The latest tweets of Dharma Productions and Fox Star Studios have revealed the bagging of the rights of the Malayalam blockbuster, Hridayam, in Hindi, Tamil, and Telugu by these prominent film production companies. And just like that, the majority of Indian moviegoers will soon ask once again, “When will Bollywood stop acquiring the rights of beautiful regional movies?”.
Those days are long gone when Bollywood filmmakers used to come up with something new or unique. Back when the cinema viewing experience used to have a meaning. Nowadays, it feels like all these important things have lost their significance. Or should we say that the current generation of Bollywood producers does not give a damn about these crucial elements? We can blame whoever we want about this case. But this will not improve the status of Bollywood in future.
Bollywood has a long and shameful history of horribly carving up hundreds of regional masterpieces in the name of remakes. Can you guess which people are responsible for this pathetic scenario? It seems like big production houses in this industry have forgotten or do not want to “waste their time” on quality or eccentric movie projects these days. They are functioning as money printing machines by recycling classic regional movies into typical and ugly-looking Bollywood masala flicks. And it is not like remaking regional projects is the only alternative these production companies have. We can also throw countless Bollywood remakes of classic Hollywood gems into this mess.
How about we shed some light on some of the worst Bollywood remakes ever? Do you remember Shashank Khaitan’s Dhadak (2018)? No one remembers that movie for being a box office success and earning more than 100 crores. It is only known for tearing apart Nagraj Manjule’s Sairat in the worst possible way. Then there’s Begum Jaan (2017). It served as the official remake of the acclaimed Bengali movie, Rajkahini (2015). Despite Vidya Balan’s best efforts, the remake endured the wrath of both critics and audiences. It was declared average after the culmination of its theatrical run. Furthermore, we have Tevar, Laxmii, Ready, Tiger Shroff’s Baaghi series, Prabhudeva’s Ramaiya Vasthavaiya, Simmba, Policegiri, Bodyguard, Khatta Meetha, Force, and many more trashy remakes of first-rate South Indian movies. In conclusion, we can say that almost half of Bollywood’s foundation relies on the horrendous remakes of amazing regional or international films.
It is not like Bollywood is suffering from the lack of good and talented writers or filmmakers right now. Movies like Andhadhun, 83, Raazi, Bala, Gully Boy, Badhaai Ho, and many more have shown that this industry is far from being declared completely worthless in future. But we also have to admit that the number of these worth-watching projects has heavily decreased in the last few years. Bollywood can save its reputation only by delivering original and good movies to its viewers instead of dispatching remakes of regional films.
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