‘Arjun Reddy’ to ‘Animal’: Blood-n-gore, the enduring formula of Indian cinema

From his debut film ‘Arjun Reddy’ to ‘Animal’, director Sandeep Reddy Vanga has indeed travelled a long way. Right from the miniscule budget of Rs 5 crore of his debut venture, produced by his sibling more than six years ago, the swift climb to the top rungs of Indian movie industry has been a dream run for Reddy.

This is clearly visible in the Rs 100-crore outlay that his latest film has managed, released to a rousing reception a few days ago all over the world. With excessive gore and violence being spoken about alongside the extremely passionate histrionics displayed by the film’s hero, Ranbir Kapoor, this film reaffirms the new trend of action movies that the modern film viewers seem to be patronising.

Rather strangely, action films from the southern film industries have been received overwhelmingly all over India, a probable reason being the major presence of Hindi film heroes playing substantial roles. Having been identified for presenting a balanced fare of action-emotion-romance, films from this part of the country have changed tack to become bloodier and more violence-laden.

Of course, opinions have been mixed among the critic community, who have raised serious concerns about the misogyny and excessive machoism that these films seem to showcase, clearly pandering to the sub-20 male audiences, the country over.

While Indian cinema has quickly wanted to reach the stratospheric levels of Hollywood by involving their top names in cinematography, action scenes and technological finesse, the clear prioritization of commerce over other aspects of filmmaking has disturbed the trend-watchers. With cinema watching becoming more and more expensive for the average moviegoer, it is likely to be exorbitant entertainment that the patrons are condemned to chase in their quest for weekend fun.

Pan-India seems to be morphing into pan-global even as news about forthcoming productions is flashed across various media platforms. Tamil actor Surya is likely to have his forthcoming film ‘Kanguva’ released in 38 languages, a truly global exhibition of a southern film, if it indeed happens. The film is likely to be in both 2D and 3D versions and the producers are planning to release it only on IMAX screens.

With a hyper social media, opinionated viewers split into various groups based on ethnicity and caste and a declining set of options for the frontbenchers as single screens gasp for life all over India, films are no more celluloid products of fantasy and fun.

This has happened rapidly, within the first 25 years of the new millennium, as multiplexes increase screens, online bookings enable availability of tickets round the clock and film personalities struggle to keep their exclusivity away from the prying gaze of the exploding set of paparazzi. Informed, nuanced understanding of the medium has been overtaken by slanging matches among the know all on social media.

No wonder, ‘Animal’, the three-and-a-half hour saga, which ticks many boxes for a majority of excitement-starved youngsters has gained traction and rapidly racing to be a major box-office performer. The pre-build-up and post-release Hungama has served its cause well enough. Who bothers if it does not really add visible value to the progress of Indian cinema?