Remakes and adaptations of films from South and Marathi industries seem to be the rage in Bollywood these days.
Remakes and adaptations of films from South and Marathi industries seem to be the rage in Bollywood these days. But while this regional flavour is giving takkar to the reigning Punjabi culture on the big screen — though not threatening to edge it out yet — behind the cameras too, a newer, local breed of filmmakers are getting into mainstream Hindi cinema.
Director Sachin Kundalkar whose Hindi film Aiyyaa released recently, is a National award winning Marathi filmmaker, Rajesh Mapuskar too made a Bolly entry with Ferrari Ki Sawaari. Marathi film director Nishikant Kamat had stepped into this space way back in 2008, while Mahesh Manjrekar continues to balance between two industries.
Recently, Gujarati theatre director Umesh Shukla added the Gujarati touch in Oh My God. South filmmaker AR Murugadoss became a known name in B-Town post Ghajini and the director is currently in talks for his next Bolly outing. Prabhudheva has proven his mettle here already and is game for more. Noted filmmaker SS Rajamouli whose Makkhi marked his Bolly debut too is now contemplating Bollywood offers.
The draw, say most of them, is a chance to work on an interesting project. But many also admit that Bollywood films help them get a countrywide audience, as against their regional films. “As story tellers, we would want to tell interesting stories, but also want them to be heard on as big a scale as possible,” says Rajamouli. Nishikant who made an impact with the John Abraham starrer Force has earlier admitted that Bollywood films bring more recognition on a wider scale. “But the script is what will be the deciding factor,” he’d added.
Trade analysts and industry observers say that the lines between the industries are blurring. While South flavour has been around for a while now, audience is now developing a taste for Marathi. And with the demand, there is an influx of regional filmmakers. “Today it’s all about good cinema, no matter what region it comes from,” points out trade analyst Komal Nahta. He also adds that when films here depict a particular culture of a region, it helps to have a director who is well-aware of the nuances of that culture. “Aiyyaa had a strong Marathi culture, so it made sense for Sachin to helm it,” adds Nahta. “But even otherwise, they do bring in the essence of the local flavour which is a change from the usual Punjabi naach gaana we get to see all the time. Like Rajesh Mapuskar added a lavani touch to his film even though the set-up is Parsi in Ferrari...,” he elaborates.
“I don’t look at it as competition with Punjabi culture or the current South masala, but yes it’s good to know that the filmmakers are going beyond them and exploring other cultures too on screen,” says Sachin.
However, trade gurus also insist that it doesn’t always have to do with culture. “If it’s a talented director, then they are bound to be roped in irrespective of the culture. So, they are more talent driven than culturally channelled,” they add.
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