The Indian film industry, which produces the largest number of movies in the world, is on the cusp of a radical transformation and its steady rise in the global M&E space is clearly visible.
Chinese President Xi Jinping told Indian Prime Minister Narendra Modi
that he watched Aamir Khan- starred sports drama Dangal and liked it. This underscores
the growing influence of Indian cinema and its increasing global footprint.
There is a
steady growth in the visibility, volume and cultural visibility of India – from
Bollywood to Bhangra music, from mobile telephony to India’s influence in
Silicon Valley – India has revolutionised in the production, distribution and
consumption of images and ideas.
Last year turned out to be the
most successful year for Indian films which were exported to more than 35
global territories internationally. USA, UK, China Gulf, Australia and Canada topped
the list of Indian films in overseas territories. Around 125 movies (Hindi and
regional films) were released in overseas theatrical markets in 2018.
Hailed as the best
Indian movie of 2018, Sriram Raghavan’s Andhadhun, an official adaption of
the French short film The Piano Tuner, had a successful run in China. Made at a
budget of less than $5 million it raked in around $50 million in box office
collections in China.
accounted for $272 million in box office collection for 10 Indian films in
2018. “Indian films have been gradually making inroads both through the
co-venture route (which films do not form part of China’s quota of foreign
films) and co-production treaties,” says a recent EY report.
Indian films also
made inroads into Saudi Arabia which lifted its decade old ban on cinemas,
allowing theatres to open in Saudi Arabia.
Indian filmmakers have embraced new ways of telling stories, and this is
increasingly visible on global platforms. “Indian content is in big demand and
new avenues are opening up, for example China. The local market is huge in
India, which is the only country in the world with nearly 12 dialects per
language. As the dubbing industry is growing, all platforms are realising the
value of localisation. The popularity and footprint of the platforms is
increasing immensely due to this and this has resulted into emergence of
Netfilx and Amazon, who are setting up offices in India and producing India
specific content for global market as well,” says Manish Dutt, MD, VR Films
There’s no doubt today that Indian cinema is India’s soft power and is seen in over 100 countries. Thanks to platforms like Netflix, it is instantly visible and experienced now.
Indian actor Nawazuddin Siddiqui happened to be vacationing in Italy on the day that Sacred Games, the critically acclaimed Netflix political thriller in which he stars, was released online around the world. Just couple hours after Sacred Games was released, Nawazuddin got recognized on the streets in Italy. There are examples of new narratives, fresh stories, unknown stars, women power and successful films in regional languages across Indian movie production centres. That
sums up the changing landscape of Indian cinema in 2018.
The Indian movie industry is a gargantuan entity. From
its seven production centers, India produces nearly 1,800 films in 20-odd
languages a year – more than the output of China and the US counted together.
The success of small budget films
like Badhaai Ho (Amit Sharma), Andhadhun (Sriram Raghavan), Stree (Amar
Kaushik) and Raazi (Meghna Gulzar) proved that Indian film audiences’
consumption habits are changing.
They are looking for new narratives, new
genres than formula films. If the content is mediocre, however big stars may be
is getting rejected at the box office. Most of these small budget films were
made on a budget of less than Rs 40 crore but yielded at least thrice the
amount at the box office. Raazi made almost Rs 200 crores!
The year 2018 also proved that films
laced with good content and powerful performances can overpower the stars who
ruled the box office collections of Bollywood films over the years.
Fox Star India Studio’s film Sanju
emerged as one of India’s all-time blockbusters
at the box office followed by Padmaavat, Simba, 2.0, Race 3, Baaghi
2, Badhaai Ho, Stree,
Raazi, and Sonu ke Titu ki
Apart from these, films in regional
languages such as 2.0, KGF Chapter 1, Rangasthalam, Bharat Ane Nenu, Kaala, Arvindha
Sametha Veera Raghava and Geeta Govindam performed well in terms of box office
Industry experts maintained that 2018
also saw emergence of OTT platforms as an alternative for theatrical release as
well as for films which had a good run in cinema screens. However, for small
budget movies, video OTT platforms (like Hotstar, Amazon Prime, Zee 5, Netlfix,
Eros Now) have opened a new market place.
“OTT is the new field for TV drama and independent film making. It has changed everything, scripts, budgets, quality of art, even the list of senior crew and actors prepared to work on the smaller formats,” says producer and filmmaker Bobby Bedi, currently producing over a dozen web series.
