Since cinemas started operating, there have been some 16 major Hindi releases. However, only four of them fared well this year, and only one The Kashmir Files crossed domestic business of Rs. 250 crore nett to achieve blockbuster status.
In this phase, two films from the south, RRR (Rs 277 crore) and KGF: Chapter 2 in their only Hindi version (Rs. 434 crore) eclipsed them all!
Other Hindi hits are Sooryavanshi, released in Diwali week 2021, Gangubai Kathiawadi and Bhool Bhulaiya 2. Major disasters, in terms of face value, history and budget scale, number 83 (Ranveer Singh and Deepika Padukone with Kabir Khan as director and Sajid Nadiadwala as co-producer), Bachchan Pandey (Akshay Kumar and Kriti Sanon in a new production by Sajid), Jersey (Shahid Kapoors second remake of South after his blockbuster Kabir Singh), Jayeshbhai Jordaar (Ranveer Singh in a Yash Raj film), and Samrat Prithviraj (Akshay Kumars returns to Yash Raj Films).
Major, a Telugu film also made in Hindi, picks up while last year’s PushpaThe Rise: Part 1 broke the Rs 100 crore mark in Hindi alone.
So the debate is on: why are Hindi movies doing poorly when the South seems to have struck a pan-Indian heartstring? While Shilpa Shetty dismisses this as a bizarre post-pandemic phase in which success and failure have become unpredictable for the biggest films and stars, writer-director Anees Bazmee, who delivered the superhit Bhool Bhulaiya 2, has an explanation.
To say that the South is successful when we are not successful is totally wrong. You cannot categorize hits or flops based on language or region. Whether it’s Hindi, Hollywood or the South, good movies are always on the way. Against three super hits, the South also had many flops, in Hindi versions like there, Bazmee says. Varun Dhawan, waiting for his long-awaited mega hit Jugjugg Jeeyo, echoes Bazmee. Audiences still accept good films from anywhere, even after the pandemic, he says.
Bazmee says flops and hits are poorly analyzed. The only change after the pandemic is that now things are extreme, no movies are doing average business. There are only hits and flops. This is because the public is very cautious. They don’t want to see a movie if word of mouth isn’t good. They’d rather wait until it airs if a movie isn’t getting its money’s worth.
Seasoned trade analyst Taran Adarsh has a somewhat different view. If you remember, the films of the 1970s and 1980s were almost all larger than life. But starting in the 1990s and even more so in the 2000s, two things happened: multiplexes arrived, and filmmakers started targeting niche and so-called elite belts, because most theater revenue came from of the. The real reel hero is gone, except in a few movies, he reasons.
But the South never left the larger-than-life cinema. Watch the stylized action and emotion in KGF: Chapter 2 and RRR. In Pushpa and KGF: Chapter 2, the hero is a criminal, but he takes on the world, and that’s what connects. SS Rajamouli and Prashanth Neel. I think filmmakers should give the audience what they want, not what they like themselves, which is what most filmmakers in Mumbai do, Adarsh believes.
SS Rajamouli at the RRR Hit Party gave this succinct answer on why his movies are loved by kids as well as octogenarians. I always write my films with children in mind because there is a child in each of us, he said.
That said, wasn’t AntimThe Final Truth, Attack: Part 1, Heropanti 2 or Prithviraj? Larger than life? Yes but they still failed because low quality scripts will not be tolerated. And remakes are redundant unless significantly altered. Jersey failed because of this, Adarsh believes.
With music also in serious creative decline in Hindi cinema, yet another overlooked USP, it’s no surprise that Pushpa and RRR’s Hindi-dubbed melodies worked so well.
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