Due To Its Emphasis On Original Material, South Indian Cinema Is Well-known Worldwide

We’re all tales in the end, as Steven Moffat, the creator of the worldwide phenomenon “Dr. Who,” once wrote. I am an artist, and I know that unique tales are what I live, breathe, and adore. Stories that are relatable to us but also transcendent and able to bind us to something greater elicit the strongest reactions from us. to the universality of humankind, which transcends linguistic and geographical boundaries.

For instance, ‘RRR’s’ universal appeal was largely due to its emphasis on camaraderie, humanity, and personal missions. The fervor with which ‘Kantara’ was rooted made it the first Kannada film to gross over US $1 million in North America and over AUD 250k in Australia. It was made with a strong sense of purpose and remained faithful to its own ethos while reassuring us that human emotions are universal. Because it contains powerful emotions, a distinctive cultural background, and top-notch skill, South Indian material is praised internationally.

It was once mentioned by Gurudev Rabindranath Tagore, “No one should add to the burden of the world, but each should try to lighten it.” I believe that sharing tales is the greatest method to lessen this burden. Stories that transcend language remind us that we are not alone and have an undeniable emotional effect. Consider “The Seven Samurais,” a 1954 masterpiece by Japanese director Akira Kurosawa, which has been translated into almost all major world languages. John Sturges’ “The Magnificent 7” appeared in English in 1960, and “Sholay” appeared in Hindi in 1975. Plays like “Gidhde,” “Shantata! Court Chalu Aahe,” “Sakharam Binder,” “Kamal,” and “Mitrchi Goshta,” which were written by Vijay Tendulkar in Marathi, were translated into many other languages. At Zee Theatre, several of these plays are now accessible in Hindi.

Am pleased that Indian entertainment has significantly honed its attention on outstanding narrative over the last several years. We are seeing the effect of global material from all over the globe, whether it be in theater, film, or OTT. The availability of stories from South Korea, Spain, France, Argentina, Japan, Germany, and many more nations has increased, and our storytellers are experimenting with previously recounted tales and reimagining even well-known ones. Dubbing and subtitles have also broadened the audience for tales, but it takes skilled translators and scribes to make sure that the subtitles are contextual, culturally sensitive, able to capture the spirit of conversation, and take into account the subtleties of both languages.

Speaking of theater, it has also developed throughout time, from oral traditions to proscenium and street performances to teleplays created specifically for television viewers, which can today communicate a broad variety of ideas and characters across language barriers. I’m overjoyed that we are living in such creatively vibrant times and that viewers in Karnataka, Telangana, and Andhra Pradesh may now see one of my teleplays, “Maa Retire Hoti Hai,” in Kannada and Telugu.

The main characteristic of excellent tales is that they elicit reflection and discussion as well as gently start societal change. For instance, playwrights like Vijay Tendulkar and Chetan Dattar have influenced how we see a variety of societal topics, like as same-sex partnerships and gender politics. When Tendulkar’s “Kamal” was adapted for the big screen, it sparked a raging social discussion on the agency and dignity of women in general and tribal women in particular.

Even if technology aids today’s material, tales that motivate individuals to make positive changes and reconsider concerns and their own role in the world are still needed. India will never run out of such enlightening stories because, despite their enormous cultural and geographic variety, they have the ability to excite and move us, make us laugh and weep, and unite us in a celebration of life.