FILM ON THE SMALL SCREEN
“I have viewed more and better drama
in the last two years than I have viewed in the last 20. Never a fan of
ad breaks, I never saw films on TV and my lifestyle rarely permitted me to plan
a film outing unless it was really ‘one of those big ones’. Today I look forward
to my post dinner two (maybe three) hours of viewing across a range of
content. Addictive web-series and films I couldn’t see.” Bedi adds.
The Government of India has
recognized India’s Audio Visual Sector as one of the Champion Service sectors
for export growth. India is also one of the most liberated media markets in the world. The country offers highly liberal policy environment for
investments in film sector.
From talents (both on-and off-screen), to locales to an industry-friendly Ministry of Information & Broadcasting, India is already a one-stop destination for global filmmakers. The establishment of Film Facilitation Office (FFO) by the Ministry of Information & Broadcasting as a single window clearance for film shooting across India, and the ease of doing business, have made India a very attractive destination for film business. Many State governments in
India are aggressively wooing global filmmakers in their regions.
Many Indian companies have created top-end studio facilities in India that serve as single windows to fulfil the needs of the M&E industry. Their international business model offers local and remote clients the opportunity to produce and co-produce and distribute content anywhere around the world.
Top movies of 2018
Director: S. Shankar
Staring: Rajinikanth, Akshay Kumar, Amy Jackson, Adil Hussain
Here is a sneak peek into films in the Indian Panorama section of the International Film Festival of India 2018. These movies belong to multiple genres and present stories from various parts of India, besides showcasing the best of the talent across the country. .
• Shaji N Karun Director of OLU (Opening Film – Feature Film), this is his seventh film in Indian Panorama. • Kaushik Ganguly Director of Nagarkirtan, consecutively his film has been selected in Indian Panorama for the 9th time. • First film in Jasari language (Lakshwadeep) is screening in Indian Panorama i.e. Sinjar, directed by Pampally. • Nagamese film Nani Teri Morni directed by Akashaditiya Lama is the only film selected from North East • Ladakhi film Walking with Wind directed by Praveen Morchale will be screened in Indian Panorama. • Women directors from Feature Film: Pratima Joshi, Priya Krishnaswamy, Meghna Gulzar
2018 Marathi 140 min Colour
When teenager Savi is introduced to her stepmother, she doesn’t display any emotion. Having been trained to be practical, Savi leads an independent life which even results in the loss of her love life. Her illiterate stepmother makes her realize that being emotional is not foolish, and if she is independent, so should her emotions be. When the dry, practical Savi finds this point of view of life and the world, she is suddenly like everyone of us.
The film captures a series of unexplained and unusual events which turn Indra into a man he never thought he would become. These events unfold through the film’s three most integral characters: Indra’s mother Saathi, his father Kaushik and his father’s friend and his favourite uncle Ruudra. The film travels through various time lapses and captures the stirring and unexplainable situations and the intricacies and complexities of these relationships.
Director: Arjunn Dutta Producer: Trina Films DOP: Supratim Bhol (WICA) Story & Screenplay: Arjunn Dutta Editor: Sujay Datta Ray Music: Soumya Rit Nag Cast: Alpita Chattetjee, Adil Hussain, Anubhav Kanjilal, Samontak Dyuti Maitra, Anirban Ghosh, Kheya Chattopadhyay, Pinky Banerjee, Lily Chakraborty, Debjani Chatterjee
2018 Tamil 92 min Colour
Karuppasamy, a widowed night watchman, lives with his sister and three nephews – Veera, Mani and Murugan – at a small town in Tamil Nadu. While returning from his shift one morning, he breaks his hip in an accident. While his nephews want him to be treated in town, his son Senthil takes him to his ancestral village, to be healed by a traditional healer. After eight days, Karuppasamy dies. At his funeral, Veera hears something that makes wonder. How did Karuppasamy die?
Director, Writer & Editor: Priya Krishnaswamy Producer: Priya Krishnaswamy DOP: Jayanth Mathavan Music: Ved Nair Cast: R. Raju, Sugumar Shamnugam, SuPa Muthukumarm, Jayalakshmi, and Stella Gobi
2017 Malayalam 123 min Colour
A First World War veteran is coming to a small backwater village in Kerala as a postman. He is distributing money orders and letters to the family of soldiers as a symbol of happiness. He turns out to be an omen of death once the Second World War starts. The pain and impact of the war is shown through the telegrams and postman’s dilemma.
