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India Positive

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Photo by Naveed Ahmed on Unsplash

Rainbow Nation was a phrase coined by Archbishop Desmond Tutu to describe post-apartheid South Africa after the 1994 elections as the country peacefully and remarkably transitioned into a democracy.  This was to bolster the blending of diverse cultures and traditions to create a colorful and vibrant society. India with its huge geography and 140 crores + population defies any such paradigm. Just consider this. 122 languages adding up to 234 including dialects. Hindi is said to be spoken by a major segment of the populace. If you count dialects like Awadhi and Bhojpuri… and even the tapori slang of the Mumbaikars and the Hyderabadi lingo’s twist and flavor. 6 recognized religions (Christianity, Islam) & including 4 great faiths born in India- Hinduism, Sikhism, Buddhism, and Jainism. Add the small Parsee community of Zoroastrian tradition and Jews who sought refuge in India from persecution elsewhere. An ancient civilization that dates back to 6000-7500 years ( historian Tim Dyson).

Today’s India has truly started to churn as a melting pot. This cultural acceptance is being fostered by the job opportunities and economic interdependence of ordinary Indians which has led to mass relocations, which in turn is driving the wheels of commerce. Travel and tourism have led to millions of Indians discovering new sub-cultures and traditions and even taking a liking to their food and apparel habits. INDIA POSITIVE- a story not following the script of the divisive politicians and their acolyte media influencers.     

Food for Thought. Whether the sweet delicacy Rasgulla originated in Puri as an offering to Lord Jagannath or in the State of Bengal does not really matter; as also whether the original recipe of Sambhar can be traced to the royal kitchens of Maratha ruler Sambhaji Maharaj or is a Southern India concoction as considered today. Whether the famous Idli dish originated in Tamil Nadu or Karnataka or as Kedli by the cooks of the Indonesian Hindu kings more than 1000 years ago also does not matter. Today be it Punjabis, Gujaratis and Bengalis are drooling over some delicious variants of the Idli & Sambhar or the Dosa, Uthappam, or Appam. The Rasgulla is a must at large corporate events and weddings as a preferred dessert. The Lucknawi or Hyderabadi servings of the biryani or kebab are hot-sellers across the country. The Chola Bhatura, Aloo Paratha, and Rajma Chawal from up North are the stuff of thousands of Swiggy orders every day down South. The Bengali Doi Maach, Goan, and Kerala fish curries are culinary bestsellers. The very thought of farsan items like the Dhokla Khaman virtually transports us to Gujarat as does Daal-Baati-Churma to Rajasthan.  The delicious Momo –a staple in Leh-Ladakh, Sikkim, and Arunachal Pradesh – has spread its food-print all over.  A visit to Indore is not complete if you do not sample the fare at Chhapan Bhog (the 56 eateries’ food lane) or taste the night offerings at the Sarafa bazaar.

During a recent visit to Chennai, I was struck by the number of Tea Shop chains across the city- Chai Kings, Chai Waala, and Chai Galli. Although the aroma of filter coffee still fills the metropolis the young Chennai crowd is having their sips of the other beverage also. A young woman from Chattisgarh was attending the order desk and language was hardly a barrier in handling local customers and the delivery boys. At one such crowded joint, I noticed the ubiquitous Mumbai fast food Vada Pav selling like hot cakes.

During a 2-day hotel stay in Chennai, I learned that the Supervisor and the entire Housekeeping staff were from Tripura. Disciplined, polite, and making an honest living a long way away from home. At a reputed South Indian restaurant chain, the entire waiter service staff was from Bihar and spoke the Maithili dialect. One of them told me that he had been working for them for the last 5 years and that he and his buddies were decently looked after.  Other than the specialities the restaurant is known for they had expanded the Menu items to Naan, Paneer Kulcha, and Rajma Chawal. For me, Chennai is the Bellwether of cultural shift and change.

