Monthly Archives: April 2022

Why south films are dominating? Is Bollywood on the decline?

The last six months, ever since theatres re-opened all across India at the end of last year, have seen some major box office hits in India. The top three of them have been from the south Indian film industry. These include the likes of Pushpa: The Rise, RRR and KGF Chapter 2.

Interestingly, apart from their original languages, these films they have also done phenomenally well in its Hindi dubbed versions in the Hindi belts of India – regions where predominantly Hindi films work.

They have also outperformed quite a few big-ticket Hindi films that were expected to do well. This is forcing a lot of people to ask the question as to why south films are working big time in the Hindi markets these days, especially on social media.

Going by the films that have succeeded, the answer to the question is simple. These films are finding massive audience base because these are entertaining films. Over here, entertaining means absolute mass entertainers.

These are films where a popular hero (or heroes) with a good amount of fan following plays a rough and tough character who can beat the hell out of the bad guys, gets to mouth some heroic dialogues and shake a leg on fast dance numbers. Pushpa, RRR and KGF fall in these categories of films and were decent content-wise too. Hence they have achieved massive success all over the country.

This is also giving rise to the question whether Bollywood or Hindi film industry is on the decline. It is being said on numerous occasions that south industry is all set to dominate and put behind the Hindi industry. I read a lot enthusiastic comments on social media daily where someone or the other states that Bollywood is slowly getting finished or is sinking.

I personally feel these are baseless statements. One needs to understand that there has been a change in the way audience consumes films in the post-pandemic era. People are visiting theatres in large numbers only for massy commercial films that provide larger-than-life entertainment.

That’s the reason why the aforementioned south films have done so well. And that is also the reason why Rohit Shetty’s Sooryavanshi became a runaway hit and that too at a time when there was uncertainty at the box office. After all, it was the first big Hindi film to release post-pandemic and the producers themselves weren’t sure how it would perform. But it had non-stop entertainment and this was enough for the cash registers to start ringing.

The same can be said about the success of Gangubai Kathiawadi. It might be a film about the life of a sex worker but it was narrated by Sanjay Leela Bhansali in a larger-than-life and entertaining manner. It was also helped by the presence of superstar Alia Bhatt who showed as much confidence and swag as any hero in a hero-centric massy film.

The Kashmir Files is an exception as it’s not a typical Bollywood movie. It created massive interest for people of a particular political ideology who felt it’s their duty to watch this film in theatres. This doesn’t mean that those with a different political view didn’t see the film.

On the other hand, films like Chandigarh Kare Aashiqui, Badhaai Do and Jersey have failed despite getting positive reviews and word-of-mouth. This is because they were sensible, content-oriented films and not the larger-than-life masala entertainers.

Hence, as per the change in audience consumption, they didn’t do well in theatres. People are preferring to watch such type of films on OTT [over-the-top] platforms. Now, a film worth watching in theatre has to be a big-screen experience. A major proof of this change is that even someone like Ayushmann Khurrana, who was considered a bankable star before the pandemic, couldn’t help the cause of Chandigarh Kare Aashiqui.

Of course, Satyameva Jayate 2 was also aimed as a massy entertainer but the film got rejected because of its terrible content. The film at least needs to be decent to be successful. Because of the same reason, the Hindi version of Radhe Shyam sank despite the presence of the Baahubali actor Prabhas. The same was the cast with Vijay’s Beast. So it’s not at all big south films are doing well in Hindi.

There’s no denying that the quality of Hindi films in recent times hasn’t been up-to-the-mark or at high standards. The industry has been criticized for its obsession with remaking successful south Indian movies over and over again.

But this certainly doesn’t mean that Bollywood is sinking or is on the decline. It’s just that only commercial films with big stars and decent content are doing well right now because of the change in audience’s manner of consumption.

The big commercial films lined up for release from here onwards are expected to do well if the content is decent enough. Can’t say the same about films that are thought-provoking and not aimed at the masses as these films are now considered worthy only for OTT.

This will go on at least till the near future. After that, things may or may not change.

Also read:

Can we stop giving unreal reasons for 83’s box office failure?

When Sachin, the bowler, bailed out India in THRILLING situations

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Sachin Tendulkar is considered the legend of the game and the best batsman to have played the game. But those who have grown up alongside his career would know that he was an underrated and underused bowler.

Tendulkar has had a number of successes with the ball, including two 5-wicket and 4-wicket hauls. He picked up 154 ODI wickets and 46 test wickets in his long career. But apart from being the highest wicket-taker in these matches, he also rolled his arm over for just an over or even a ball in situations that were purely nail-biting in few ODIs; where the match could have gone anywhere but for his calm and calculative bowling.

