5 Reasons Why South Indian Films are better as compared to Bollywood Films

5 Reasons Why South Indian Films are better as compared to Bollywood Films

Bollywood is all about cheeky love stories with added sassy flavor to it. They keep on luring audience by showing the content (or to be more precise, copying the content) from South Indian films. There have been myriads of examples where the South Indian films were copied by a Bollywood. Here are the reasons which prove that why Bollywood films are feeble as compared to South Indian films.

1) Remake of the South Indian Films

Bollywood is losing its standards by making remakes of South Indian films. Well, they don’t have anything to flaunt about, their style, story, a way of presentation and even the title is copied.

2) South India films Animation and Cinematography is Impeccable

Well, we all know about SS Rajamouli’s magnum opus film ‘Bahubali’, the animation and cinematography of the film was voluptuous and impeccable. The South Indian films cinematography and animation are better as compared to Bollywood. Bollywood is just keep on making similar kinds of films all 365 days.

3) South Indian films comprise of Intriguing stories

South Indian films are based on experiment. They keep on developing intriguing stories and develop something out of the blue. The prime focus of the South Indian films is that they believe in the power of stories and not on the capability or fame of an actor. Bollywood is totally depended on the actor and give less importance to the stories of the films. Stories! Who Cares? There are myriads of films whose stories are way beyond shit and yet it gets huge success at the box office. Well, remember the film Happy New Year, in that you can actually pin out Farah’s worst direction abilities. But, who cares.

4) Bollywood’s Focus on 100 Cr. Club

Bollywood thinks about generating money by hook or by crook, it doesn’t matter. They believe in making a film which will ensure their name in the list of 100 Cr. Club. Scripts are not given any preference.

5) Bollywood’s Cheeky and Sleazy Love Story

Believe it or not, but we are fed up with those entire slow and cheeky love story. Bollywood is the only place where you can reveal the whole story just by watching the trailer of a film. Love stories should be more intense like we saw in South Indian films like Pakshe (1994), Thoovanathumbikal (1987) and many more.

 

[Dhruv Bindhani]

The arguments presented strongly champion South Indian films, asserting their qualitative edge over Bollywood productions. The core contention is that Bollywood often prioritizes commercial gains and relies heavily on unoriginal content, contrasting sharply with the creative integrity attributed to Southern cinema.

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Remakes and Originality: A Core Divides​

A central tenet of the argument is Bollywood's perceived lack of originality, particularly its frequent reliance on remaking South Indian films. The author contends this practice isn't just about adapting stories, but a wholesale appropriation of "style, story, a way of presentation and even the title." This is presented as evidence of Bollywood's declining standards, suggesting a creative vacuum where fresh ideas are scarce, leading to a direct borrowing from the South Indian film industry.

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Visual Excellence and Story-Driven Narratives​

The text highlights South Indian cinema's superior technical prowess in animation and cinematography, using S.S. Rajamouli's "Bahubali" as a benchmark for "impeccable" visual grandeur. This visual innovation is contrasted with Bollywood's perceived stagnation, accused of producing "similar kinds of films all 365 days." Beyond visuals, the author asserts that South Indian films prioritize intriguing and experimental storytelling, believing firmly in "the power of stories and not on the capability or fame of an actor." This stands in stark opposition to Bollywood, which is criticized for being overly dependent on star power, often at the expense of coherent or quality narratives, as exemplified by a dismissive reference to "Happy New Year."

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Commercialism Over Content and Predictable Romance​

A significant point of contention is Bollywood's alleged obsession with the "100 Cr. Club," a financial benchmark that, according to the author, dictates production choices "by hook or by crook." This relentless pursuit of high box office numbers is seen as a detriment to script quality, which is "not given any preference." Furthermore, the author expresses weariness with Bollywood's "cheeky and sleazy love story" tropes, lamenting their predictability—where entire plots can be gleaned from trailers. In contrast, South Indian films like "Pakshe" (1994) and "Thoovanathumbikal" (1987) are cited as examples of "more intense" and nuanced romantic storytelling, suggesting a deeper emotional and narrative complexity often missing in their Bollywood counterparts.

These points collectively build a case for South Indian films as a more innovative, visually sophisticated, and story-centric cinematic experience compared to a Bollywood industry perceived as creatively stagnant and overly commercialized.