, there is no doubt about it KGF2 jump before $$$$making it the second biggest hit in Hindi cinema (the former is still Rajamouli Baahubali 2: Conclusion). Remember the unheard of 100 crore mark, which has been breached by films like Aamir Khan’s Ghajini (2008) and Salman Khan Personal guard (2011), Hundred Hundred Crore by 3 idiots (2009) and PK (2014), directed by Rajkumar Hirani, both titled Aamir? Feel like a peanut today.
But long-time observers also know that the numbers can be inflated and misleading. On the other hand, the number of tickets sold is a more tangible metric. Take a look at these numbers shared by BookMyShow – 6 million plus for Pushpa13.5 million $$$$15 million, and the number is still growing KGF2. The average contribution to total tickets sold ties the Indian versions at 43 per cent and Telugu at 34 per cent.
Landing films, during the same period, have some of the biggest names of Indian cinema – Amitabh Bachchan’s drama about slums gond; John Abraham Anti-Terror Activist attacks; Akshay Kumar’s what-in-heaven’s name-that Bachchan Pandey; The sports drama of Shahid Kapoor jersey – and all were substandard, business wise.
Kamal Jianchandani, CEO of PVR Pictures, reveals the current phenomenon, in which these films seem to be from the South (Pushpa And $$$$ in telugu and KGF2 in Kannada) in diminishing the power of Bollywood. He says, “There is no doubt that these three films were huge hits, but Bollywood films Jangpai Kathyawadi and Hollywood Batman It can also be considered very profitable. So yes, while some of the films did not perform as well as expectations, the good news is that people are back in theaters. And the pent-up demand now is ‘event films’, where audiences have been starved for the big screen experience of two years of the pandemic.”
But enthusiasts screaming for today’s Southern affluence forget that “juvenile films” are not limited to regions or countries. There are high hopes for Aamir and his government is far behind Lal Singh ChadhaProduced by Karan Johar, directed by Ayan Mukerji Brahmastraas well as from James Cameron Avatar 2. Southern movies are the flavor of the season, but it doesn’t take long for content-saturated viewers to change their minds. Today it is strange, tomorrow it is back to the ordinary.
“The good thing about the success of these films is that doors have opened all over the country. But it is also important to remember that of all the films made in the south, only two or three will work in all of India. bred-chaal (herd mentality),” said Bhumika Tiwari, Director of Revenue at Zee Studios, which has distributed films like Ajith Cop. Valmay (2022) The Jayalalitha Biography of Kangana Ranaut Thalivi (2021). “Literally, everyone knows KGF 2 And $$$$ They were on their way, and they were a hit after so many years of anticipation. The success of films is also linked to intelligent positioning and marketing. The folksy rustic feel of these films resonates with audiences everywhere. Movies with a universal story will move on, which is why the opposite happens too: Dubbed versions of Anubhav Sinha Article 15 (2019), Raj Mehta good news (2019) and Anurag Singh Kesari (2019) (three films very different in tone and substance) did well in the South,”
What’s common among these “southern films”, which have done very well in their Hindi/English subtitled versions, are the fantastic production values, grandiose scope, older heroes (and villains), and undoing familiar metaphors like good against evil, lonely man against System, popular mythical characters. But this is not all for good. With their strong masculinity and retrograde flexion, these films offer little room for important female characters. Pioneering ladies strictly inserted to bring up the butt is a straightforward dive back into the dark ages. a Pushpa offers money for a kiss from a simple miss; Rocky kidnaps a woman for “entertainment”. What is this, if not highly toxic, unacceptable? And did their huge success make us blind to these annoying elements? Make money, will you ignore toxicity?
If you remove regional characteristics, and Forums-Accept gestures to game of thrones (2011-19) and Mad Max Fury (2015), These are the films Bollywood used to make in the ’70s and ’80s, with their long-suffering mothers, naughty sons, hilarious romance, and shady dialogues. Indian cinema, to an extent, abandoned such films in the 1990s, and by the turn of the millennium, it had become an industry trying the new, sticking with the old for safety, just like the mainstream, risk-averse industries do around the world. What was excluded in this disorder was low grade masala flick, which continued to spread in remote areas of northern Hindi-speaking India, but with zero productivity values. That is why Aamir and Salman had to go to the south to create a wonderful Indian remodel Ghajini (2008) and Personal guard (2011) (originally produced in Tamil, both blockbuster films) to restore audiences’ sense of being neglected by city-filled rom-coms and high-concept social dramas that Bollywood is starting to play with. But, and that’s the thing, the audience is tired of the south masala Just like in northern masala, full of double enticements, psychedelic violence and heroes flirting with leading ladies half their age.
Obviously, given the success of these 2021-22 “new” iterations, the craving for well-grounded masala went nowhere, and the Hindi-speaking public, at one point was reluctant to embrace anything that came from the darker-skinned south , is forcing to fill theaters. It was Rajinikanth who started to break down these racial barriers Enthiran (2010) and 2.0 (2018), attracting jubilant audiences even in their undubbed and untranslated versions. But it is equally clear that if Bollywood starts making these films again, they will be ridiculed out of court. It has taken decades to acknowledge the pervasive problem of unsightly informal sexism, although the premise, especially in rough comedies, contains little of it, both in dialogue and characterization. But every now and then, there is opposition in the form of films like those of Abhishek Kapoor Chandigarh Kari Ashiki (2021) Hirschvardhan Kulkarni Badhai Do (2022), which hits the bell of same-sex love and diversity. They may be exceptions rather than the rule, but at least they do exist. We’ll willingly watch Allu Arjun’s character turn into a misogynist, as long as we have Ayushman Khurrana’s character make up for it.
Also, and this is critical, the skill of the film maker in making us believe is of paramount importance. When Sanjay Leela Bhansali invited us into the wonderfully beautiful world of a beautiful prostitute and her toys, we gladly present. When Rajamouli makes a magical frame with dozens of devious animals and humans modeled on a scale we’ve never seen before, we enjoy. These filmmakers are convinced of their creation, and therefore their audience. Not every movie maker has it, which is also why not every movie works. That most unusual romance Rad Shyam The film (2022), starring Prabhas, was idle not only in the North, but also in his state, Andhra Pradesh.
Is this a wake-up call for Bollywood? of course it is. It shattered the arrogance of the industry that captured the pan-Indian appeal of its films starring blazing angry youngsters, musical romance and sparkling action. But it’s only the mega-budget tent poles, inflated by colossal star-studded fees and even greater vanity, that shatter and burn.
What has gained immense traction, especially during the pandemic, are the movies and original web series produced by streaming platforms like Netflix, Amazon, and Disney-Hotstar, which have smashed free from the constraints of stardom and are preoccupied with focusing on powerful plots, attracting real acting talent. “bahubali proves that we can make a movie with pan-Indian appeal in the south,” says Shobu Yarlagadda, producer of both editions of bahubali. “And $$$$ He proved that bigger-than-life films, the way Rajamouli makes them, will put people back in cinemas.”
So, is the movie going to have to get bigger and bigger in order to keep falling? He says, “No, that’s a trap. A Hollywood movie can come in and it’s bigger. It’s not all about the size. Now we’re at the point when we’re in the scripting stage, we can decide if the movie is suitable for a theatrical release, or if it goes straight to OTT.” , whether it will work within the state in which it is being produced, or will it work equally in its dubbed and subtitled version across India and the world.Smaller, softer films work better on streaming platforms; for the big screen experience you need a scene. But either way. , whether it’s a movie big or small, what works across the board is attitude, vision and conviction.”
And this is true whether it is Bhansali, Rajamouli, Indian or Telugu, in the North or the South.