These are those moments:

Hero Cup: India vs South Africa (1993):

This was a must-win match for both teams as it was the semi-final. The winner was set to play either West Indies or Sri Lanka in the final. The match, as Ravi Shastri would say, went right down to the wire. India batted first and were all out exactly at 50 overs for just 195. South Africa never got going and struggled during the chase.

In the end, South Africa needed 6 off 6 balls with 8 wickets down. During this time, skipper Mohammad Azharuddin gave the ball to Tendulkar. After getting Fanie de Villiers runout of the first ball, he literally made Allan Donald dance on his tunes by not allowing him to take any run on the next three balls. McMillain, the set batsmen, stood frustrated at the other end.

Donald finally got a single on the fifth ball and McMillain needed to score a boundary off the last ball. He was unable to connect well and just managed to take a single. India won by two wickets.

Titan Cup: India vs Australia (1996):

Tendulkar had a phenomenal record against Australia with the bat. But he has also made life tough for the Aussies with the ball. He had a 5-wicket and 4-wicket hall each against them in 1998. But he also had a small but major achievement with the ball against Australia in the unofficial semi-final of the Titan Cup in 1996 in Chandigarh. The winner of this match was to play South Africa in the final.

This situation was similar to the one in the Hero Cup semi-final. India scored 289 for 6 batting first with skipper Azharuddin again top-scoring with 89. This match also turned out to be a thriller with Australia needing 6 runs of the final over. Sachin was the captain on this occasion. He decided to bowl the last over himself. Again, he hadn’t bowled in the entire innings.

Tendulkar bowled a length ball to Brad Hogg who looked good in that innings. He tried to play the sweep but got hit on the pads and there was an appeal for LBW. McGrath, at the other end, took the run but Hogg was busy watching the ball. Hence, it was too late for him to reach the other end as keeper Nayan Mongia succeeded in a direct hit. India won by 5 runs.

Benson & Hedges World Series: India vs West Indies (1991)

This is one of the most underrated heroics of Tendulkar with the ball. It was the first match of the Benson & Hedges World Series between India and West Indies and it ended in a tie. Tendulkar had a major role to play in it.

In this low-scoring match at Perth, India were bundled out for just 126. In reply, West Indies kept losing wickets at regular intervals, which ensured that India was always in the game. This was the match where Javagal Srinath got Keith Arthurton bowled in the famous way after squaring him up.

When West Indies were reduced to 113 for 9, it looked like India would win from there on. But a gutsy last wicket stand between Anderson Cummins and Patrick Patterson got them on par with India’s score of 126.

This was the first time that captain Azharuddin threw the ball to Tendulkar in such a tense situation. And like the two aforementioned incidents, he hadn’t bowled in the entire inning. He gave away five runs in the first five balls of the over. But on the last ball, he got Cummins caught at second slip by Azharuddin in a spectacular manner.

We all know how Tendulkar kept a calm head despite crores of people scrutinizing him while having high hopes from him when he is batting. But the aforementioned incidents show that he also had the nerve as a bowler in situations where even the best of bowlers would feel the pressure.

Also read:

Sachin Tendulkar’s 8 best bowling performances

Political ideologies & caste have divided audiences of Hindi & Marathi cinema

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Cinema, like other art forms, is celebrated in India. In fact, this has been the most popular medium of art since time immemorial in various languages. It is considered to be a medium that is enjoyed by people in groups of large numbers. In other words, it has united people of India over the decades; be it of different languages or regions.

But in the recent past, there has been an increasing division among the film audiences in terms of political ideologies and caste.

This has been seen the most with Vivek Ranjan Agnihotri’s The Kashmir Files. No, this article isn’t about whether the film is good or bad. What’s noteworthy here is that people are divided in two sides of the fence when it comes to this film.

Agreeing to disagree is something that doesn’t happen much on social media. Those who haven’t liked the film or are critical of it, be it film reviewers or general public, are hated and abhorred by those who have loved it. I agree there have been reviews and views that appear biased against the movie.

However, even if someone genuinely doesn’t like that film, he or she is considered to be insensitive towards the plight of Kashmiri Pandits. They just don’t take into account that a person can dislike a film for its craft and other filmmaking aspects like screenplay, dialogues and direction. Not liking The Kashmir Files doesn’t mean one doesn’t care or sympathize with the Kashmiri Pandits.

Similarly, if a person genuinely likes that film, he is considered to be from the Right Wing.

Hence, now Hindi films are looked upon as ‘ours’ and ‘theirs.’ Films that are critical of the rivals of the ruling party or the ones that have references to Ramayana or Mahabharata are considered Right Wing movies. On the other hand, those critical of the ruling party and the ones that feature the Khans or the ‘nepo gang’ (as they are called) are considered belonging to the ‘other’ side.

