An unabashed resuscitation of the suggestive sexual address of Bollywood item numbers, the song relies on costume, male patrons, alcohol, words and movements to suggest the erotic, in ways that are implicit and coy. Her raunchy dance number in the song Oo Antava achieved instant popularity, inspiring countless TikTok and YouTube videos. It is through dance that audiences not familiar with Telugu cinema immediately took notice of South Indian actress Samantha Ruth Prabhu in Pushpa. These films are also unmistakably masculine in their address, seen especially in the bromantic intensity, which undergirds many of the set pieces that depict extraordinary derring-do in RRR.Д«y contrast, traditionally, South Indian female stars in Bollywood have been privileged for their dancing skills, be it Vyjayanthimala, Waheeda Rehman, Sridevi, Rekha, Aishwarya Rai or Deepika Padukone. In this decidedly post-multiplex scenario, the sensational, edge-of-the-seat, one-explosion-a-minute style of blockbuster Telugu cinema addresses itself to a wider dГ©classГ© audience, supplying elements that have fallen out of favour with the urbane forms of contemporary Hindi cinema. RajamouliвЂ™s cinema arguably harnesses single-screen audiences at a time when existing multiplex and OTT platforms have priced out those with little or no access to the internet. Burning ambitions Sai Pallavi in Shyam Singha Roy (2021) The massive scale of the Baahubali franchise, repeated for effect in RRR, reinforces the cultural might of IndiaвЂ™s masses through its visually intoxicating style. Box-office figures running into Rs 1,000 crore signal not only profits, but the sheer number of its moviegoers. While Hollywood has been struggling to address thisДecline, films like Pushpa and RRR re-focus attention on Indian cinema as an exemplar that continues to command large audiences, despite the challenges of exhibition space and technology. The rise of streaming platforms saw an unprecedented decline in cinema going across the world, a phenomenon radically compounded by the stay-at-home restrictions of the pandemic. and Ram Charan Teja dubbed their own voices to magnify their star presence across Indian and global screens. What makes Baahubali I&II (2015, 2017), Pushpa (2021) and RRR (2022) unique is their seamless address to Telugu, Hindi and all-India audiences alike. Rama NaiduвЂ™s extravagant Hindi remakes, Salman Khan became the perfect comic action-hero in remakes like Wanted (2009), Ready (2011) and Kick (2014). If Jeetendra was the ideal dancing hero in D. Balachander, who reinvented the sensational and the topical through box office successes like Tohfa (1984) and Ek Duuje Ke Liye (1981).Дuring the 1990s and the new millennium, male action stars like Chiranjeevi, Venkatesh and Nagarjuna acquired an enormous fan following unique to Telugu cinema that filmmakers like Ram Gopal Varma successfully remodulated. PrasadвЂ™s success paved the way for filmmakers like D. Flush with the success of his social dramas, Prasad came back to Hindi cinema with remakes of family melodramas like Miss Mary (1952), Sharada (1957) and Milan (as producer, 1967).

Vasan introduced a spectacular style in Chandralekha (1948), featuring dance numbers on a scale hitherto unseen in Hindi cinema. Unable to establish himself in Bombay, Prasad turned to the Telugu film industry where he went on to direct hits like Shavukaru (1950) and Pelli Chesi Choodu (1952) that firmly established his reputation in directing social dramas in an industry otherwise dominated by mythologicals. Prasad, who started his career as an actor with a small part in Alam Ara (1931) after serving as an assistant director on the Arabian nights fantasy Kamar-Al-Zaman (1931), both made by the Imperial Film Company. They are adept at heightening familiar emotions and are able to present them anew. The most notable Telugu films with successful Hindi versions have been mainstream. My focus here is on the Telugu film industry. Each is rooted in a distinct set of languages, cultural practices and modes of production.

Of course, neither industry is monolithic. Both share an intertwined history dating back to the silent and early sound era. Collaboration and exchange between the so-called North and South Indian film industries is not new.

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