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Where have the villains of Hindi cinema gone? They have gone south

July 22, 2010 05:43:03 PM IST
Enkayaar, Bollywood Trade News Network
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When was the last time when a powerful performance from a villain became a talking point in the world of Hindi cinema? As a matter of fact villains have literally disappeared from the world of cinema as characters being replaced either by the circumstances as villain, or literally wishing them away altogether. GHAJINI was the film where a villain's name was used as the title of the film, but the role played by Pradeep Rawat was not packed with punch that he could be remembered after the film was released. Two years down the line when GHAJINI is talked about it is only in the context of Aamir Khan's performance not in the context of Pradeep Rawat's portrayal of the role as GHAJINI!

But there is a class of actors who have made the role of villains as their butter and bread, but after Hindi cinema closed the doors for them, the South Indian film industry graced them with open arms. All the famous villains from the current decade on whom there was hope to carry along the art of villainy to the next generation, but they could not do so, as content of the present times denied them the opportunity, including Mukesh Rishi, Salim Ghouse, Ashish Vidyarthi, Pradeep Rawat, Mukesh Tewari, Sayaji Shinde, Atul Kulkarni, Sonu Sood and Murali Sharma have become top notch villains in the world of South Indian cinema.

They are also gaining in strength from film to film and have a huge captive audience. As a matter of fact the cult status that Sonu Sood enjoys in Telugu cinema, he would be aspiring to attain a shade of the same in the world of Hindi cinema. Sonu Sood and Murali Sharma have gone along to win the best villain award for themselves. In the real sense of terms the path to villainy was opened by Rahul Dev who migrated to Telugu cinema and is such an important figure in the construct of Telugu cinema that rarely is a film of a large canvas considered where Rahul Dev does not find a place for himself.

Interestingly enough, most of these actors, but for Salim Ghouse speak dubbed dialogues, even then the cat whistles and claps are offered to them for their performance in the same manner as it is done for the heroes of the South Indian films and this is no mean achievement for these actors.

It indeed is a healthy sign for the film industry per se, as an actor is being given a role based on his caliber as an actor and not owing to the kind of language that he speaks or the mother tongue that he grew up with. It indeed is a small globalization within the Indian context, as now the inward outward flow between Hindi and Southern language films overlaps across all genres, and is not restricted only to male and female actors.

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