What, You Don’t Watch South Indian Movies‽ Maybe You Should!

I, too, was like you. But not anymore.

In this post, I will share my experience with South Indian movies and recommend some movies for you to check out South Indian commercial cinema.

I am of North Indian origin with a childhood bond with South India.

I attended school in grades four through seven in Mysore, where I became a South Indian of sorts—I loved the food and learned to speak Kannada. I did not, however, experience Kannada cinema at that early age.

I grew up an avid consumer of Hindi cinema but with no exposure to South Indian cinema.

Absent firsthand experience, I held negative stereotypical beliefs about South Indian films despite my positive South Indian association. These beliefs endured for decades.

Meanwhile, South Indian films became more accessible via YouTube and widespread dubbing and subtitling. But that had no impact on me.

The Bahubali films were a milestone, in terms of reach, for the South Indian film industry. But because I perceived these films as outliers, this franchise did not nudge me to explore a more typical South Indian movie.

The nudge came from the pandemic.

During the pandemic, I browsed OTT platforms more than I otherwise would have, and, in doing so, I checked out the occasional South Indian movie. And a few more here and there. Before I knew it, I had seen nearly two dozen movies and liked several.

Now, when I have to watch an Indian movie, I consider not only Hindi but also Kannada, Malayalam, Tamil, and Telugu options.

Cinema is a much more significant cultural element in the South than in other parts of India. The audience’s high involvement with cinema pushes South Indian filmmakers to punch way above their weight.

Not surprisingly, the content and production quality of South Indian cinema have been on a secular uptrend.

Consistent with this uptrend, the image of Hindi cinema as national cinema and South Indian cinema as regional cinema is slowly blurring. Especially with the recent spate of pan-Indian films coming out of the South.

Unfortunately, most non-South Indian Hindi film patrons of my generation, and many from other generations, have not tried, let alone taken to South Indian movies. If you are one of them, I urge you to try South Indian movies. You will find it rewarding.

First, with a more varied film menu, you will make more satisfying entertainment choices—trust me.

Second, you will experience the diversity of India through cinematic exposure to different South Indian states.

Third, if you feel there is a cultural disconnect in Hindi cinema and are bothered by it, you can find solace in South Indian films, which on average, are more rooted in Indian culture.

Finally, in a roundabout way, you will contribute to national integration.

There is nothing to lose by trying. Just do it. To get you started let me recommend three films in three languages.

The three films are frothy fare and are neither very recent nor too old. All three are romantic comedies, my preferred genre, and are from the limited number of South Indian films I have seen.

I invite you to savor this South Indian three-film rom-com thali.

Appetizer

Ohm Shanthi Oshaana (Malayalam); 2014
Lead Cast: Nazirya Nazim and Nivin Pauly

Ohm Shanthi Oshaana is a coming-of-age female-centric romance. Nazirya Nazim, the female protagonist, narrates the film and holds it together with an able performance. She is physically suited to the character of a schoolgirl who grows to become a medical doctor.

The film is simple and soothing. It unfolds at a leisurely pace but never drags.

The unique religious proportional mix of the Kerala population provides a somewhat different religious background for characters and their dynamics in Malayalam films than what we see in most Hindi films.

Keep an eye on how Kerala’s rural/semi-rural environment differs from the rural milieu depicted in Hindi movies. The lush Kerala greenery is a bonus.

Title: Ohm Shanthi (Hindu invocation for peace) Oshaana (Palm Sunday). The guy is Hindu, the girl is Christian, and their defining interactions occur on Palm Sunday.

Next: If you like Ohm Shanthi Oshaana, check out Premam (Sai Pallavi, Nivin Pauly, and Madonna Sebastian)

Main Course

Geetha Govindam (Telugu); 2018
Lead Cast: Vijay Deverakonda and Rashmika Mandanna

Geetha Govindam spans two weeks and involves a guy smitten by a girl, but the girl is difficult to win because of an unpleasant initial interaction.

The writer-director uses coincidences to construct an engaging narrative.

The lead pair are endearing, especially Rashmika Mandanna, with her expressive face.

Interestingly, the girl bosses the guy from the start until the end credits roll. This characterization of the male lead is refreshing.

All songs, except one, are played in the background. They are soft, well-picturized, and reinforce the narrative. A few songs feature the soothing sounds of Carnatic music.

Title: Geetha is the girl’s name, and Govind is the guy’s last name. The title alludes to Gita Govinda, the Sanskrit poem about Radha and Krishna.

Next: If you like Gita Govindam, check out Dear Comrade (same lead pair; love story but not lighthearted).

Dessert

Kadhalum Kadanthu Pogum (Tamil); 2016
Lead Cast: Madonna Sebastian and Vijay Sethupathi

This movie, a remake, is about the relationship between a softhearted bumbling hoodlum and a jobless IT professional living as neighbors in an apartment building.

There is no explicit romantic interaction between the lead actors throughout the movie. The climax is open-ended, and it is up to the viewer to complete it.

I recommend this movie partly because I like Vijay Sethupathi for his effortlessness. And for the question, it poses regarding the boundaries of romantic relationships.

Title: Kadhalum Kadanthu Pogum translates to “Love too shall pass.” The title is intriguing. Think about it in conjunction with the climax.

Next: If you like Kadhalum Kadanthu Pogum, check out Naanum Rowdy Dhann (a simple whacky film starring Nayanthara and Vijay Sethupathi).

 

NOTES

The umbrella “South Indian” label is not entirely appropriate. While there are similarities and a lot of cross-fertilization among the four language film industries, there are notable differences. The Tamil and Telugu film industries are larger than the Malayalam and Kannada industries. Malayalam films have smaller budgets and tend to be more content driven and realistic. Kannada cinema has been a relative laggard but recently has had successes with KGF and Kantara.

You live with the lost in translation problem when watching South Indian films. The quality of subtitles and dubbing in the movies I have seen was average, at best. In any case, even with the most experienced professionals, it is not possible to bridge the translation gap.

I first realized the significance of movies in the daily life of people in South India as a kid in Mysore. One day, a group of rowdy boys accosted me and asked, “Rajkumar or MGR?” I, clueless at the time, must have mumbled MGR because those kids roughed me up. Later, I learned that Rajkumar and MGR were the icons of Kannada and Tamil cinemas, respectively, and the safe response in Mysore was Rajkumar.

The attitudes of non-South Indians toward South Indian films probably vary by generation. Millennials are likely more receptive to South Indian films because they have had ready access and exposure to these films from day one.

In recommending movies, I must not raise your expectations. After all, these are just movies. It is advisable to watch them, or any other movie, with low expectations. At least that is what I did.