Why is Bollywood collapsing under the weight of Southern cinema?

Is Mumbai’s tinsel city movie mafia getting nervous? Keeping high hopes or being optimistic does it turn out to be a hike to Nanda Devi? To be honest, the Bollywood numbers put in a deplorable figure compared to the global collections of SS Rajamouli’s RRR and Prashanth Neel’s KGF: Chapter 2. The losses cast worrying doubt on producers, actors and celebrities in the industry. hindi cinematography. too. In such a scenario, what will it take to ensure a sudden downpour? Is getting closer to the South to join in projects enough?

THE DISCUSSION IS ON RS 1000 CRORE NOW

You could justify it by saying, “Bhool Bhulaiyaa 2 wins.” Yes, the boy-faced Kartik Aaryan definitely has reason to smile considering his part is set to pocket more (almost Rs 250 crore) than Akshay Kumar’s film did (Rs 83 crore) . But, when the discussion revolves around Rs 1000 crore and above, does it even make sense to dance to 100-200-300 crore clubs? We will not consider Vivek Ranjan Agnihotri’s The Kashmir Files (Rs 251 crore) as the director has always made it clear that he is an independent filmmaker whose operation has nothing to do with the operation of industry leverage.

Plus, with no star presence in the hit drama, we doubt Bollywood blue-collar workers even feel like calling the movie a product of their circuit. Call it mother-in-law or cold, the treatment that has been regularly given does not exhaust Agnihotri at all. While touring humanity around the world at the moment, the director is busy preparing to drop another truth bombshell in the form of The Delhi Files next year. Honestly, from what Indian audiences crave (well-woven narratives grounded in solid historical and political research), it looks like they’ll be having fun once again donning the director’s hat.

THE FAILURE OF SAMRAT PRITHVIRAJ

Even as we write our thoughts on Bollywood’s inability to break through this digital bastion of the Southern film industry, Khiladi Kumar has been heard warning his fans that if Dr Chandraprakash Dwivedi’s (Samrat Prithviraj) historic magnum opus, where the 54-year-old actor plays a young and dashing tank Chauhan, he’ll go back to making his regular money spinners Rowdy Rathores and Housefulls. What he may have forgotten to take into account is that moviegoers, with a new fondness for Indian and relatable cinema served by the Telugu and Kannada film machines, will recognize his “schemes” featuring franchises. debauchery comics. Will they excuse his shoddy work (apart from the wrong dialect and projected story) in Dwivedi’s film and welcome the B-level cinematography that uses nonsensical storytelling and crude dialogue that isn’t really witty or cerebral?

Have you ever heard of Farhad Samji’s Bachchhan Paandey, remade from the Tamil blockbuster Jigarthanda? Kumar’s pain, frustration, or whatever you want to name his state of mind, is justified, with this film of him earning just Rs 14 crore while Samrat Prithviraj struggled to even reach the 100 crore club ( standing at Rs 63 crore now). Moviegoers are getting pretty picky, it seems. Or are they fed up with the opportunism prevalent in the Hindi film industry, which, like a cat out of the bag, has made itself too obvious? A case in point is Razneesh Ghai’s Dhaakad (who only earned an abysmal Rs 4 crore). Kangana Ranaut, we’re sure, felt the pinch.

ALLU ARJUN’S PUSHPA SUCCESS

The success of Sukumar’s Pushpa: The Rise in the country’s Hindi belt took the industry by surprise. With Rs 365 crore (made on a budget of Rs 200 crore) at the box office, Bollywood never expected a thug Allu Arjun to be favored over Ranveer Singh, impersonating the legendary Kapil Dev in Kabir Khan’s 83 (Rs 190 crore won against a budget of Rs 271 crore) which told the story of the legendary victory of the Indian cricket team against the West Indies in 1983. But, going through how the industry Telugu has always dominated the talk of numbers by giving examples, it was something the Mumbai bigwigs should have seen coming. After all, Baahubali: The Beginning’s whopping Rs 520 crore eclipsed Kabir Khan’s Bajrangi Bhaijaan (Rs 320 crore) in 2015, no matter how many accolades Salman Khan won.

Two years later, no one really took a risk, therefore, positioning their releases with or around Baahubali: The Conclusion, realizing that a pan-Indian audience would invade the screens to find out exactly why Katappa killed Amarendra Baahubali! With Prabhas’ goliath pocketing Rs 1800 crore worldwide till date and with international production houses eyeing Tollywood and Kollywood as viable investment hubs, Bollywood’s position as an elite film destination in India is definitely on rocky ground. Now the thing is, will Ayan Mukherji’s Brahmastra (Shiva, first part of the trilogy, which cost the makers Rs 300 crore) be able to infuse him with fresh energy and electricity? Only time will tell.


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