Filmmaker SS Rajamouli introduced the Indian audience to the kingdom of Mahishmati with his Baahubali franchise. Two blockbusters later, the kingdom continues to harbour many more stories as seen in Baahubali: Crown Of Blood. The animation series has been designed as a prequel, which shows Baahubali and Bhallaladeva unite to defend the kingdom against the warlord, Raktadeva. Rajesh Khattar, who has lent his voice to Raktadeva in the Disney+ Hotstar offering, says his character adds intrigue to the story.

He explains, “He doesn’t want to conquer Mahishmati, he wants to destroy it. The strongest aspect here is the story. There is something way more intriguing than ‘Katappa ne Baahubali ko kyun maara?’”

Many may wonder whether animation will do justice to the franchise’s larger-than-life experience. Why wasn’t this designed as a web series instead of an animated feature? “The idea is to expand the formats in which Baahubali exists. [A web series] needs an exhaustive shoot and Rajamouli sir was busy with RRR [2022]. This was the right thing to do,” states Khattar.

The series’ voice cast includes Sharad Kelkar as Baahubali, Manoj Pande as Bhallaladeva and Mausam as Sivagami. Khattar rues that voiceover artistes are not given their due.

“When the voices of top stars are used, there is a certain billing and the studios pay big money. But due credit must be given for the voice that suits a character, and not for a star’s face. Voice actors are never given their due. I started getting my due when Ram Gopal Varma credited me for Sudeep’s voice [in Phoonk]. With movies like Pushpa: The Rise - Part 01 [2021] doing well in Hindi, I got recognition when I dubbed for Fahadh [Faasil] or Shreyas did for Allu [Arjun]. Dubbing artistes shouldn’t remain faceless and nameless entities.”

Post RRR’s recent Golden Globes win and now with his film Vikrant Rona making it to the Oscar contenders list, Kichcha Sudeep dwells on the prominence of Indian cinema on an international platform today and what it means to the film industry as well as to him personally. Excerpts:

It’s an honour. Anyone in my place would be overwhelmed by it. The film took off when there was still fear of Coronavirus and when all doors were closed, especially those of the financial institutions. But we still went on floors, completed the film without a hitch, released it and moved on with our lives. But then, one fine day, someone knocked on the door and said, ‘Hey! Someone else has also watched your film, and they are taking it to the international arena.’ Well, that was the knock that I heard that morning when Vikrant Rona made it to the Oscars’ nomination contenders list. This was not something we were expecting or even looking forward to, as no extra effort was put into being recognized by them. The hard work we put in, especially during COVID, seems to have paid off.

One can’t really point at one aspect and say that was it. The film is a content-driven film, and so there were no changes made to the story just to cash in on star power. Planning something like Vikrant Rona, and creating this whole new world that took both — us and the audience back in time was a mammoth task. We enjoyed every bit of the making process, more so because it was something new for all of us. I think the fact that we were able to place ourselves in an era that we do not belong to was one of the many aspects that helped make the cut. The film making it to this list is a huge pat on our back, a way of acknowledging that there was exemplary work done, and that people across the world have noticed and appreciated your work.

I know the team from close quarters, as I have worked with them. The excitement they carry and the effort they put into every film is amazing. They have all worked towards one vision, and all those efforts are now paying off. Their excitement is as catchy as their song Naatu Naatu. The composer, Keeravani Sir is so humble, and that makes him even more special. The award is well-deserved. I was, honestly, very happy to wake up to the news that day.

I don’t know what it means to the entire film fraternity. But I just know that it means a lot to me as a person. Every time we make a film, we hope to reach out to, and also impress a lot more people than we did the last time. Sometimes we succeed, sometimes we fail. However, when we make a film, we put in the same kind of effort irrespective of whether it is being released in one language or more. Pan-India became an add-on phrase to films that reach out to a larger audience across the country. And now, with our films making a mark on the international scene, we now have pan-world. It makes us believe in the possibility of narrating a story that the entire world can relate to. It gives us the confidence to tell better stories as you know that the world will be watching.

