The rise of movies like Adipurush, Liger, KGF, Project K, Jawan has lead to pan India inclusivity. Since the groundbreaking success of Baahubali in 2015, the Indian film industry has witnessed an influx of films labeled as ‘pan India films’. These movies aim to cater to a broader audience by releasing in multiple languages, including Telugu, Tamil, Kannada, and Malayalam. However, with the increasing number of such films, questions arise regarding the true meaning and potential saturation of the ‘pan India’ concept.
Overused Term and Varying Success: Trade analyst Taran Adarsh acknowledges the overuse of the term ‘pan India’ in recent years. While films like Baahubali, Pushpa, and RRR genuinely qualify as pan India due to their widespread appeal, numerous examples exist where such films have not met expectations. Projects like Liger, Adipurush, Vikrant Rona, and Kabzaa have faced challenges in achieving success across multiple regions. Adarsh highlights that successful pan India films can be counted on one’s fingertips, emphasizing the importance of compelling content.
Marketing Tool and Importance of Content: According to trade expert Atul Mohan, the term ‘pan India’ has become more of a marketing tool in the industry. It allows producers to expand their reach and justify the increased budgets by including multiple language versions. However, Mohan emphasizes that a film can only be truly labeled ‘pan India’ upon its release, based on its ability to resonate with audiences across regions. Content quality remains a crucial factor for success, beyond the mere inclusion of actors from different regions.
Obsession and Misuse of the Term: Producer Anand Pandit suggests that some filmmakers mistakenly declare their films as pan India without understanding the true essence or requirements. This obsession with the label can undermine the significance and potential of authentic pan India films, which successfully engage audiences from diverse linguistic backgrounds.
Cross-Collaboration and Blurring Boundaries: Recent years have seen Hindi film actors, including Raveena Tandon, Amitabh Bachchan, and Deepika Padukone, appearing in Telugu, Tamil, and Kannada films. Similarly, films like RRR featured actors such as Ajay Devgn and Alia Bhatt in smaller roles. While some may perceive this as a mere checklist item to cater to the northern audience, cross-collaboration has resulted in a fusion of sensibilities and storytelling styles. The success of films like KGF 2 in regions where Kannada films were traditionally less popular demonstrates the positive impact of a unified Indian film industry.
Embracing the Pan India Hype: Raveena Tandon views the ‘pan India’ hype as a positive development, highlighting how the convergence of different industries has created a united force. She believes that a pan India film should transcend language barriers while retaining an inherently Indian essence. Shilpa Shetty Kundra, who stars in KD The Devil, emphasizes that the market has expanded, allowing audiences to appreciate storytelling and the coming together of Hindi and regional film talents.
The proliferation of ‘pan India’ films since the success of Baahubali has sparked both enthusiasm and concerns within the Indian film industry. While the term has been overused and misused in some cases, genuine pan India films continue to captivate audiences across regions. The evolving nature of cross-collaboration and the blurring of linguistic boundaries provide opportunities for the industry to create unique cinematic experiences that resonate with a diverse Indian audience.
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