#south indian films

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Madhu Chopra Reveals The Inspiration Behind Venturing Into Regional Cinema | People News

Mumbai: Madhu Chopra, mother of global icon Priyanka Chopra Jonas and mother-in-law of Nick Jonas, shared her insights on regional cinema and discussed about her venture into regional films.  In one of her conversations, she was asked about the changing landscape of Indian cinema. While Bollywood has long been the focus, it is noted that South Indian films like Kantara and KGF have gained…

[playermagic23]

Taapsee Pannu explains why southern films are doing well, stating, "People are movie enthusiasts. There's a ritual there.

With the exception of Stree 2, Hindi films have suffered at the box office for several months this year. While most Indian film industries have had challenges in 2024, there is a rising impression in Hindi-speaking regions that regional cinema is outperforming Bollywood in terms of film production success. When asked about this in a recent interview, Phir Aayi Hasseen Dillruba actor Taapsee Pannu stated that the ratio of hits to flops is generally stable throughout the film industry.

In an interview with ANI, Taapsee noted that fans in Hindi-speaking regions are largely exposed to successful southern films and are frequently oblivious of those that depart theaters within the first week. "There are films that fail, that do not work after 3-4 days, and are no longer in theaters. It's only that you don't get to know about it from here. If you stay in that state or follow every release from that industry, you will notice that they have an equal mix of hits and flops. "It's not that different," she explained.

Taapsee then stated that the movie-watching culture in the south differs substantially from Hindi, and that in the south, "movie viewing is almost like a holy practice. People love movies. "There's a ritual there." She elaborated: "It is relatively difficult to pull out a Hindi movie viewing audience from their houses to go and watch the film."

When discussing the south film industry, Taapsee was asked about the fundamental contrasts in work culture between the two industries. When asked if the southern film industry is more organised and disciplined, Taapsee said that is not always the case. She responded: "Having worked in both the industries, I can tell you it's not the case." She claimed that when she initially started working in the South, before making her Hindi cinema debut, she was never handed bound scripts. Instead, she received daily dialogue sheets, as opposed to Bollywood films.

She went on to say, "Until I was in the southern film industry, I never received bound scripts for any of my projects. I used to only receive sequences, and things were always changing on set. I believe things have improved there as well. But when I started in Hindi, my first film, Chashme Baddoor, had a bound script, despite the fact that it was directed by David Dhawan, who is famed for writing things on the spot.

She stated that even Anurag Kashyap, who usually modifies things on set, gave her a proper screenplay.

Taapsee's recent film credits include Phir Aayi Hasseen Dillruba and Khel Khel Mein.

[sszeemedia]

Janhvi Kapoor set to share screen with Jr. NTR, Ram Charan and Suriya

Indian actress Janhvi Kapoor is all set to make her Telugu debut with Jr. NTR’s ‘Devara,’ with Saif Ali Khan playing the antagonist. The pan-India film is scheduled to release in October 2024, according to media reports.Besides the Telugu debut, the actress has also signed a film with Ram Charan and a Hindi film with Suriya. Expressing excitement for Janhvi Kapoor’s film projects, father and…

[newswatchindia]

The RRR movie has been in constant discussion since its release and after winning the Oscar, it again made headlines. Meanwhile, a sad news is coming, Irish, who played the role of Villain in SS Rajamouli's blockbuster film 'RRR'. Actor Ray Stevenson has passed away at the age of 58. However, the reason behind the death of the actor is yet to be known.

[bolllywoodhungama]

Sarath Babu, a 71-year-old South actor, has passed away.

Sarath Babu was admitted to a hospital in Hyderabad earlier this month and his condition was expected to be critical.

Sarath Babu, popularly known for working with some of the biggest superstars in the South industry including Nagarjuna, Kamal Haasan and Rajinikanth, passed away on May 22 at the age of 71. The actor, known for working in Tamil and Telugu industry, was admitted to the hospital in Hyderabad for a treatment for his multi-organ damage earlier this month. While the actor was in a recouping stage, he passed away on Monday.

Click here to read more.