Actor Kichcha Sudeep has opened up about his verbal spat with actor Ajay Devgn on Twitter over the status of Hindi as ‘national language’, saying his intention was not to spark a debate. He revisited the incident while praising PM Narendra Modi for calling Indian languages the soul of ‘Bharatiyata’.

Last month, Sudeep’s exchange with Devgn over his remarks that Hindi is “no more our national language” snowballed into a larger debate on social media. “I didn’t mean to start any riot or any kind of debate. It just so happened, without an agenda. It was an opinion I voiced. It was an honour and a privilege to see the certain lines come out of the Prime Minister’s mouth,” he told NDTV in an interview.

He further clarified, “I was not trying to take on anyone. I have the right to say what my opinions are when it comes to certain topics.”

“Everybody looks upon their language with regard and respect, it’s an overwhelming thing to see him speak this way,” Sudeep added.

Recently, Modi asserted that his party sees a reflection of Indian culture in every language, which gave the Kotigobba 3 (2021) actor more reasons to feel happy.

“I am not just representing only Kannada, I’m talking about... everybody’s mother tongue has been respected today with those few statements from the Prime Minister and that is where I was coming from that day (sic),” he said.

While hosting the trailer launch event of KGF - Chapter 2 in Bengaluru recently, Karan Johar, said, “It’s high time we do away with all the ‘woods’ and look at the Indian film industry as one. ” He was clearly referring to big wide divide that has always existed between Bollywood – the grand daddy of Indian film industry – and all the other regional film industries in India.

What Karan said is just a rearticulation of what the Indian movie audience has already decided to do — to move on from just Bollywood and watch any cinema that entertains and engages them; never mind if it’s from Tollywood, Mollywood, Kollywood or Sandalwood, or any other self-styled ‘wood’. They have, in that sense, already done away with the so-called ‘woods’.

Film industries across the country may have been operating in silos, making their own kind of films, for their own kind of people. But the audience has made it clear that they’ll exercise their choice. And they’ve chosen good content that cuts across linguistic, cultural, and geographical barriers.

The Indian cinema lover no longer cares where the story is set, or where the star is from. Content is truly king. What else would explain the craze for Allu Arjun’s Pushpa: The Rise - Part 01? The tale of a tribal boy from rural Andhra Pradesh smuggling sandalwood to eke out a living while protecting his oppressed tribesmen is finding resonance across the nation.

Pushpa’s director Sukumar confesses that he had faith in the story and the format in which he told that story, but even he couldn’t have anticipated the love it received nationwide. “This just goes to show that no matter what language the film is made in, if you have strong content, it will resonate universally. Pushpa may seem like a story rooted in the place it’s set in; but the emotions it evokes are universal, and that is what is finding resonance across the nation,” reckons Sukumar.

Kichcha Sudeep, who is gearing up for the release of his pan-Indian 3D film, Vikrant Rona, points out that Thai, Korean and Chinese films managed to cross national borders and found an audience internationally long ago.

“Thai, Korean and Chinese films crossed these boundaries years ago. Jackie Chan became a name in Hollywood decades back, while China produced the Academy Award-winning Crouching Tiger, Hidden Dragon,” says Sudeep, who is confident that Indian cinema is on its way to getting there.

A film that resonates with the audiences also means big bucks, as Visakh Subramaniam, who sold three-language remake rights for his production Hridayam to Karan Johar, recently discovered. “Hridayam may be a Malayalam film, but it has run for more than 60 days in Chennai. Pushpa is a story about a Telugu boy made in Telugu primarily, but it did good business in Mumbai, where it ran for 100 days in some places. KGF Chapter 2 and Vijay’s Beast both had early-morning fan shows planned in Kerala. So, there are definitely no barriers for good entertainers,” he says.