Budhni, a poor girl from Bihar’s Musahar community, is split between her desire to study and her family’s demand for marriage. She agrees to marry Sugan after he promises to let her continue her studies. After marriage, she faces another challenge – ending the practice of open defecation. Sugan agajn supports and facilitates her with innovative makeshift toilet in the house. Bhor captures the nuances and emotions that define the relationship between Budhni and Sugan as she fights for education and sanitation.
Diretor: Kamakhya Narayan Singh Producer: Gyanesh Film Production House DOP: Jogendra Nath Panda Editor: Navanita Sen Cast: Saveree Gaur, Devesh Ranjan, Nalneesh Neel, Rajeev Pandey, Pavleen Gujral
2017 Marathi 115 min Colour
A political group in Pune disrupts rehearsals of Anuradha’s new children’s play on environmental issues with the messages of Jesus Christ and Sant Tukaram. They object to Jesus Christ being a part of a play to be staged during the Ganesh festival. While the elders relent, the children don’t find anything offensive in the play. They try asking their elders but find no acceptable answers. Eventually, they decide to take matters in their own hands and find answers through their play.
Vavachan, a master mason belonging to the Latin Catholic community in Kerala, shares memories of his fathers burial with his son Eesy. He expresses a desire of a grand funeral for himself, which Eesy promises. After Vavachan’s sudden death, Eesy tries to arrange a decent funeral for him but is met with unpredictable obstacles and reactions from different quarters. The subsequent events bring to the fore the conflicts within the family and the deep ethical crisis simmering in the community.
Director: Lijo Jose Pellissery Producer: OPM Cinemas DOP: Shyju Khalid Story & Script: P.F.Mathews Editor: Deepu Joseph Cast: Chemban Vinod, Vinayakan.T.K. Dileesh Pothan, Kainagiri Thnkaraj, Pouly Valsan, Krishna Padmakumar, Arya K. S.
2017 Telugu 176 min Colour
Mahanati chronicles the life of South Indian film industry’s first lady superstar – Savitri. Despite unmatched beauty and talent, Savitri initially faces rejection. She eventually gets a break as a lead actress in Pelli Chesi Choodu (1952), and her life changes forever. Her journey to fame, marriage to Tamil star Gemini Ganesan and dramatic downfall make her story one of the most heart wrenching romantic tragedies ever.
The film unveils the repercussions and tantrums of an orthodox couple, when their daughter elopes and marries a man belonging to a different religion. The love for their daughter and deep-rooted religious dogma creates a dilemma among the parents. The film ends with a note of their realisation that all religions must be propagating humanistic values and brotherhood, and that their daughter is far more important than the religion they believe in.
Born as a boy in rural Bengal, Parimal realised he is a woman trapped in a man’s body. He seeks refuge at a transgender shelter in Kolkata, and become Puti. There ‘she’ meets the love of her life Madhu, a flute player. Realising that even the transgenders won’t accept their relationship, they flee. But their plight had only begun. The film explores their devotion to eternal love in a rigid society where many such love stories are lost to social shame.
Dan, 21, leads a carefree life, revolving around a bunch of friends and fellow hotel interns. Shiuli, a colleague, is often at the receiving end of Dan’s audaciousness. Life goes on until a sudden turn of events smashes Dan and Shiuli’s lives together in an unusual bond. The emotional connection between them goes through a metamorphosis that brings out a form of love that’s unlike other, and leads to an internal awakening. October is a story of love…yet not a love story.
Director: Shoojit Sircar Producers: Rising Sun Filma & Kino Works DOP: Avik Mukhopadhyay Editor: Chandraasekhar Prajapati Music: Shantanu Moitra, Anupam Roy, Abhishek Arora Cast: Varun Dhawan, Banita Sandhu, GitanjaliRao
2018 Malayalam 109 min Colour
Olu (She) is the tale of a gypsy girl who mysteriously survives under the Kerala backwaters where she has been sunk by her rapists. Only during full moon nights, can she see the world above water. It is on such a night that she happens to meet Vasu, a young untalented painter, rowing his boat. Out of love, she empowers him to create paintings that will change his life. But their contrasting inner visions oflove may remain unbridgeable.
Director: Shaji N.Kanu Producer: AVA Productions DOP: M.J.Radhakrisnan Screeplay: T.D.Ramakrisnan Editor: Sreekar Prasad Music: Isaac Thomas Kottukapally/Sreevalson Cast: Shane Nigam, Esther Ani!
2017 Tulu 100 min Colour
Paddayi is a modem day adaptation of Shakespeare’s Macbeth. Madhava and Sugandhi is a newly-married couple from the fishing community of south India. Their lust for better life is ignited by the prophecies from the spirit that wander the land. Dinesha, owner of a fleet, gives them new dreams. But when their life was on a new high, he betrays them. Now the couple is determined to take a bitter revenge. The story soon turns into a tale of murder and regrets.
