Sridevi’s superstardom and pan-India interest was a bequest of her shining career travelling roughly 5 decades and covering 5 film industries — Tamil, Telugu, Kannada and Malayalam in further to Hindi. While she competence be a many successful, Sridevi wasn’t a usually star who crossed over from a southern film industries to make a symbol in Hindi cinema.
Few remember a south Indian origin of maestro singer Waheeda Rehman, who was innate in Chengalpattu in Tamil Nadu and began her career in Telugu and Tamil cinema before she was ‘discovered’ by Guru Dutt for Bollywood. Rehman went on to be one of Bollywood’s many successful stars during a golden epoch in a late 50s, 60s and early 70s, delivering a fibre of unusual performances in a series of commercially and critically acclaimed hits including Pyaasa, Guide, Teesri Kasam and Khamoshi.
Probably a initial south Indian actor and dancer to woo Bollywood was a iconic Vyjayanthimala, who done her shade entrance during a age of 13 by a Tamil film Vazhkai (1949) and Telugu film Jeevitham in 1950 — a former was remade in Bollywood as Bahar in 1951, in that she was expel again. One of a heading actresses of Bollywood’s golden era, Vyjayanthimala gave many superb and rarely noted performances in cinema such as Nagin, Naya Daur, Gunga Jumna and Sangam, to name a few. Her matchless attract as an hostess was in partial sourced from her dancing prowess, fluent eyes and palliate in portraying city sophistication usually as good as country mannerisms.
Popularly famous as a Travancore sisters, a contingent of sisters Padmini, Lalitha and Ragini from Kerala were actors, dancers and performers, who participated in Malayalam, Tamil, Telugu, Kannada and Hindi films. Among a sisters, Padmini is also famous for her roles in Jis Desh Mein Ganga Behti Hain and Mera Naam Joker conflicting Raj Kapoor and Pardesi with his father Prithiviraj Kapoor.
“Tamil, Telugu and Hindi film industries were a lot some-more closely related behind in a day. They were mostly creation identical cinema that would work opposite languages,” says Film censor and Film Companion south editor Baradwaj Rangan, adding, “Big prolongation houses like AVM would possibly make cinema in, say, 3 languages concurrently or if a film did good in one language, they would reconstitute it internally in another language. So when a Vyjayanthimala film like Vazhkai becomes a hit, it is remade in Hindi as Bahar. It also done clarity to reconstitute it with a same actor.”
Elaborate exemplary dance sequences and faceoffs were a common underline in many cinema in a early decades of a Indian film industries. “Speaking of Kumari Kamala or Travancore sisters’ dancing fame, there was a enlightenment of what is currently famous as an object strain (albeit not as obscene as it is today) that was put in a film to emanate hum around it as an ‘extra’ attraction,” explains Rangan. The transformation of dancers opposite languages was therefore comparatively common. (Even Helen achieved a dancing series for a Tamil film Sri Valli!)
Hema Malini, who was dubbed as ‘Bollywood’s Dream Girl’ after her film Sapno ka Saudagar in 1968, done her shade entrance initial in a Tamil films Ithu Sathiyam and Pandava Vanavasam as a dancer and ancillary actor. Rekha, who had done her shade entrance in Telugu cinema, was expel as a lead in a Hindi film Sawan Bhadon in 1970. Despite a film’s success, Rekha primarily struggled with Hindi and was criticised for her dim mettle and unusual coming by Bollywood standards, both of that she grandly overcame in a years to come.
Sridevi debuted in Bollywood with Solva Sawan in 1979 and went on to grasp superstardom in a 80s and early 90s. Jaya Prada too, during a time when she had a successful career in South Indian film industries, ventured into Bollywood and starred in a series of successful cinema such as Sharabi, Sanjog and Tohfa in a 80s.
Opportunities to work in Bollywood have been looked on as an glorious means of gaining exposure, prominence and pan-Indian recognition for actors of informal film industries. Experts also acknowledge that womanlike stars have to fastener with a shorter shelf life, that might be have been an enlivening cause for a determined ones to switch attention for newer, bigger opportunities.
From Padmini, Vyjayanthimala, Hema Malini, Rekha, Jaya Prada and Sridevi, south Indian womanlike actors on a whole have been historically utterly successful in blurring a linguistic and topographic bounds in cinema than their masculine counterparts. Often skilful in dance and hence able also of emoting with faces and bodies, many of them were satisfactory complexioned and could so simply fit into a Bollywood mould.
The inventory of womanlike actors usually in a Bollywood migrations of south Indian actors is no coincidence. However, it is not as if mega film stars of a south such as Rajinikanth and Kamal Haasan, who ventured into Bollywood — generally in a 1980s — did not broach hits. “All of them had hits. Chiranjeevi had Gentleman, Rajinikanth had Andha Kanoon and Kamal Haasan had Ek Duuje Ke Liye. But they didn’t pierce bag and container to Bollywood distinct Sridevi or Jayaprada. They were not peaceful to give adult a attention that done their name,” says Rangan. While a actresses mostly shifted bottom entirely, a masculine stars of south India expected never dictated to henceforth turn Bollywood heroes.
In a male-oriented industry, a cinema were typically headlined by a masculine actor (the hero). Those informed with a southern film industry, fans demeanour during a masculine star in a opposite approach than a womanlike star, generally in a south, where they start forming a constant bottom that prevents a star’s films from collapsing during a box office. Having achieved an roughly demi-god standing by their stardom in informal cinema, actors like Rajinikanth and Kamal Haasan would not have prioritised Bollywood over their home industries.
This isn’t a usually probable reason however. Generally speaking, denunciation is a many poignant separator to cranky pollination of actors between film industries. During their initial years in Bollywood, Sridevi and Rekha, for instance, were not familiar with Hindi and had their lines dubbed by dubbing artists. Voice plays a bigger purpose in a picture and recognition of masculine stars, compared to their womanlike counterparts, and therefore with a choice of dubbing precluded — masculine stars were reduction expected to relief opportunities in other denunciation industries including Bollywood.
This is not to contend that south Indian stars are not concurred for their talent, yet there is a disproportion between good behaving and anticipating stardom. The approach Dhanush, for instance, is viewed in a south is totally opposite from a approach he is viewed in a north, even yet he has been concurred even in Bollywood for his behaving skills. “He is not ‘hero-material’, he is usually an actor”.
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