If the audience is looking beyond boundaries of language and region, then who are stars to say they’ll not take the leap and cross over? Hindi cinema is now welcoming actors from regional cinema with open arms. Raveena Tandon, who is returning to south Indian films after two decades, shares, “I’m so glad to see crossovers and multi-lingual films being made. The audience has always been open to it, and now, their needs are being met too. I think it’s about time we all came together to make one strong Indian film industry.”

Interestingly, ‘Indian film fraternity’ is a term that’s crept into the lexicon of stars all over the country of late. Following the massive success of RRR, Jr NTR spoke about a united film industry that can “revive the glory days of Indian cinema.”

NTR’s emphatic statement and the conversation around ‘Indian cinema’ embodies the fact that we have come a long way from an era where actors from the South were cast as side characters in big Bollywood potboilers.

“I remember a time when South actors were cast as bad guys in most Hindi films, or, roped in for some special appearances at best,” says director Raj Nidimoru of the famous Raj and DK duo. “Not anymore. Actors like Priyamani, Samantha, Neeraj Madhav and Vijay Sethupathi have all been reintroduced to Indian audiences via their work that’s cutting across regional barriers now,” says Raj.

Filmmakers agree that Baahubali and KGF catalysed audiences to sit up and take note of films beyond Bollywood. Lead actor Prabhas said, “I think our films should be categorized first as Indian films, and not language-wise.”

Actor Rana Daggubati is quick to point out that the digital format played a big part in uniting Indian cinema. “It all started with OTT, in a way. Commercial cinema was always made for the box office, because it costs a lot of money to release a film in theatres and to market it to audiences. Traditionally, there’s only so much you could do, only so many screens you could take it to. But with OTT, these films started reaching the drawing rooms of people across the country. Now, more than the language, the audience started connecting to the emotions of the characters; the story; the storytelling. Once they got the taste of it, they wanted more,” says Rana.

The pandemic only reinforced the power of the digital format, and worked especially well for smaller film industries like Malayalam, which never got their due despite the great talent and legacy of good

films. The Great Indian Kitchen, for instance, was made on a modest budget, but had content that resonated nationally that made the whole nation sit up and take notice.

Analysing the trend, director Jeo Baby says, “During the lockdowns, people sat at home and watched everything that came their way… Well, the fact remains that even today, it is hard to reach a platform that can give you access to a national audience, especially if you aren’t that big a name.”

But once you get there, your work will get the kind of eyeballs and the kind of creative freedom you could have never dreamt of, say filmmakers. As Raj Nidimoru points out, “In The Family Man, Samantha, who played a pivotal role, doesn’t speak a word of Hindi. Yet, it’s a series made in Hindi. Almost 50% of Season 2 of The Family Man was in Tamil. We didn’t care. We knew people would get over the subtitle reservation. This kind of freedom to tell a story the way it should be told was unthinkable even a few years ago. For us filmmakers and actors and technicians, there hasn’t been a better time to be here, in Indian cinema.”

- Soorarai Pottru

- Jai Bhim

- The Great Indian Kitchen

- Minnal Murali

- Drishyam 2

- Cinema Bandi

- Kala

- Sarpatta Parambarai

- Karnan

- Super Deluxe

Bollywood actress Jacqueline Fernandez finished shooting for a special appearance in Vikrant Rona, a multilingual film starring Kichcha Sudeep, recently. This included a special song that they shot in Bengaluru, this week.

Talking about the film that also marks her debut in Kannada films, Jacqueline says, “At this stage, all I can say is that it’s a well-etched out role and my character gives a new dimension to the way the story progresses. Sudeep sir is a fantastic actor and to share the screen space with him is an opportunity that doesn’t come by everyday.”

The actress was excited about being in front of the camera again after a forced break owing to the Coronavirus pandemic. She shares, “It feels great to do what I love the most. The pandemic came and brought everything to a standstill. Now that we’re all slowly making our way back to the sets and I am glad to start with this film.”