Director & Writer: Abhaya Simha Producer: Gopal Pai Films DOP: Vishnu Prasad P. Editor: Prashant Pandit Music: Kadri Manikanth Cast: Gopinath Bhat, Mohan Sheni, Bindu Raxidi, Chandrahas Ullal
2018 Hindi 165 min Colour
The legend of Queen Padmavati’s exceptional beauty reaches Allaudin Khilji. Obsessed with Padmavati, the sultan lays siege on the impregnable Chittorgarh fortress. After a gruelling six months, he returns to Delhi empty handed but returns with a bigger army. A fearsome battle ensues with Chittor King Maharawal Ratan Singh, who dies defending his kingdom and his queen. Khilji manages to breach the fortress but fails to capture Padmavati as she commits johar (self immolation) to protect her dignity.
Unable to cope up with a child with spastic paralysis, Amudhavan goes to Dubai to work. He has to return to take care of his daughter Paapa when his wife elopes. When she attans puberty, he addresses her biological needs. But he loses himself and his assets to an affair wi1h a maid. When Paapa explores her sexuality just like he did, Amudhavan couldn’t bear it, but hope comes in the form of a transgender who helps them resurrect a new life.
Director & Writer: Ram Producer: Shree Raaja Lakshmi Films DOP: Theni Eswar Editor: Suriya Pradhaman Music: Yuvan Shankar Raja Cast: Mammootty, Sadhna, Anjali, Anjali Ameer, Paavel Navageethan, Samuthirakani
PARIYERUM PERUMAL BA.BL
2018 Tamil 154 min Colour
Pariyerum Perumal a.k.a Pariyan is pursuing his law degree in Tirunelveli, Tamil Nadu. Back in his village, he has a hunting dog Karuppi. When the pet is suddenly killed, he is devastated. At the college, a girl Jo offers help in studies and they develop friendship. Meanwhile, the mysterious killer, who is killing unsuspecting innocents, is now lurking around Pariyan. The more he tries to evade the war, the more he is sucked into it. This is a tale of romance, rage and resilience.
Poomaram conveys that ‘Art is life’ and the ‘life is an art’. At the annual youth festival, several colleges participate with music bands and dance troupes but only a few can win. As teams arrive with aspirations, Professor Anandan teaches his students to go beyond the spirit of competition and while performing, experience the purest form of art – enjoyment. His students are committed to the cause but then there are others who have different plans. A clash is inevitable.
Raazi is a true life espionage thriller set in 1971. A 20-year-old Delhi university student, Sehmat is called back home to Kashmir by her parents. Her father, an influential businessman, has fixed Sehmat’s marriage with Pakistani Brigadier’s son. The real reason for Sehmat’s marriage is a covert mission: she is to be sent as a spy into a Pakistani military family and source out all the information that she can get on Pakistan’s strategy in the impending Indo-Pak war.
Sa chronicles life of a simple family in West Bengal, in the aftermath of mass migration following the birth of Bangladesh. The birth of Lalu brings great joy but the tragic circumstances force his father to send Lalu to his childhood friend. a venerated maestro of Indian classical music. There he picks up lessons on culture, religion and urban-rural divide and learns to live with a smile and a belief that ‘everything is going to be all right.’
Director: Arijit Singh Producer: Oriyon Edutainment Works Story: Koyel Singh DOP: Anirban Chatterjee Cast: Lalu Pragun Singh, Tukai Srija Ghosh, Lokhai Anindya Pulak Banerjee, Shyamali Deblina Sen
2017 Jasari 114 min Colour
Sinjar revolves around Ansar, an ordinary fisherman living in Kavaratti (in Lakshadweep Island), his sister Suhara and his fiancee Fida. The movie captures how the two ladies, who are held captive and exploited by the ISIS terrorists in Sinjar, a place near Iraq, survive and fight the communal situation in Kavaratti. when they return. One of the women decides to bring up her illegitimate child into this world and raise him as a good Muslim. Sinjar is the first Jasari language film.
