The next week for the box office is not only going to be very big in many ways but it is also going to be decisive. Now it is difficult to divide the content of Indian cinema along linguistic lines. Indian content is available in different languages at the same time and is also universalized by the common purpose and communicative ability. However, for some years the period of decisive battles continues. Another phase of the linguistic conflict in Indian cinema is about to appear on April 14, when films from two different language industries such as KGF Chapter 2 (Pan India of the South) and Jersey (Bollywood) will clash.
Bollywood’s drop at the box office in KGF Chapter 2 and Battle of Jersey is crucial in that Indian cinema will be dominated by the new cultural era emerging from the south, which began with SS Rajamouli’s Baahubali and Baahubali 2, or else Hindi cinema has managed to preserve its model in which it has made inclusive ideological changes from time to time. The success of RRR after the failure of 83, Pushpa: The Rise and the success of KGF Chapter 2 in Hindi areas in this episode should also be seen as the hallmark of a new commercial, political and cultural era of cinema. And that would establish three big things.
Yash at KGF.
#one. Bollywood will lose leadership
In fact, there has been a rivalry between the film industries in the country for some years. Even though the broader audience group is no longer very adamant about consuming any content on a linguistic or regional basis. With the exception of at least five southern states, the established dominance of Hindi in the form of Bollywood can be felt in the rest of the film landscape. Hindi content is still unable to address the southern audience politically and culturally. The inspiring and nationalistic history of cricket that is uniting the country, despite the launch of Pan India, 83 has not only lost commercial advantages due to weak preparations, but also seems to be shouldering those shortcomings due to the political developments of the last few years. three decades. Ranveer Singh’s 83 film did not show any movement in the south, the lifeline of him turned out to be lifeless even in the Hindi belt.
Consider that in almost the same period, Pushpa was much more successful than expected and, despite the adverse situation, not only in Telugu but also in other linguistic regions of the south, as well as in the Hindi belt. That is, the case study is enough to understand that the audience’s understanding is clear, but there is still a strong lack of uniformity of thought among the giants of linguistic cinema. The conflict between Bollywood and the cinema of the South is now just a question of who will lead. With the success of KGF 2, Bollywood will either lose the driver’s seat, or have to move away from the linguistic division of cinema towards an inclusive Indian cinema model in the future that seems to be developing a better understanding between the five languages. from the South, directors of photography and the public.
Shahid Kapoor in Jersey and Ranveer-Deepika in 83..
#two. Radhey Shyam’s failure against Kashmir Files is also a victory for the South
Those who defend the hegemony of Bollywood can argue that The Kashmir Files had killed Radhey Shyam, the Prabhas heavyweight. But you can also see that Kashmir Files is also a daring attempt to show a story in the current cultural current of the South. Since the Kashmir Files content is clearer about its purpose, we are making the mistake of seeing it as a separate stream from Bollywood. While in reality it is at the same point that the new generation of cinema from the South is constantly trying to make on the screen. Look at the content purpose of Kashmir Files and South Pan India Movies. There is only one difference between the way of saying and the use of political symbols.
Vivek Agnihotri’s film was given preference in Kashmir Files and Radheshyam, which arrived at the same time. Although the film was made in Hindi, it was seen and talked about more in non-Hindi regions than any recent Bollywood film. This is a clear indication that despite being Radheshyam, Vivek’s film remained at the center of the discussion. It would be better if Radheshyam’s failure was also seen as a victory for Southern cinema. Right after this, the rejection of a film with a clear message like John Abraham’s attack on RRR can only be considered a cry of supremacy from South.
#3. Majoritarianism in the cinema will have a justification for international reasons
Due to technology, a thought of the world is being formed and the cinema is not alien to it either. After the death of Sushant Singh Rajput in the year 2020, Bollywood seems to be in trouble. The Hindi film industry has been accused of promoting nepotism, monasticism and an ideology. Attacks based on ideological nationalism have steadily increased since Narendra Modi came to power in 2014. The partition is clearly visible after Sushant’s death. In this, some Bollywood gangs were allegedly identified and many campaigns were conducted against them. Bollywood needed a competitor. Ideological opposition to the current structure of Hindi cinema has not only exposed Southern cinema as a rival, but also defends and supports it.
Victory in the Beast.
Interestingly, after Modi came to power, the record success of Baahubali and SS Rajamouli’s Baahubali 2 had given him a legitimate footing. Although the South may still refrain from taking a bold step like Kashmir Files, it will come up with movies like Jaibhim, Mandela to build a bridge with the North and destroy Bollywood. It will propose RRR and KGF 2, which are actually being made with the majority population of India in mind.
Even southern Tamil cinema increasingly subjects Islamic terrorism to the use of nationalist symbols. Due to local politics, non-Tamil nationalism does not appear to have received much attention there previously. This change in Tamil cinema is a result of the crushing of the LTTE movement in Sri Lanka and the incidents of Islamic terrorism there. Tamil cinema is also moving towards the new Indian theory. Vijay’s Beast, which arrives on April 13, is the best example of this. In this, there is an attempt to pose the nature of Islamic terrorism in the same way that is seen in the rest of India’s cinema on this subject. There are reports that the film is banned in some Gulf countries due to its Islamic image.
In that sense, it is not a small thing that Tamil cinema seems to be openly opposing Modi’s policy at the same time and Jayabheem is doing it too. Beast too. There is a story of a caste and a Tamil Indian soldier. By the way, a stream sees the Thalaivi of Kangana Ranaut there. Maybe it’s because of Jayalalithaa and Arvind Swamy. But despite the plight of Covid, there can be no hesitation in listing it among the top films by a Hindi star in Tamil Nadu. The success of the South movies coming in April will work in a way that rationalizes mainstreaming through cinema for international reasons. There will be locality in the cinema, but in the field of nationalism.
It goes without saying that due to the continued success of films from the South, the number of such films will increase and Bollywood, which is going through a crisis of confidence of the majority audience, will have to suffer.