Kollywood and TollywoodKollywood is the informal name of the Tamil film industry, and Tollywood is the Telugu-language industry. The name "Kollywood" is a portmanteau of Kodambaakam note and Hollywood. These two industries are some of the largest in India, and they share a lot: tropes, actors, composers, directors. Both are located in Southeastern India, and their audience is concentrated in the same area. To the rest of India, they are relatively unknown, which is why Indians who are unfamiliar with these two industries often lump them together and associate them with 1) political regionalism, 2) the actor Rajinikanth, and 3) ultra-conservative Tamil brahmins. Yet, the cultural fallout of these movies transcends their obscurity. One can't begin to count all the South Indian moves that became massive commercial or critical hits, went on to be dubbed in several Indian languages, and then became hits in those languages also. Mani Ratnam's 1992 Roja, an influential film beloved all over India, was first a Tamil movie, though its origin is often glossed over. This film also debuted the composer A.R Rahman, who is now world-famous. But before he did Slumdog Millionare and before he worked in Bollywood, he spent a decade composing music for Tamil movies. This not a rare scenario: it's easier for a no-name talent to debut in South India than it is in Bollywood. Many iconic Hindi film stars, from Aishwariya Rai to Kajol to Katrina Kaif, started their careers down south. These films are today thought of as the Large Ham, even by Bollywood standards. They are unabashedly escapist. The heroes are generally unapologetic Stus of the highest order. The Love Interest (called a "heroine", even if she never does anything heroic) is usually a straight-up chick and Distressed Damsel. Every film will have copious amounts of intrusive comic reliefnote as most films attempt to stuff in as much action, romance, music, and comedy as possible. This all-in-one genre combination is familiar to Indian movie buffs as 'masala', but is more commonly called 'mass' in Telugu lingo. Even movies with a serious subject matter (politics, horror, history, mythology) may follow the same pattern. Combine all of that with the low quality special effects and you get an industry of Narmy, So Bad, It's Good movies. There are exceptions, such as Kandukondein Kandukondein, a Kollywood adaptation of Sense and Sensibility, which is slice-of-life drama, combined with romance and some mild satire. Some popular directors, such as Mani Ratnam, K. Viswanath, Ram Gopal Varma, and more recently, Rajamouli, are known to stray from the typical masala patterns. With foreign filmsnote easily accessible, the expectations of the younger generation are changing, and so such exceptions are growing more and more numerous. What the mainstream of Kollywood and Tollywood have going for them is that they tend to be more action-oriented than Bollywood and more on the "gritty" side. Where Bollywood movies tend to focus on the wealthy, these movies are more likely to feature middle-class and working-class characters (partly because of political influences in the past). Also, they are usually very high-energy. The main reason that the stuey Action Hero is accepted is because the actors are entertaining and enthusiastic enough to pull off such overbearing roles. Action Heroes in Kollywood and Tollywood tend to be superheroic in their power, and will often be able to take massive amounts of punishment before pulling a Heroic Second Wind and taking the villain down. But it should not be assumed that these tropes are the default or definitive state of Indian cinema. Infact, the masala formula arose very recently, just in the last two or three decades. Southern movies before this era, while still being very idealistic and sometimes glorifying the hero, were not typically so uproarious, and quieter stories concerning romance, family, and marriage were common. The most famous and beloved movies from the past (e.g. Maya Bazaar, Chandralekha) went to the other extreme, with epic, meanders g stories involving royalty or mythological figures. In the late 70s and the 80s, there was a small but influential genre of acclaimed movies that revolved around the topic of music and dance, where the story focus was on the characters learning, mastering, sometimes being consumed by the art. The most famous of these was Shankarabaranam. These film industries are also noteworthy for producing lots of politicians, à la Schwarzenegger. The two biggest examples are M.G. Ramachandran (of Kollywood, often shortened to 'MGR') and N.T. Rama Rao (of Tollywood, shortened to 'NTR'). Both formed their own political parties and spun fanatical film Fandoms into huge voting blocs. Both also pandered to the poor (especially MGR, who was portrayed as a fighter on their behalf in the movies) and to regional pride. Another example is former actress Vijayashanti, who started out portraying stock love interests in Tollywood, then bucked the boys-only club and did cop roles in the nineties, and later went onto a political career. —
Recommended Films (Tollywood)
- Athadu, featuring an assassin out for vengeance after he is framed for the murder of an important politician.
- Eega, where a vengeful hero becomes a housefly
- Pokiri, about a cop who goes undercover to take down land mafia.
- Magadheera, where a vengeful hero's ancestor was also a vengeful hero
- Kshana Kshanam, where the villain is vengeful and the protagonist couple are on the run
- Anukokunda Oka Roju, no hero, but an ensemble of heroine, corrupt cop, and intrepid taxi driver
- Seetharamaiah Gari Manavaralu, where protagonist is the child of emigrants wanting to reconnect with her family
- Sagara Sangamam: a washed-up, alcoholic dance master struggles to teach the spoiled daughter of his former lover
- Siva a very famous action movie from the 80s
- Tiger A vengeful hero (NTR) and his standard Tollywood adventure with his badass bubble "BMW"
- Oohalu Gusagusalade: one of the urbane romantic comedies becoming popular nowadays
Recommended Films (Kollywood)
- Angaadi Theru, a simple realistic movie about poverty and love
- Naan, about identity theft
- Abhiyum Naanum
- Iruvar, a biopic about the friendship between two famous political figures
- Bombay, a movie about an interfaith couple dealing with the aftermath of the 1992 Babri mosque demolition and the 1993 Bombay Stock Exchange terrorist bomb strikes.