Director & Writer: Pampally Producer: Movie Junction DOP: Sanjay Harris Editor: Lijo Paul Cast: Musthafa, Srinda Arhaan, Mythili, Binoy Nambala
SUDANI FROM NIGERIA
2018 Malayalam 120 min Colour
Majid, a typical football lover from Malappuram in Kerala, works as a recruitment agent of foreign players for local tournaments. When Samuel, a Nigerian footballer hired by him, suffers a severe back injury and is advised two months’ bed rest, Majid is obliged to take him home. Ecstatic to host a foreign footballer, Majid’s relatives and neighbourhood shower their love on Samuel. But soon the beautiful friendship is disrupted by the state officials in the name of law.
Tiger Zinda Hai continues the story of two super spies Tiger and Zoya from Ek Tha Tiger (2012), who are officially declared ‘dead’. When the Indian and Pakistani nurses are held hostage at an Iraqi hospital by terrorists, RAW chief Shenoy has just seven days to rescue them and he needs Tiger. Shenoy manages to locate Tiger and Zoya, and briefs them about the case. Tiger is reluctant at first, but he on Zoya’s insistence agrees to go on the mission to save the nurses.
Director: AliAbbas Zafar Producer: Yash Raj Films DOP: Marcin Laskawiec, USC Story: Neelesh Misra, AliAbbas Zafar Editor: Rameshwar S.Bhagat Music: Vishal and Shekhar Cast: Salman Khan, Katrina Kaif
2017 Tamil 99 min Colour
To Let is the story of a couple with a child living in a rented house in Chennai. It takes place in 2007 when the metro city was experiencing a real estate boom as a result of an exponential development of the IT sector. A little too greedy for a higher rent, the land owner asks the couple to vacate their house. They have only thirty days to find new accommodation with their modest middle¬class income. On their moped, the couple starts a race against time and all kinds of prejudice to get a house.
Uma is a story about a young girl, who is fighting a terminal disease, a father, who is struggling to make his daughter’s dreams come true, and about a director whose past haunts him. It starts off with Uma, a young girl brought up in Austria, being recognised with a terminal disease and goes on about how Himadri, her father takes her to Kolkata to fulfil her dream by setting up a fake Durga Puja the most celebrated festival of the Bengalis.
Director: Srijit Mukherji Producer: SVF Entertainment DOP: Soumik Haldar Screenplay: Srijit Mukherji Editor: Pronoy Das Gupta Music & Lyric : Anupam Ray Cast: Jisshu U.Sengupta, Sara Sengupta, Srabonti, Anjan Dutt, Rurdranil Ghosh, Anirban Bhattacharya, Babul Supriyo, Neel Mukherjee
2018 Bengali 100 min Colour
Uronchondi is a story of three women in search of life. Bindi, in her late 30s, escapes her abusive husband in his lorry, driven by Chotu, the young helper. On their way they pick up Minu, a young runaway bride on her way to meet her dream man. Then, they meet Sabitri, a widow in her early 60s, who’s mishandled by her sons. The journey offers them a sense of freedom until the police start chasing them. This story starts and ends on the road.
Director: Abhishek Saha Procucers: Nideas Creations and Productions DOP: Soumik Haldar Editor: Sujay Datta Ray Music: Debojyoti Mishra Cast: Sudipta Chakraborty, Rajnandini Paul, Chitra Sen, Amartya Ray, Arjaa Banerjee, Kaushik Kar, Jayanta Hore
WALKING WITH THE WIND
2017 Ladakhi 79 min Colour
Tsering, a 10-year-old boy in Himalayan terrain, mistakenly breaks his friend’s school chair. His everyday, seven kilometers-long journey to school in mountainous terrain on donkey, turns even more challenging when he decides to bring the chair to his village. The chair silently becomes a metaphor in his awakening journey of life, quest for inner truth and reality in the adult world, which is deeply engrossed in their own. He is unaware that this journey will finally make him a man.
The growing number of digitally connected Indians is increasingly lavishing attention on films that tell real-life stories of role models who have triumphed against all odds, says Dr. S Raghunath
The current trend of using a universal language to communicate with a large number of diverse people around the world – both known and unknown to us – is unprecedented in the history of India.
India reportedly has 270 million monthly active Facebook users and 200 million monthly active users of WhatsApp.
For the digitally connected Indians, the avenues of entertainment are many. But for a Facebook connected, WhatsApp savvy audience, visual narratives that are quick and sharp hold attention. Therefore, these days the task of attracting and retaining prolonged attention of the audience in a full length feature movie is a daunting task for the makers, to say the least.
Among the recent Bollywood blockbusters are an array of biopics, sports films and epic-based spectacles like Dangal, Sachin, MS Dhoni: The Untold Story, Bhaag Milkha Bhaag, Mary Kom, Paan Singh Tomar, Neerja, Bajrangi Bhaijaan, Hindi Medium, PK, Secret Superstar, Padmaavat, Bajirao Mastani and Bahubali. These movies are about heroes and heroines, some based on mythology and history, while others inspired from ordinary Indians with extraordinary feats.