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Most Anticipated Sequels of South Indian Cinema! Check List! - Daily Trends Feed

[inmyworldblr]

Devdas (1936) | dir. P. C. Barua

[musiquesduciel]

It should be mandatory for all Bollywood hits to have an Epilogue or at least a reference in the director's next movie about what the characters from the previous movie are upto years after the events of the movie.

Like I wanna know how Aditya Kashyap and Geet are doing 15 years into their marriage and if they ended up buying a house in the hills. I wanna know how Prem and Jenny from Ajab Prem Ki Gazab Kahaani are doing and if Prem made her VP of the Happy Club. I wanna know if Aisha and Sid from Wake Up Sid! ended up marrying and if she published her own book with his photography on its cover. If Aditi and Jai from Jaane Tu Ya Jaane Na have kids who they teach the steps of Pappu Can't Dance? If Bittu and Roshan from Delhi-6 got married and settled down in the same villa Roshan’s grandma brought him to? If Kavya and Humpty Sharma moved to the US eventually and opened their own wedding gown/lehenga shop. What country Naina and Bunny from Yeh Jawaani Hai Deewani are currently in. Did Om Kapoor end up marrying Sandy after Om Shanti Om? Or does he visit the burned site to meet Shanti everyday? So many questions.

[rrcraft-and-lore]

Monkey Man and why I loved the heck out of it

At it's core, it's a Bollywood flick presented to the West with familiar nods to previous action films - I definitely picked up hints of Tony Jaa's influence on Asian action flicks throughout.

It's heavily focused on police corruption, something commented a lot about in India, and here, more importantly, Indian films. Just like America has its love affair with mobster flicks, Bollywood has a long history featuring films that showcase police corruption, sometimes tied into political extremism, fanatical or greedy religious leaders, and Monkey Man comments on all this as well and pays nods to that commonality. We've got televangelists and religious leaders in the states funnelling money, preaching prosperity gospel, and using it to influence politics and fund lavish lifestyles here.

Monkey Man shows this happening in India, and is filled with Indian culture and symbolism through out. The focus on Hanuman, the god and one worshiped by the strong, chaste, wrestlers, champions, and fighters. It's a common thing to have a household deity if you will. Some families might choose to focus worship on Ganesh, others Hanuman, some might do Mata Rani or Lakshmi. Here, it's the divine Vanara (monkey people race) - one of the Chiranjivi - immortals/forever-lived.

Hanuman. Themes of rebirth, common in South Asian history and mythology are present from Kid being a ringer, beat up fighter getting whooped for money to being reborn and facing his trauma through a ritual/meditate process that I don't want to get too much into to not spoil the movie. Post that, he begins his own self alchemy to really become the true Monkey Man. Nods to Ramayama, and an unapologetically Indian story featuring dialogues throughout in Hindi - don't worry, there are subtitles.

And of course a love for action flicks before it, all the way back to Bruce Lee. A beautiful use tbh of an autorickshaw (and you might know them as tuk-tuks in Thailand) which are popular in India with an added kick...I swear, that thing had to be modified with a hayabusa motor. Which is an actual thing people do - modding those dinky rickshaws with motorcycle engines, and considering they weigh nothing at all, they can REALLY FLY once you do that.

Monkey Man brings to the big screen other elements of India people might not know about, such as the gender non conforming and trans community that has a long history in India, presenting them as action stars as they go up against a system of corrupt elites oppressing part of the city, marginalized communities, and minority voices as depicted in the film. I'm not sure if people are going to get all of that without having the context, but I love that it does it without holding anyone's hands.

It's a fun action flick to see in the age of superhero films, and I say that as an obvious superhero/sff nerd. Also loved that Dev included a little bit about Hanuman's own story in the film, and the loss of his powers - almost mirrored by Kid's own loss of self/skills, strength until he confronts his trauma and is reborn, and in fact, remade (not necessarily the same). Also, the use of music was brilliant, including one scene with a tabla (the paired hand drums of south asia) - and Indian music is central to Indian stories.

This is a culture with evidence going back to the Paleolithic with cave murals showing art of Indian dance nearly 30,000 years ago. Yeah, that far back. As well as Mesolithic period art depicting musical instruments such as gongs, lyres, and more.

