Eliminating Persistent Elitism: Krishna Shastri Devulapalli's Account of His Failure
In an attempt to explore the world beyond his usual cinematic comfort zone, Dilip Cherian, a film enthusiast, decided to watch two films from the Indian film industry - one from Bollywood and one from the South Indian film industry. The choice was inspired by a trusted friend's recommendation, leading him to Malayalam films known for their portrayal of hirsute, unbathed men and dense forests.
The Bollywood film started with a group of bearded friends in kaily mundus, having an argument in a forest. However, Cherian could only manage to watch ten minutes of each movie due to other commitments.
On the other hand, the South Indian film began with a never-ending list of acknowledgements, including Punnoose Uncle and Mariam Chechi for their support. This practice of crediting a broad set of contributors, from singers to stunt choreographers, is a common feature in the South Indian film industry, in stark contrast to Bollywood's star-centric approach.
Indian films, particularly Bollywood, are criticised for their focus on the star cast, often sidelining important contributors. This practice has been viewed as a limitation to public recognition and appreciation for these individuals, thus potentially hindering their chance to rise to wider fame. In contrast, the South Indian film industry promotes both the cast and crew members, generating greater audience interest and engagement by highlighting the entire team's contribution.
The excessive acknowledgements in the South Indian films, however, sometimes distracted the viewer and slowed down the story, as Cherian found in his experience. While these acknowledgements are a common feature in Indian films, they can at times disrupt the flow of the narrative.
Cherian's experience highlights the differences between Bollywood and the South Indian film industry in terms of promotion and acknowledgement. Bollywood's star-driven marketing contrasts with the more inclusive promotion in the South Indian film industry, which emphasises the collaborative nature of filmmaking. As the trend underscores, there is an imbalance in crediting and promoting film contributors beyond stars in the Bollywood industry.
Despite the challenges, Cherian expressed his intent to continue exploring the world of South Indian cinema, hoping to adapt to the real world and move away from his elitist tendencies. In a dream, he even imagined a future where theatres in Telugu and Tamil states would use probes to invade audience members' rear ends whenever the hero appears, insisting on their admiration. But for now, he remains a film enthusiast, navigating the world of Indian cinema, one acknowledgement at a time.
Movies-and-tv from the South Indian film industry often feature a broad set of entertainment contributors, crediting singers, stunt choreographers, and others, in contrast to Bollywood which is criticized for its star-centric focus.
Indian films, particularly Bollywood, are known for occasionally sidelining important contributors, such as those working behind the scenes, in favor of the star cast, potentially hindering their chance to gain wider fame.