Unfortunately, the curse of division has entered among the Marathi cinema audience too. Here it’s not based upon political ideology but caste. Yes, we are seeing caste-based divisions even in 2022. In fact, it is seen the most this year.

For people like us, films like Jhund (it is a Hindi film but it’s aimed mostly at Maharashtra) and Me Vasantrao are great films. However, because of the caste identity of the protagonists in both the films and its makers, they are labeled as films for the ‘lower castes’ and ‘higher castes’ respectively.

Hence, if a person from the ‘higher caste’ doesn’t like Jhund, he is considered to be anti-‘lower caste.’ On the other hand, if a person from the ‘lower caste’ doesn’t like Me Vasantrao, he is accused of being anti-‘higher caste.’ In both scenarios, if that person happens to be a film critic, he or she is trolled and bashed online. We have now reached a stage where the caste of the critic is taken into consideration before taking his or her views seriously.

Over the last 1-2 months, I have come across plenty of comments and long opinions on social media on the division between Marathi films on the basis of ‘ours’ and ‘theirs’. This segregation had started mildly few years ago but it has reached dangerous levels this year.

This division among Hindi and Marathi audience couldn’t have come at a worse time. This is the era of pan-India films. South is leading the way with movies like Baahubali (1 and 2), KGF Chapter 1, Pushpa, RRR and KGF Chapter 2. These films are dubbed in Hindi and they do tremendously well all over India.

Being an admirer of both Hindi and Marathi cinema, I would want films in these two languages to do well pan-India too by getting them dubbed in various south languages or through any other way.

But looking at such a staunch division among the primary audiences of films of both the industries itself, this appears like a dream right now.

Also read:

Can we stop giving unreal reasons for 83 box office failure?

Meet the 49-year-old test cricket debutant

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The biopic on former IPL (Indian Premier League) and Ranji Trophy player Pravin Tambe released this week titled Kaun Pravin Tambe? The special part about his story is that he made his IPL debut at the age of 41.

During this time, it would be interesting to know someone who made his debut at the age as advanced as 49 and that too at the international level. England’s James Southerton holds that record by making his test debut for England at that age. He remains the oldest test debutant in the history of test cricket.

Born on 16 November 1827 in Sussex, England, Southerton played as a batsman initially in the 1850s both for Sussex and Hampshire. During those days, it was allowed for one player to play for more than one county in one season. He later played for Surrey as well.

But in 1865, Southerton realized his great potential as a slow left-arm spin bowler. It was an era where there were mostly only fast or pace bowlers. This fact along with his ability to spin ball both ways and that too in an intelligent manner made him a headache for the batsmen.

James Southerton [Photo source: InShorts]

Southerton picked up loads of wickets at the first-class level. In 1868 while playing for Surrey and Sussex he became the leading wicket-taker with 151 wickets. Two seasons later, he became the first bowler to pick up 200 wickets in a season. He was a leading bowler from 1871 to 1875.

It is also believed that the legendary WG Grace also found it difficult to face Southerton’s bowling.

The following year, Southerton made history when he grabbed a place in England’s side that toured Australia in 1876 under the captaincy of James Lillywhite. He was 49 years and 119 days old when he played the first test of the series on 15 March 1877.

This was no ordinary test. It was the first ever test match in the history of the game. Hence, Southerton had two records on his name. Apart from being the oldest test debutant, he also got a chance to play the first ever international game of cricket.

It was a two-match series that went into unlimited days; it wasn’t confined to five days. And in those days, one over contained just 4 balls, instead of 6.

The England team of 1876. Southerton is seated second from the left [Photo source: Wikipedia]

Strangely, Southerton bowled in just two of the four innings in the series – in the first innings of the first match and the second innings of the second one. He picked up 3 for 61 on the first occasion and 4 for 46 in the second. It wasn’t that he was also selected for his batting abilities because he batted at number 11 in all four innings.

How someone who started off as a batsmen went onto bat at number 11 can also be an interesting story. He did score a couple of 50s at the first-class level.

This was the only test series Southerton played and understandably so considering his age. He last played at the county level cricket in 1879 before he announced retirement. Sadly, just 10 months after his retirement, he passed away on 16 June 1880 due to a pleurisy attack at the age of 52.

Of course, when Southerton made his test debut at 49, he wasn’t known as the oldest debutant because it was the very first match in the history of test cricket. But today, even after more than 145 years, he still retains that record.

And it looks like this is one record that won’t be broken.

Also read:

How rain helped Pakistan in the 1992 World Cup