Indian music is some of the earliest we can find that has high developed beat and rhythm structures such as 5, 7, 9 and now the extremely common and known 4/4 and 3/4 - which so much of Western music is built upon. The foundations and experimentation of/in Jazz. John Coltrane and John Cage were heavily inspired by Indian music and incorporated a lot from it into their works. And Monkey Man blends Eastern and Western music through the narrative as comfortably as it does an Indian story in a very familiar Western accessible structure.

Dev did a wonderful job. And thanks to Jordan Peele for bringing it to screens.

[cloudtinn]

Shah Rukh Khan and Juhi Chawla for 'Yes Boss' (1997).

[celluloidrainbow]

मजा मा | MAJA MA (2022) dir. Anand Tiwari Pallavi Patel is the quintessential, middle aged, devoted housewife who is equally famous for her dance as she is for her cooking. Her husband, Manohar Patel, is the chairman of the local society, her daughter Tara is getting her PhD in sexuality and gender identity, and her son Tejas, who lives in America, is about to marry into a rich but very strict family. But when Tejas' future in-laws come to visit, the accidental revelation of Pallavi's 30-year-old secret puts both the marriage and the Patel's reputation in danger.

[darlingletshurttonight]

literally so many bollywood "cult classics" are remakes of malayalam movies. especially the comedy ones. priyadarshan is one of my favorite directors, and i realized really late that he repackaged his industry's movies into bollywood. i feel like the remake culture worked then because people were generally just not aware of south indian movies, and somehow the nuances were still considerably translated into hindi because of self aware and creative directors, as you mentioned.

its sad really, they deserve so much more recognition.

as a kid, i used to pretend to not know telugu because my friends made fun of south indians 🤡 overtime i lost touch with the language and it angers me. now i spend so much time overcompensating for it by watching ALL south indian movies and trying to learn the languages. malayalam movies SHOULD be celebrated just as much as we celebrate bollywood and bengali movies.

The amount of people who don't know that Hera Pheri is a remake of the malayalam original Ramji Rao Speaking is amazing.

When i was younger i used to hate malayalam films and a lot of my own culture because yk internalized racism and all that but after growing older and actually being able to understand my own language, you have no idea how good malayalam films are.

I knew the more recent ones were good but the older films are just as timeless. Psychological and comedy movies would be nothing with malayalam cinema. The sheer amount of creativity and self awareness the directors and actors have is what makes the films even better.

My personal favorite malayalam films have to be In Harihar Nagar, Manichitrathazu, Bangalore Days, Aram Thaburan and way more that i do not know how to spell in english

[rodrickheffeley]

The Namesake (2006)

[therukurals]

The reclamation of such images appears to be Patel’s goal—one he shares with numerous Hindu leaders who have continued to battle Hindu nationalism. But the use of Hindu imagery as a call to violence, reminiscent of the Hindutva project, is central to Kid’s mission, resulting in narrative dissonance. In comparison, the movie’s villains only use Hinduism as a façade for violence and financial gain, rather than as a sincere fixture of their fanaticism. They represent Hindutva only in the abstract, echoing its power structures without its ideology. Kid, meanwhile, perhaps inadvertently, embodies it in both belief and action. In a key flashback, Rana—acting on Shakti’s orders—clears out Kid’s forest-adjacent village so the land can be used for industrial growth. This bears a striking resemblance to the Indian government’s recent attempts to evict thousands of Muslims along India’s Eastern border and millions of indigenous people from tribal lands. The BJP’s political opponents believe these land seizures are an attempt to transfer tribal resources to corporate allies, not unlike Shakti’s plan for Kid’s village. However, the metaphor is muddled. Rather than framing Kid’s community as an oppressed caste, religion, or tribe, the only visible culturally specific moment involves the villagers enjoying a marionette re-telling of the Ramayana, which is interrupted by incendiary violence. In the movie’s purview, Hinduism is under attack from something non-Hindu, or falsely Hindu, rather than from dangerous factions of Hinduism itself. This grants Kid permission to weaponize it freely, sans conflict or spiritual reckoning—a thematic tension the movie never reconciles.

[evansbby]

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