More than 13 million domestic tourists have visited the Kashmir valley this year with 3 months of the season still to go. The hotels and guest houses are full as are the cabs, buses, and Shikaras.  Some of my friends who have returned after a memorable vacation are not just full of the beautiful scenery but also about the warm hospitality from the locals. Travel is good education. It changes perspectives and dismisses prejudices. The North East is now firmly on the Indian traveler’s map and as I have been there multiple times it is an experience to cherish. The backwaters of Kerala, the coffee hills of Coorg, the beaches of Goa and Puducherry, the wildlife sanctuaries, and the tranquil spots of Himachal and Uttarakhand are already attracting hordes. The less visited spots of the tribal hills of Araku (Andhra Pradesh) or the lush forests, icy lakes, and monasteries of Sikkim will soon turn into attractive tourist destinations. Odisha will not remain “ India’s best-kept secret’ for long and with the Governments of Rajasthan, Madhya Pradesh, and Gujarat putting their weight behind scaling up the tourism economy good times are ahead for the tent stay in the Rann of Kutch, the Jaisalmer desert festival and the Kanha Tiger Reserve Park. The younger generation is on the move and they are seeing and finding the Real India. Their passion for long trips by car or bike and for trekking and adventure sports is a good omen.

When one does the ‘Matha Tekna’ at the Golden Temple in Amritsar one is bowing down to show respect to the message of the Gurbani. Then there is the heart-warming concept of the Langar. In Sikhism, the Langar is the community kitchen of the Gurudwara which serves free meals to all irrespective of caste, creed, gender, or economic status. During the Covid lockdown, the Langar was God sent for lakhs of migrant workers and the jobless and the destitute. Putting a Chadar at the Ajmer Sharif Dargah is on the wish list of millions of Indians cutting across faiths.  The Sufi saint and philosopher Moinuddin Chisti is celebrated in the A R Rahman song,’ Khwaja Mere Khwaja’ in the 2008 film ‘ Jodha Akbar’.  The Sai Baba temple at Shirdi attracts millions of devotees every year and is second only to the multitudes that pay respects at the Lord Balaji temple at Tirupati. Just imagine the seismic effects when the Ayodhya temple of Shri Ram is opened to the public. Crores of faithful will line up for darshan. But it will also do wonders for the local and neighborhood economy and will serve the Greater Good. The Buddhist and Jain circuits in Bihar are testimony to India’s rich spiritual heritage. A look at the beautiful paintings at the Jain temple in Mount Abu or the pristine sculpture work at the Meenakshi temple in Madurai gives us a glimpse of who we are as a people. The St Thomas Church in Palayoor Kerala is believed to have been established by the Saint himself as far back as 52AD. The celebration of Merry Christmas in India is not confined to the lighted-up and decorated churches and the Midnight Mass. That Santa Claus caps and little glittering Christmas trees are sold at the city traffic lights a week before the Big Day speaks of the festive spirit which has taken over.

The Soft Power of Indian films, music, and dance has reverberated across Asia, Africa, the Middle East, South America, and Europe and is now making waves in North America. Dangal has been a huge blockbuster in China. The ‘Naatu Naatu’ dance sequence from RRR has captivated the world. But now in India Bollywood no longer rules the roost. Bahubali 1 & Bahubali 2 did huge business in the original Telugu and other South Indian languages but the Hindi dubbed versions broke all box-office records. Paving the way for the big success of Pushpa & RRR (Telugu) & KGF & Kantara (Kannada) in the Hindi heartlands.  Southern stars like Yash, Prabhas & Vijay Deverakonda are now well accepted and applauded by Hindi film audiences. So much so that many Bollywood biggies do not release their films when a mega South film is about to hit the cinema theatres. The Covid lockdown and the streaming channels also have played a big role in the breakdown of these regional film barriers. Audience tastes are now conditioned to the quality content and performances from Malayalam, Tamil, Bengali, and Marathi films.  Tumbbad is a stellar example of a classic Marathi movie. Vijay Sethupathi (Tamil) and Fahadh Faasil (Malayalam) have developed a fan following of their own beyond South India. I was not surprised when on a trip to Kochi I saw a corporate gathering at a hotel grooving to the beats of ‘Zingaat’ (Sairat, a Marathi blockbuster). Nor was I surprised when I saw baraatis at a traditional Maharashtrian wedding in Pune doing the rousing Bhangra. People are now opening up to other cultural influences.

 Rabindra Sangeet strikes a popular chord much beyond Bengal with its distinctive rendition whilst singing. But the music is a fusion of Bengali folk music, Carnatic music, Hindustani classical music, and the occasional Western note. Gurudev Rabindranath Tagore created a pan India scores much before Independence. More than 100 years later we are still understanding the notes.

