Veteran journalist-turned-filmmaker delves deep into the ‘notion’ that southern films are giving Hindi movies a run for their money in a freewheeling chat. And he has lots to say about the start system as well. Excerpts
What is this hype around South films giving Bollywood a run for its money?
Your question answers itself. Since you have used the word ‘hype’ that is quite suggestive of ‘exaggeration’. To be sure, during the two Covid years and more, even I had felt that the films from the ‘south’ were scoring over the Hindi ones.
Even before that, the first Baahubali special effect fantasy helmed by S.S Rajamouli had been quite a stunner, but the film had to be ‘presented’ by Karan Johar’s Dharma Productions, because that’s the way it is. Attach a generic name and more the chances of it connecting with an all-India and also overseas audience.
Prabhas was instantaneously approached for Hindi films but wisely he didn’t trek towards a terrain where angels fear to tread. Dhanush, Rana Dagubatti and Dulquer Salman did, but alas had to scurry back to the southern cinema of their roots.
As for giving a run to Bollywood for their money, this trend comes and goes in phases. The bubble bursts, Shah Rukh Khan regains his superstardom with Pathaan and Jawaan. Moreover, this year the highest money grabber so far has been the Vickey Kaushal period movie, Chhava, collecting Rs 693 crore and counting.
Do you think movies down south have richer content than what we have in Mumbai?
In terms of storylines, southern cinema’s screenplays are certainly more varied and often avoid formulaic conventions, dealing either subtly or outspokenly on purposeful themes like the persistent prevalence of the caste as well as the caste systems, empowerment of women, absence of employment opportunities and the deep divisions in the social strata. RRR touching on the colonial Raj (in the vein of Lagaan) made news on the Oscar front.
Pushpa-The Rise, Kantara, The Manjummel Boys, Vikram and Jai Bhim, to name a few, have been engrossing and narrated expertly. For me, at least, a film from the south had become the first option on the streaming channels. No more. Replete with excessive violence, and repetitious yarns of crime and punishment attained (or denied), a fatigue element has set in. In any case, the most memorable mainstream films – from the south – have come from directors K. Balachander, K. Vishwanath, Bapu, Bharati Raaja and even Ravi Nagaich, the first one to infuse special effects, when they were a practically unknown factor, in his espionage thrillers
Do you think it’s a sad story for Bollywood if at all Southern movies are calling the shots, isn’t it?
I disagree. While carrying no brief for Bollywood, to each his or her own. Example: How can Tamil cinema’s iconic Mani Ratnam call the shots any more after his colossal disappointment Thug Life. Also, currently the most ‘hyped’ film Ramayana, the lord knows fuelled with how many crores, is being directed by Nitesh Tiwari, most famously known for Dangal.
Filmmaking is not about calling the shots, but something akin to Russian roulette. One fatal shot, obituaries are hurriedly written and then the show goes on, retaining India’s status as the highest film production country with approximately 2,000 films annually.
Another aspect is Hindi film stars relegated to the background down South getting either parallel or villainous roles, this looks unacceptable. What is your take?
Shahid Kapoor in Sandeep Reddy Venga’s double whammy, Kabir Singh and, Ranbir Kapoor in Animal had those pitch-dark shades of an antagonist –like Shah Rukh Khan did in his heyday. In fact, the audience for quite a while now has been fascinated by ‘Bad Boys’. Bobby Deol in a brief role in Animal, has made a ‘comeback’, hasn’t he?
Looking at our Hindi film industry, despite stars, directors and storytellers, in terms of box-office glory, we are found wanting. What is ailing Bollywood?
You’ll have to ask a doctor about that. As far as I know, despite calamitous flops which it has faced down the decades – the production rate hasn’t diminished, and neither has their simultaneous output on OTT platforms. Earlier, video piracy had threatened to decimate Bollywood, but with Raj Kapoor’s Ram Teri Ganga Maili, the crowds flocked back to the cinema halls. The threat that films of every language face today is the multiplex syndrome – tickets and popcorn tubs at prices which would make you faint. I don’t know if this can be rectified but then I’m no puzzle champion.
Finally, have we moved beyond the star obsession? Is it a fact or a fallacy?
Like it or not, the ‘star system’ is immortal. The first question you’ll be asked is, “But who’s acting in the film. On the upside, there are more actors who are excellent and find prominent roles, like Jaideep Ahlawat and Amit Sial. More roles are accessible to out-of-work actors in the web series. To wrap up, don’t worry, cinema and cricket are our nation’s prime forms of entertainment. Unless Artificial Intelligence goes absurdly haywire, every Friday is film day, irrespective of language, genre, or region.
