Remember when filmmaker Bong Joon-Ho, at his Oscars 2020 speech, said: “Once you overcome the one-inch barrier of subtitles, you will be introduced to so many more amazing films”? The truth is, for decades now, before the obsession to make every second film pan-Indian caught on, Tamil cinema and its talent have consistently transcended borders and resonated across states.
Actor and film historian Mohan Raman points out that a 1948 Tamil film was the first to do well across the country. “Chandralekha, directed by SS Vasan, was a huge blockbuster not just in Tamil Nadu but in the Hindi hinterland too. Made by Gemini Studios, Vasan marketed it on a big scale, with expensive, giant posters which stunned Bollywood producers,” he says.
More Tamil films to follow this trend included Maya Bazaar, Naga Devathai, Jaganmohini and Mahishasura Mardini.
Mohan Raman notes that many of these Tamil films turned out to be hits after getting dubbed in other languages, especially Hindi — or getting remade.
“While Moondram Pirai was a big hit in Tamil, Sadma also set the cash registers ringing in Hindi. Ace director CV Sridhar also remade several of his Tamil films in Hindi like Kadhalikka Neramillai as Pyar Kiye Jaa and Nenjil Or Aalayam as Dil Ek Mandir. Famous Tamil director A Bhimsingh directed more than 20 films in Bollywood,” he says.
Gemini Studios, AVM, Vijaya Vauhini Studios and Venus Pictures produced several films in Hindi and commanded tremendous respect in Bollywood with top stars like Raj Kapoor, Rajendra Kumar, Dilip Kumar, Raj Kumar and Nargis Dutt starring regularly in their ventures.
Talent from Tamil Nadu was unfazed by challenges of a new language or a new region. When Kamal Haasan debuted in Bollywood with K Balachander's Ek Duuje Ke Liye (1981), it turned out to be the highest grossing film of the year. Two years later, Rajinikanth entered Bollywood with blockbuster hit Andhaa Kaanoon. Actors from south like Hema Malini, Rekha, Sridevi and several others established themselves as powerful talents in the Hindi industry too.
Veteran Tamil actor Radikaa Sarathkumar, who was able to create a niche for herself beyond the confines of Kollywood, recalls: “The super success of Naseeb Apna Apna (1986), the remake of Gopurangal Saivathillai, brought me a lot of fame in the north. Even as I was getting opportunities as heroine in Hindi films, I remember Sridevi advising me to move to Mumbai. But, I was not keen on that.”
While hits like Kudrat Ka Kanoon and Mera Pati Sirf Mera Hai further helped Radikaa reach more Hindi audience, she reveals that bias and stereotypes were quite the norm then when south actors went to Mumbai. “It was a time when we were judged by our looks and teased with phrases like ‘idly-dosa- sambar’. It took many years for them to start accepting us. I am glad that is all changing now, with our talents being recognised globally,” she adds.
Right up there with Tamil cinema’s big contributions to Indian cinema is the industry’s technical talent which has consistently been part of Bollywood’s top work.
Among them is ace cinematographer-cum-actor ‘Natty’ Natarajan, who has worked in more than 10 Hindi films since 2000, including critically acclaimed hits like Black Friday, Parineeta, Jab We Met and Love Aaj Kal. Natty, who travelled all over the country while working on a documentary, also cranked the camera for music videos and advertisements before making his debut Hindi short film Last Train to Mahakali with Anurag Kashyap.
“After going there, I became friends with noted filmmakers, including Shoojit Sircar and Pradeep Sarkar, apart from Anurag who helped shape my career,” Natty says. Although he struggled to learn the language for the first six months, he quickly acclimatised himself with the environment and the cities he travelled to.
Interestingly, Natty received recognition as a cinematographer after becoming an actor. “When I worked in Hindi films, many in Tamil cinema did not appreciate me. But, when I entered acting, people started watching my films,” he says.
Music composer GV Prakash, who worked on the score for Anurag Kashyap’s Gangs of Wasseypur Part 1 and 2, says support from Hindi directors was crucial in enabling easy relationships with, say, lyricists.
“Folk music changes in every region. For example, Soorarai Pottru was set in Madurai, but for the Hindi remake Sarfira, which is in Maharashtra, we used desi Marathi music. I explored the genre of lavni, which is their traditional music, and used it in the album. These intricacies must be noted and worked upon when working in other languages,” he shares.
Working in the industry for 18 years has ensured that Prakash has a rapport with lyricists all over the country.
“Moving across states made me work with different talents. When I composed music for Kangana Ranaut’s Emergency, she enacted the scenes for me. As an actor, it gave me a completely different perspective,” he adds.
Singer and voice artiste Chinmayi, who has proved her mettle across languages, admits that her versatile voice and grasp of multiple languages helped her to be more successful across the country.
“I have dubbed in six to seven languages for advertisements for stars such as Samantha and Anushka Shetty, including lanuages like Odia and Bengali. I have had exposure to these languages, but I don’t have any mother tongue influence on them. I didn't prepare for them. Each language has a distinct tonality and accent, and being multilingual is a talent only a few people have,” she says.
“You wouldn’t think that the voice of Mayya Mayya is the same as Oru Deivam Thantha Poovae or Titli or Sara Sara Saara Kathu. It’s important to remove the identity of Chinmayi and give what each song requires,” notes the adaptable singer. Opportunities today are more than ever, and yet, success is a destination that can be reached only when you have the adaptability that artistes like Chinmayi pride themselves in. Natty and GV Prakash are firm believers that the success of Tamil film talent has not come through shortcuts.
“When you constantly strive to put your best foot forward, reinvent yourself with every project, the right calls will take you to the right places,” they say. “Then, its just a matter of time before your work gets recognised far and wide.” Our artistes continue to redefine craft and content beyond the boundaries of Tamil cinema, and today,
Indian cinema and its discerning audience have seen a sea-change marked further by blurring boundaries, linguistic diversity, and cross-cultural exchange. All that matters to the audience today is the potential of a film to evoke genuine emotion: be it a hearty laugh, cathartic tears or perhaps even righteous anger.
Natty points out that the emphasis on star vehicles has taken a backseat. “Earlier, people would flock to theatres to watch their favourite star on the big screen. Now, the focus is on telling good stories. When filmmakers bring compelling stories and unique concepts, the audience will watch them regardless of the language.” And it helps when you have hardworking, talented artistes from Tamil cinema to back you up.