Look at the recent release, ‘Pushpa: The Rise’.The makers dared to release the film in direct opposition to ’83’. ‘Baahubali: The Beginning’, especially, was an out-of-the-world experience.’Baahubali 2: The Conclusion’ came across as half-baked but it still enjoyed the equity of its predecessor.īaahubali has successfully neutralised the aversion of Hindi film audiences to Tamil and Telugu films. Nothing like this had been seen coming from the Hindi film industry.Hindi filmmakers claimed crores being spent on their films, which never showed in their films! Watching films on television was fine, but what worked finally was the release of ‘Baahubali’.The film took the Hindi box office by storm. The acceptance of these Dubbed South Indian films seems to have happened gradually through television channels.In the absence of new Hindi films, most of the filmy television channels are telecasting the Dubbed versions of the South Indian films day in and day out. These films are made with mammoth budgets, which they justify. One of the reasons why some of the Dubbed South Indian films are readily accepted is because they don’t lack in any way when compared to Hindi films.In fact, they come up with different subjects and are spectacular, providing a visual treat. What is also obvious is that while Hindi stars are being rejected, Dubbed films from the South are being lapped up. The films of all these stars are failing to make an impact on OTT platforms as well.Surprisingly, though, the films, serials and other content of either lesser known or past-their-prime actors are working on all platforms.īy non-star actors, or actors past their prime, one means actors such Saif Ali Khan, Kay Kay Menon, Manoj Bajpai, Abhishek Bachchan, Susmita Sen, and many such whose appearance in feature films was getting scarce.The careers of these actors have been revived on OTT. Salman Khan has delivered a line-up of flops over the last few Eid festivals, his favourite release date Akshay Kumar has delivered one dud,Bell Bottom, and one average film, Sooryavanshi, which even his co-stars Ajay Devgn and Ranveer Singh could not salvage. While the admission rates remain high, the stars keep peddling the same stuff, film after film. Whether they come in cinemas, or through OTT streaming platforms, the audiences are not willing to be taken for granted any longer! Be it Salman Khan, Akshay Kumar, Ajay Devgn, Ranveer Singh, they came up with new films which did not really find takers. They are rejecting what is peddled as commercial entertainers. Suddenly, during the periodic lockdowns over the last two years, people’s preferences are seen to have changed. Looks like the addiction to this opium was the only thing available to people.There was no alternative entertainment available. So, the film buffs stuck to regular commercial stuff.Īt least, it did not induce boredom like art and parallel cinema.The audience had no option but to consume the “opium of the masses” as commercial Indian films have been labelled over the decades. In the process, the National Awards never got due recognition from the real film industry, the filmmakers who mattered. That was funny because it amounted to government largesse going from one pocket to another. NFDC was government-backed and the only recognition these NFDC films got was from the government itself they kept winning National Awards. The whole parallel cinema, backed by Film Finance Corporation (FFC), later renamed National Film Development Corporation (NFDC), amounted to nothing eventually.
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