Indian cinema has been experiencing dynamic shifts, with Bollywood films seeing remarkable growth at the global box office over the past couple of decades. Several interconnected factors contribute to this expansion, inclusive of broader international releases, diverse content, and astute marketing strategies. Interestingly, many of the films leading this charge hail from the Hindi-speaking Bollywood circuit, but the Southern film industries—Telugu, Tamil, Kannada, and Malayalam—have also made significant strides, leading to the overall analysis of why these distinct cinematic worlds are experiencing different financial trajectories.
Starting with Bollywood, the first Hindi film to cross the 200 crore gross mark globally was 3 Idiots, released back in 2009. This milestone opened the floodgates, leading to multiple other films achieving similar success since then. Notably, Dangal, released in 2016, now stands as the top-grossing Bollywood film with earnings exceeding 2059 crores, thanks markedly to its phenomenal performance at the Chinese box office following its release there.
Interestingly, only two out of eight Indian films crossing the 1000 crore threshold are pure Bollywood productions—Dangal and Pathaan. The remaining six—Baahubali, KGF: Chapter 2, Pushpa 2, RRR, Kalki 2898 AD, and Jawan—are creations from South Indian cinema, illustrating the unique approaches these filmmakers are employing.
At the recent conference held by the Screenwriters Association, industry representatives from Southern cinemas offered insights on how Bollywood could regain its financial footing. Vivek Athreya, talented director of hits from the Telugu film industry, noted, "...the films are rooted. The ideas are rooted..." emphasizing the emotional connection cultivated through storytelling.
This rootedness, as termed by Athreya, serves to strike chords with audiences, contrasting with Bollywood's often scattershot attempts at mass appeal, sometimes resulting in films perceived as overly commercial or devoid of cultural depth. He pointed to the monumental success of Pushpa, where the narrative previously placed on the back burner became the core strength, engaging viewers with familiar themes.
Another key insight came from Hemanth M Rao, representing Kannada cinema, who shared the advantages of pitching projects to individual producers. Unlike the corporate structure prevalent across Bollywood, Rao observed, "I go... and right there we're discussing release dates. I get to make the story I want to make..." This informal, one-on-one touch can considerably streamline the creative process, allowing filmmakers to bring their visions to life without the long bureaucratic wait associated with large studios.
Contrastingly, Bollywood's working practices have, at times, become convoluted with excessive 'notes' from executives. The fear of unhelpful feedback can hinder creativity, with one acclaimed director expressing frustration: "Don't try to justify your salary with ridiculous notes on my film." This reflects the growing disconnect between industry executives—who may lack practical film-making experience—and the otherwise talented creatives stifled by their feedback.
Effective storytelling is not the only critique leveled at Bollywood. Cultural trends such as 'algo filmmaking'—where decisions about casting sometimes prioritize social media influence over personal merit—have come under fire. This superficial strategy echoes the notion of “banking on social clout” rather than narrative strength, which explains why less skilled performers continue to appear on screens, sometimes overshadowing talented actors struggling for visibility.
When it relates to marketing, Bollywood's fixation on the 'pan-India' label has provoked criticisms, as cinematic ventures attempt to appeal to universal audiences. This mass homogenization often leads to films lacking the unique narratives characteristic of successful regional productions, with Hemanth again remarking, "...I have to know...only eight will watch the film. Now, my job as...producer, director or writer is to be honest with those eight people." This highlights how genuinely aimed marketing can lead to effective viewership.
Despite the challenges, some positive trends linger for Bollywood's future. The notion of engaging deeply with local cultures when crafting stories was touted as the way forward rather than aiming for blanket hits. Christo Tomy, from Malayalam cinema, emphasized how writers and directors receive equal rights and recognition alongside producers, creating more collaborative creative spaces—an unthinkable scenario for Bollywood until the very recent past.
Resisting trends of excessive feedback, creating specific marketing strategies, focusing on original ideas based on cultural narratives, and ensuring casting aligns deeply with character needs over algorithmic or superficial measures—these principles resonate as effective resolutions for the industry. Nevertheless, the crux remains: will Bollywood executives heed these calls for change? The future of Indian cinema rests upon adapting to refine and preserve the rich narratives audiences cherish.