- Anjali: A rare Award Bait film, featuring a terminally Ill Girl born with a developmental disability.
- Indian: A vigilante movie with a distinctly Indian version of the '90s Anti-Hero, that was submitted to the Oscars for consideration for "Best Foreign Film".
MollywoodIf Kollywood is The Lancer in this lineup and Tollywood is the Big Guy, then Mollywood is the Smart Guy. "Mollywood" refers to the Malayalee industry, from the Southwest Indian state of Kerala. Historically, these films tended to be a little more thoughtful, subversive, and low-key than their southeastern counterparts, but Mollywood also churns out its share of cheap action films, intended to compete for eyeballs with Malayalee dubs of the Tollywood and Kollywood mainstays. The Mollywood action films tend to unimpressive compared to the Tollywood and Kollywood output: they have much smaller budgets, not much action choreography, and usually star middle-aged men who originally made their reputations in more cerebral films, and aren't really action hero material. Another minor quirk of Mollywood cinema is that Kerala has a relatively high percentage of Christians, and a very long history of hosting them (with one group claiming to have been evangelized by St. Thomas The Apostle). As a result of this, Mollywood portrayals of Christians tend to be less caricatured and more naturalistic than Bollywood's portrayals of Christians. Not to be confused with the Mormon film industry, or LDS Cinema, also known as Mollywood.
SandalwoodSandalwood is the nickname given to the Kannada film industry, based in Bangalore. The name is derived from the sandalwood trees, that are ubiquitous in the southwestern Indian state of Karnataka. They are in these times considered the Zoidberg of South Indian film industries, owing to their movies being generally of lower production quality and So Bad, It's Horrible plots. The truth is that this industry is a White-Dwarf Starlet, which once produced movies equal in quality and commercial success to the other South Indian "woods", but have been in a prolonged Dork Age since the early nineties. This industry took off in the fifties, with nearly all of its movies being Sword & Sorcery high fantasy epics based on Hindu Mythology. The sixties saw a genre change, as more movies started to feature more contemporary plots, usually focused on common people. A lot of these movies featured Sandalwood's own MGR - Dr. Rajkumar note , who became an icon, but unlike MGR or NTR, didn't opt to translate cultural popularity into a political career. The seventies saw the industry hit its peak, with many commercial hits and more compelling stories being told. Many movies made in this particular decade were based on well regarded Carnatic literature. The eighties saw the industry adopt more modern stories, modern production techniques, even more synth based soundtracks. This era also saw the industry moving into more genres, such as romantic comedies, extremely soft sci-fi (more fantasy than sci-fi), horror and the usual popcorn action flicks. Movies made here in the eighties were very similar to movies made by the other South Indian "woods". The nineties were not kind to this industry, seeing it Jump the Shark multiple times. While Fanservice, stereotype based humor, Marty Stu leads and Plot Tumor has always been present in all movies, these aspects were turned up in many films of this era at the cost of a good compelling story. As a result, these movies catered primarily to a rural and often uneducated audience. This resulted in just sufficient revenue to offset production costs, but not enough cash to pay good screenwriters, good directors, good production crews, good score composers etc. Therefore, the industry seems to be mired in this Dork Age with little to no hope of recovery. The reasons for why this industry suffered decay, while others flourished, has to do with other major events that occurred in the early nineties. A major factor is the makeup of Bangalore. While Chennai, Hyderabad and Thiruvananthapuram were large South Indian cities, with Chennai being larger than Bangalore, the capital city of Karnataka was always more cosmopolitan, with people from all over India residing there. This was initially due to many people retiring there, owing to Bangalore's slightly cooler temperatures, but also due to many important research institutions for Indians with Iglas being based there. The founding and subsequent explosive growth of the software industry in Bangalore, turned it into a Boom Town that attracted a lot of people across India. A lot of these people wanted to see movies made in their own language, or alternatively more Hollywood movies and foreign films. As a result, Sandalwood's movies suddenly faced stiff competition in Bangalore. Unable to penetrate the non Carnatic speaking residents of Bangalore, the industry focused instead on pandering to their rural audience. Other "woods" also avoided this problem by arm twisting theatre owners and local governments to be more protectionist and screen only their films.
- Gandhada Gudi (Temple of sandalwood) - an early seventies popcorn flick about a forest ranger, trying to bring down a notorious sandalwood smuggler.
- Parasangadha Gendethimma - a tragic tale of a village forced to change with the times.
- Yeradu Kanasu (two dreams) - a romantic comedy, possibly the first lighthearted one in this language, not weighed down by drama.
- Srinivas Kalyana: A dramatization of a mythological tale.
- Bayalu Daari - a romantic film that also deals with PTSD and disability.
- Benkiya Bale - a Tear Jerker of a romantic tale, based on a bestselling Carnatic novel.
- Aapad Baandhava - the rarest of the rare - an Indian movie that received a Hollywood remake - the Bruce Willis flick Mercury Rising (the autism and cryptography in the Hollywood version, being an upgrade over the deaf-mutism and post traumatic stress used in this movie).
- Hrudaya Geethe: Translation - a song from the heart. Another rarity in the Otherwoods - a lighthearted Rom Com that falls prey to the Cerebus Syndrome and becomes quite dark and tragic towards the end. A remake of the Bollywood film "Paagal Kahin Ka"
- Gowri Ganesha: A Black Comedy with an Unscrupulous Hero protagonist. One of the very few Indian movies in which this kind of protagonist doesn't get any comeuppance in the end.
The Punjabi Industry
The Bengali Industry
The Bhojpuri Industry
The Orissa Industry: Ollywood