So, how did the makers think of roping in the Bollywood diva in the action-thriller? Apparently, they wanted somebody who had that hint of naughtiness and sass. Director Anup Bhandari says, “The producer suggested her name and we approached her. She heard the graph of the character and was happy to be a part of the project. Her character enters the film at a very crucial juncture.”

He is one of Kannada cinema’s biggest stars, but Kichcha Sudeep exudes humility that few actors with his fan following would. Having just completed twenty five years in the industry, the 47-year-old is looking forward to the release of Vikrant Rona, the world’s first film that unraveled its logo at Dubai’s tallest building, Burj Khalifa. In a late night chat with us, the actor, filmmaker and television host talks about competition, aversion to tags, and why he thought he wasn’t big enough to have a makeup man for years.

The feeling remains the same, sir, it doesn’t make a difference. 25 glorious years for me is the fact that I survived for 25 years, because this field has got too much competition these days. First of all, your fans show loyalty, they stick to your films, and come to the theatres to watch you even after all these years. That is a blessing. That I managed to be around for these years and maintain a certain positioning... a lot of people’s contribution went into that. I am happy I am still being able to do what I do, just like how I started my first day. I feel the same about films.

Whatever happened was an entire team’s effort. It takes certain money. Even when Dubai wanted to host me for this milestone... I didn’t expect all this to happen in my life, I am just going out and doing my job. The producers of Vikrant Rona wanted to do certain things. When somebody starts believing in your product, it makes you get up earlier and work better. The way people gathered there, irrespective of the Coronavirus situation… there are humongous restrictions in Dubai, not more than seven people can stand anywhere, there’s a penalty. Keeping all that aside, they wanted to stand. It was a precious moment and it belongs to my team.

I am not being modest, but I don’t believe in stardom, I just believe in saleability. That is the valuation every actor has. We are not valued by the number of fans we have, but the collections we get at the box office. We all have a fan following, what makes you what you are is the revenue your film gets. That’s the positioning I am talking about. So far, I am still being able to do certain things, have people investing in them, have writers wake up in the morning and write for me. That is a blessing which I am still enjoying.

He was temporary back then when he started. I didn’t have a makeup person for years, I hadn’t probably grown to a position where I could say I want a personal makeup man! The day I saw he doesn’t have too much work, in the later years, I called him and asked if he would like to stay with me. I had this emotion too that this person had put the first ever makeup on me. He’s a very good guy, a gentleman to have around.

With Coronavirus restrictions in place, the opening ceremony of the 51st edition of the International Film Festival of India (IFFI) was a low-key affair, with just a handful of guests in attendance. The host, Tisca Chopra, welcomed the guests and opened the show with an introduction, which was followed by speeches by the dignitaries present.

Information and Broadcasting minister Prakash Javadekar struck a hopeful note in his speech at the inauguration, saying, “The COVID vaccine has been launched today and we are sure that when the 52nd IFFI happens in November this year, things will be back to normal.”

The chief guest, Kichcha Sudeep, a versatile film personality from the Kannada industry, said, “Cinema takes you around the world from your seat and gets you closer to the culture of countries across the world. It’s wonderful to see myself seated with wonderful personalities, and Priyadarshan, who is from the same fraternity as mine. Let cinema be the new pandemic and spread over the world.”

Several actors such as Anupam Kher, Madhuri Dixit-Nene, Ranveer Singh, Vidya Balan, Mohanlal, Siddhant Chaturvedi, Aparshakti Khurana, and others joined virtually. Other guests present included Goa Chief Minister Pramod Sawant and actor Manoj Joshi.

The event was big on performances, with singer Sonia Shirsat opening the show with the popular Hanv Saiba Poltodi Vetam which was adapted by Raj Kapoor as Na Maangoon Sona Chandi in his movie Bobby (1973). There were traditional dance performances by Goan artistes too.