In these movies, the protagonist prevails in extreme circumstances. They dramatize a sense of morality, courage and purpose. Though the main characters have flaws, they often sacrifice themselves to show human potential in adversity. Biopics have become a dynamic genre in India.
These movies have become more appealing to producers and distributors as the stories are easily available, the main characters are well-known and the movie, when completed, has a potentially large audience who anyway have been following the accomplishments of the subject of the biopic.
However, we know that the talent required for storytelling has to be better for biopics than for movies with totally fictitious characters as protagonists. The handicap for storytelling arises from the simple fact that real life does not come in the traditional three-act structure and the real people involved can complain about discrepancies between the actual events and those depicted in the movie.
Here is an important twist in the nature and depth of talent in the writer, the actor and the director for recreating critical scenes frame by frame from the biopic subject’s life that would eventually make or mar the narrative in the movie. In the context of sports, sports such a cricket, wrestling or athletics take centre stage. The actor who has accepted the role usually has to transform himself/herself physically for the role and this process of paying attention to their new physique with the built-in tension of the outcome of the each match or race creates a series of interesting story questions that highlight the emotional elements of the lives.
While it is generally accepted that there can nothing be more boring on the screen than being accurate and undramatic, directors of biopics find it challenging to exaggerate the good or the not so good aspects of the character’s life or twisting the events to make their films more appealing.
Therefore, the main questions that need to be answered relates to what to include or exclude and how to create drama out of the given circumstances. To accomplish this tall order, a lot of research is necessary before the script and the screenplay of biopics is written. Writers need to have a clear understanding of the nature of the characters and the events they want to portray.
The Indian talent in screen writing has been unleashed due to the general orientation to support storylines that are rooted in facts but grow and spread in imagination in terms of achievement of the main character.
The ever-growing range of talented screenwriters such as Vishal Bhardwaj, Juhi Chaturvedi, Himanshu Sharma among others have created exceptional screenplays to keep the audience interested, not allowing them to be alienated, bored or confused.
Indian movies, which were traditionally musicals with romantic and family drama-based plot lines, have come a long way. Today, the emphasis has moved from mechanically executed plots to a story waiting to be uniquely narrated. Plot, as we understand it, has always been about what happens, about mechanics, while story is about subtext – meaning and emotion. As is widely accepted, the basic movie plots are few but it is the screenplay that turns them into unique stories.
One of the reasons why sports-based movies and biopics are making waves in India is because they are a rich mode of telling original stories. Bollywood movies these days are coming up with narratives and characters that are very positive in terms of depicting an important widely accepted thinking that “a winner never quits”. The more successful biopics/sports stories are based on the premise that “the underdog can succeed over formidable odds”.
In the fast-paced life of digitally connected Indians fed on a daily diet of occurrences of inappropriate human behaviour in contextually relevant social settings, the hunger for learning through observation and through modelling behaviour by watching those who have excelled in such situations is a widely felt need.
A plausible explanation is that from observing others in adverse conditions the human mind forms an idea of how new behaviour and response in similar occasions or circumstances depicted in such movies serve as a guide for action.
These genres of movies that have turned into blockbusters offer an opportunity of empathy with comparable others, allowing the audience to feel passionate and act in worthwhile ways as depicted by the main character in these movies.
Among these blockbusters, the most appreciated are those that have long-lasting effect and involve emotional experiences while watching the movie as well as during reflection and recollection of the movie. Therefore, the audience empathises with the protagonist in the movie and uses the movie-watching experience as an opportunity to learn and consider whether the observation sparks something inside them.
It appears that Bollywood movies that facilitate emotional resonance with the main character have a large-scale positive response. The ability to create such evocative content, structure, and overall narrative in a movie is rewarding as the audience in India has the ability to pay for the large screen movie experience in theatres.
The Indian audience is instinctively looking for healthy character-strength expressions. The mental and emotional state of the audience reaches a certain elevation when they observe an act of moral goodness or courage. Therefore, Indian moviemakers are beginning to deliver primarily observational and visual impact and intense emotion or “elevation” when the audience observes portrayal of goodness in extreme adverse conditions, or a strong character in action.
Future Bollywood blockbusters, too, are likely to continue delivering cinematic elevation in a number of ways that the audience could easily observe and emotionally connect with.