Let’s say that Hindi films are all horrible, and the crossover hits from the southern industries are hits because they are bringing in things we are missing. And let’s say I am correct in the elements I picked out for these three. Which of these elements/movies brought something you have most been missing?
Okay, here is where you say “But, all those movies include romance and stardom and family stories!” I am aware! Just for the sake of discussion, I am boiling them down to an individual element for each.
Pushpa
Yes, I still haven’t seen it. But I will. And I know just from the promotions and the coverage that it is alllllllllllllll about Allu Arjun. In a way Hindi films are afraid to be, afraid to give in fully to the star film concept, the story that revolves around one person, the over the top worship of the star at the center, and so on.
Love Story
HA! I have seen this one!!!! And it is alllllllllllll about the romance. The title says it, right there, come watch this movie if you want a love story. When was the last time Hindi cinema said straight up “it’s a romance!” instead of “it’s a human drama” or whatever.
Minnal Murali
Seen this one too! And what leaps out at me is how many people I know, on DCIB and elsewhere, who watched it with their kids. Oh, and my parents saw it and loved it too! So a classic 8 to 80 kind of movie, a nice fun simple plot anyone can enjoy.
Okay, of these 3 movies, which do you think MOST fills a place that is missing in Hindi cinema?
I’m gonna say Minnal Murali! For me, the idea of a movie that appeals to all ages, and all ages can watch together, is an essential part of Hindi film and something that’s been missing for a long time. Except for Salman Khan movies, of course 🙂
dontcallitbollywood 
If anything I would say Minnal Murali provided something the Hindi films have been lacking, but actually it might have been something that ALL Indian movies have been lacking till now, a small town super hero. As a person who lives in a rural U.S. area I have a hard time grasping the concept of rural India as there seem to be people everywhere. But unlike almost ALL Hindi films I’ve seen Minnal Murali didn’t approach the setting as inherently backwards and/or different. It simply was. Hindi films are so often city focused that when they do have movies placed in rural areas they seem to be looking down on the areas. In Hindi films the Big City NRI will bring energy to these poor peasant folks. Or it’s so rural and lawless you’ll be kidnapped and forced into marriage.
Minnal Murali doesn’t other-ise the town or the people in it. In fact Pushpa doesn’t either. So I guess actually having a connection to rural areas is something Southern Indian movies do better than Hindi films.
But outside of that, having the hero & the villain both come from and remain in the small town is something I’ve never seen before in any language, and I wanted it.
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You are so right. Almost all Hindi movies are about middle class / rich, upper caste, Hindu city folks. In the South, village movies are much more common, especially in Tamil and Malayalam industry. But I noticed the lack of village settings in Hindi films when I started watching Punjabi movies. I was watching a love story about a girl who was so poor she didn’t finish any school, had to work on the fields and didn’t have a cell phone ot other modern stuff. What surprised me was that it wasn’t one of those dark, depressing movies about the poverty, but a beautifully shot love story with nice songs and a happy ending (Sufna, if somebody wants to watch it. I love this film) And I started wondering when was the last time I saw a Hindi movie about a village and honestly I don’t remember any.
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I mostly just watch Hindi and Punjabi, but there are so many fun, sweet, respectful small-town movies coming out in Punjabi! And many older Hindi films of the same type, just not recently : P
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YES! I think Shelomit already mentioned this, but the lack of small town films is recent in Hindi film. Like, within the past 3 decades. And to me it is clearly connected to the shifting audience. The majority of the population in India is rural. But the majority of profit for Hindi films comes from urban multiplexes (more expensive tickets) and overseas. So they have become ever more urban since the 90s. While the non-Hindi industries have stayed more closely tied to the rural Indian audience and are telling stories for them.
Following that logic, I suspect Kerala has more rural films than anywhere because they have the best infrastructure and education and everything else. So it’s easy to get films to the rural audience and they have the money and education and so on to enjoy them.
On Wed, Jan 19, 2022 at 2:45 PM dontcallitbollywood wrote:
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I agree with you and everyone here in terms of missing the small town/village movies. I love Tamil films and old movies because of this aspect. The concentration is on 90% of the population instead of 10%. It feels more real but also doesn’t look down on them Also, plenty of “punching up” Masal movies which are so satisfying because of this.
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Pingback: 2021 Awards: Which Southern CrossOver Hit Aspect Do We Should Miss in Hindi? Pushpa and Stardom, Love Story and Romance, or Minnal Murali and Household Tales? - dailyhant
I was going to vote for the love stories, but I think you’re right – Hindi cinema needs more family friendly movies.
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I’m going to go for romance. I haven’t seen any of these yet. I am saving Minnal Murali to watch with my kids, but Love Story is the only one I would run out and watch in theaters if I could. As someone who wandered into K-drama land, this is a big part of why. Only because you’re making us pick one, though. Because really… I’ve also been thinking that the romance stories that I like best – from wherever – have a healthy serving of action and a comedy track to break up all the earnestness, so that’s a vote for masala. And the main reason I want to see Love Story is Sai, so that’s a vote for star power. (Just not the kind of star power that makes every other character subordinate to the hero, I don’t miss that part.)
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