For the last 2 decades, many of India’s top cricketers have come from India’s smaller towns. Dhoni (Ranchi), Jadeja (Jamnagar), Shami (Saharpur-UP), and Bhuvaneshwar Kumar (Meerut) to name a few. India’s most popular sport is no longer about the metros. And for the fervent fan of the Men in Blue, it does not matter if the winning runs are scored by Kohli, Gill, or Sanju Samson or if Mohd Siraj or Ashwin wins the match with the ball. That a man from Jharkhand is anointed as Thala (Leader) by the Chennai Super Kings fans and is embraced as one of their own is a potent, emotional story. Mr. Naveen Patnaik’s Odisha government sponsoring and supporting both the men’s and women’s hockey teams has resonated well with sports buffs across India.  These impactful undercurrents are not restricted to big sports. A Pro Kabbadi League (an indigenous sport with the scent of our desi soil) was launched in 2014 and attracts full stadiums and a good viewership on Star Sports. It has brought into prominence Indian stars like Maninder Singh from Dasuya, Punjab; Nitin Tomar from Malakpur in UP; Kashiling Adake from Sangli, Maharashtra. Plus professionals from countries like Iran & South Korea. Times are changing.

The gender barrier is falling on all fronts. Sticking to the sports narrative we have medal-winning woman wrestlers from conservative Haryana. Mary Kom (Boxer- Manipur) & Deepika Kumari (Archer from Jharkhand) who both have tribal backgrounds are now pan-India sporting ICONS. Mary Kom has had a successful Bollywood film made about her life and achievements. PV Sindhu & Saina Nehwal (Badminton) and Sania Mirza (Tennis) are household names and brand ambassadors for many products and services. Earlier this year the lucrative and glamorous Indian Premier League for women’s cricket was launched and the first season had good audiences and good TV ratings. Some of the Indian women cricketers are already celebrities on social media.  Top women corporate and business leaders are no longer outliers; many successful start-ups are being driven by women entrepreneurs. It’s still a work in progress but with the tipping point in the not-too-distant future.

In a sense, this can be seen as the quiet confluence of India’s mighty rivers, criss-crossing across our vast land. The Brahmaputra, the Ganga, the Indus, the Narmada, the Godavari, the Tapti, the Krishna, and the Cauvery and their tributaries flow into and merge into the other with the mythical and hidden Saraswati beneath the surface. A myriad of sub-cultures reach out to understand, appreciate, and live with each other. This is not wishful thinking, being naïve, or misplaced idealism. The story of India Positive-around the Idea of India-is not making any headlines but has started happening. It is gradually enriching and reinforcing the national ethos. Just let people be.

Why Bollywood’s Profits Are Going South?

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Bollywood has long been considered as the Big Brother of the Indian film industry.  Today, the Mumbai based film world is synonymous with glitz and glamour; big money and scandals; pan-India reach and an expanding global footprint; some hits and many more misses; a well-oiled PR machinery to spin the make-believe; and of course the mellifluous appeal of Hindi film music and songs.

Indian cinema, in other languages, were dubbed as Regional cinema. Yes, there was recognition and awareness about the Titans- MGR and Sivaji Ganesan from the Tamil film world, NTR and ANR from Andhra Pradesh, Kannada film star Dr Rajkumar and the prolific Prem Nazir from the State of  Kerala. The last named holds the Guinness Book record for playing the lead in 520 films. But all these legends did not have an All India audience for their movies.

The other X factor or dimension was that Raj Kapoor with his ‘Laal Topi Russi’ (from the song Mera Joota Hai Japani– Shree 420) had won a lot of hearts in the erstwhile Soviet Union and China. Amitabh Bachchan wowed audiences across the Middle East and South East Asia and clicked with the Indian diaspora everywhere. But the Bollywood media did not acknowledge the fact that the Rajnikanth phenomenon was not confined to Southern India but had spread to Japan- with the release of his film Muthu in 1998- or as the Japanese called it – Odura Maharaja or Dancing Maharaja.

But now the landscape has dramatically changed. By 2020, the combined revenues of the South Indian film industry had surpassed the collections of the Hindi film industry, with Tollywood (Telugu) and Kollywood (Tamil) leading the pack. The game changer has been the release of Baahubali –the Beginning in 2015 and Baahubali 2 in 2017. Part 1 grossed Rs 650 crs at the global BO and the Part 2 collected a staggering 1810 crs. Pipped at the post by only Dangal with Rs 2024 crs, with 60% coming from the China market. But in the Indian market Baahubali 2 The Conclusion reigns supreme at the cash counters with a net lifetime collection of Rs 510 crs. It also registered the highest estimated footfall for any film in India since Sholay in 1975. The ambition, scale and sheer imagination of these S S Rajamouli movies are in sync with the title. They delved into both the Indian tradition and the Epics and hence resonated across the country. Even those generally not interested in the movies flocked to the theatres to soak in the experience.  Baahubali 1 & 2 did not feature any major Bollywood star but won a pan India audience.  Instead Prabhas, Anushka Shetty and the character called Kattappa became household names. Even more significantly, the Baahubali mania earned respect for South Indian film makers and the technicians.

Other movie makers from the Regions stepped in to break the mould. Shankar’s Tamil sci-fi opus 2.0 was made at a budget of Rs 400 crs, probably the most expensive Indian film ever. KGF cost Rs 80 crs to make and market, unheard of for a Kannada film. The recent super-hit Telugu film Pushpa The Rise worked on a budget of Rs 180 crs. All these producers and financiers have shattered the local barriers and dreamt on an All India and even global scale. All the films have been released, dubbed in 3-4 South languages plus Hindi. All have broken records and ejected the status-quoist and even patronising mind-sets.  The Rajnikanth starrer 2.0 with its special VFX effects comes in at no 2 on the Indian BO ratings and pulled in around Rs 190 crs on the Hindi circuit. KGF has broken ground on both counts- breaching the Rs 100 crs barrier on home turf and crossing Rs 250 crs in total collections. The slow burn gangster drama, led by the charismatic Yash, had mixed reviews but resonated with single screen audiences well beyond Karnataka.  Allu-Arjun’s Pushpa has scored a century in BO terms in the Hindi belt and again mostly through single screens. A story about red-sandalwood smuggling it has the smell of the soil and has appealed to cine-goers especially in the tier 2 towns.  Whilst many Bollywood producers are stuck in their multiplex ivory towers. Another key factor in the success story are the peppy songs and the dance numbers which have gone viral on You Tube. The Hindi film industry has lost its feel for even catchy songs and groovy dance numbers which had contributed so much to its growth and appeal.

The theatrical release of Rajamouli Garu’s next magnum-opus RRR has been deferred because of Covid restrictions. This saga of freedom fighters in the India of the 1920’s has created huge hype and expectations. How times have changed. This time around the Bollywood bigwigs will carefully plan the release of their films after knowing when RRR is going to hit the cinema halls.

The OTT platforms and the prolonged Covid lockdowns have played a seminal part in changing both audience expectations and awareness. Now, with just 2 or 3 clicks they are watching a regional film or a foreign movie with sub-titles or dubbed in their preferred language. Good films from the South have piqued the interest of millions of film buffs and have ticked a lot of boxes. The natural acting of the Malayalam film icon Mohanlal in Drishyam 2 has simply blown away the watchers and social media has kicked in to spread the good word. Fahadh Faasil has created a fan following outside Kerala on the strength of his performances and especially his chilling portrayal in Kumbalangi Nights. Audiences woke up to the talent of Vijay Sethupathi after watching his depiction of a trans-woman in Super Deluxe. Then there are the inevitable comparisons with some much –hyped Bollywood stars who are trapped in their comfort zone and keep repeating themselves.

 Film audiences are also raising the bar on content. Even a masala film has to be entertaining, not mindless fare. Like Jathi Ratnalu the rollicking Telugu film of the Andaz Apna Apna genre. Take Jai Bhim the social-legal drama based on a true story in Tamil Nadu- It has the highest IMDb ratings of any Indian film on an OTT platform-9.3.  And one of  the lowest IMDb rating goes to- Salman bhai’s Radhe at 2.1. Tamil star Suriya who produced and acted in this intense and controversial film had earlier backed Soorarai Pottru, a fictionalised version of the book Simply Fly by Capt Gopinath the founder of Air Deccan. It was the only Indian film eligible for the Best Picture Oscar nomination in 2021. The political satire made for television, Mandela, is worth watching on Netflix because of the sheer quality of filmmaking.

The Bombay/Mumbai film industry owes a lot to the Southern fraternity. Studios like Vijaya Productions and Devar Films bankrolled major films like Ram aur Shyam and Haathi Mere Saathi. Of course, Padmalaya Productions kept a fit Jeetendra going through his PT exercise dance sequences with Sridevi and Jayaprada in loud, family melodramas. Let’s take a dekko at the never ending list of remakes. Hrithik Roshan”s next is Vikram Vedha based on the Tamil hit of the same name. Shahid Kapoor’s career was resurrected by Kabir Singh, a remake of the Telugu film Arjun Reddy. Ajay Devgan has featured in 10 such projects, the latest being Kaithi. And lest we forget the roll call of honour for famous Hindi film heroines- Vyjayanthimala and Waheeda Rehman, Hema Malini and Rekha, Sridevi and Jaya Prada….

Other than the big producers and financiers, the people who really call the shots in Bollywood are the distributors and theatre chain owners. They have burnt their hands badly over the last few years with debacles like 1983, Radhe, Thugs of Hindustan, Zero and Bombay Velvet all featuring the elite stars of the Mumbai filmi duniya. The South has taught them umpteen lessons on how mega films can deliver mega results. It is not a coincidence that Karan Johar who invested in Baahubali 2 The Conclusion is backing the much awaited Brahmastra with Randhir Kapoor. They are also keenly aware that the Return on Investment ( ROI) is much higher and the Risk factor considerably lower on movies shouldered by the second-line star actors like Ayushman Khurana (Andhadhun) , Vicky Kaushal (Uri) and the late Sushant Singh Rajput (Chichore).  Made at modest budgets ranging from Rs 50 crs to Rs 35 crs they have grossed Rs 435 crs  Rs 285 crs and Rs 225 crs respectively.  Despite having limited screen release in the range of 800-1200 screens. These movie mandarins are also clued in to the big Hindi movie release formula- Eid-Diwali-Christmas. 4000 screens and hiked up multiplex ticket rates. The footfalls dropping dramatically in the second week. And those with their ears to the ground know that the days of the Super Star may well be over. Actors like Manoj Bajpayee in Family Man and Pratik Gandhi in Scam 1992 have created a large viewership, who eagerly awaits their next venture, albeit on a streaming channel.  

For Bollywood, the writing is on the big screen. The language barrier is no longer holding. Their hold on the pan-India market is diminishing. On the world stage, the Indian film industry has a long way to go to feature on the same page as Hollywood or the Chinese film industry. China with 70000+ screens grossed over $9.3 billion in movie revenue in 2019 (pre-Covid). The Hollywood North America box office gross was $11.4 billion in 2019 plus the rich overseas collections for their Superhero and Fantasy offerings. Movies like Spiderman and Avengers with their multiple language release have a huge market in India.  With 44,000 screens in the US of A there is a robust infrastructure for the cine-goers. One of the biggest challenges for our film industry is the paucity of screens-only 6327 single screens and 3200 multiplex screens for the approx. 1700 films made every year. Many of them do not even find a release date.  The overall revenue of Indian cinema reached $2,7 billion in 2019. That same year the global box office was worth $42.2 billion.      

It’s also just a matter of time before a Bengali or a Marathi film becomes an All India rage. Some of the best Hindi film classics have been made by masters like Bimal Roy and Hrishikesh Mukherjee. And Marathi movies have come of age with offerings like Tumbaad, a horror fantasy, Court, an intimate social-legal drama and Natsamrat which is influenced by Shakespeare’s King Lear and showcases Nana Patekar in the role of a lifetime. Also don’t be surprised if a Punjabi, Odiya, Bhojpuri or Gujarati film makes the breakthrough and punches far above its regional weight.

It’s a happening, exciting time for the Southern India film industry. Also a wake-up call for Bollywood to get its act together.

(Soures: Box Office Data/Stats/Figures  sourced from- Box Office Diary, Box Office Hungama, Indian Cinema-Wikipedia, SACNIK, Statista, Hollywood Reporter)