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 audiences.
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 box-office success not just in Tamil Nadu, but in the Hindi hinterlands 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. “Moondram Pirai was a hit in Tamil, but Sadma got the cash registers ringing in Hindi. Director CV Sridhar also remade several of his Tamil films in Hindi including Kadhalikka Neramillai as Pyar Kiye Jaa. Our famous director A Bhimsingh directed more than 20 films in Bollywood,” he says. “Gemini, AVM, Vijaya Vauhini Studios, and Venus Pictures all produced multiple films in Hindi and commanded tremendous respect with top stars including Raj Kapoor, Dilip Kumar and Nargis Dutt all acting in their films.”
Our films and talent never fazed when confronted with the prospect of a new language or a new region. When Kamal Haasan debuted in Bollywood with Balachander's Ek Duuje Ke Liye (1981), it turned out to be the highest grossing film of the year. Two years later, Rajinikanth broke into the industry with Andhaa Kaanoon. Actors like Sridevi, Hema Malini, Rekha, Meenakshi Seshadri and several others established themselves as powerful talents in the Hindi industry as well.
Veteran actor Radikaa Sarathkumar, who too was able to create a niche for herself beyond the confines of Tamil cinema, recalls: “The mighty 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 to act in heroine roles in Hindi cinema, I remember Sridevi advising me to move to Bombay. However, I was never too keen.” While hits like Kudrat Ka Kanoon, Mera Pati Sirf Mera Hai further helped her reach in Hindi cinema, she reveals that bias and stereotypes were quite the norm then, when South actors went to work there. “It was a time when we were judged severely for our looks and teased with phrases like, ‘Idly-dosa-sambar’. It took many years for them to begin to accept us. I am glad that this is changing now, with our talents being recognised globally.”
Right up there with Tamil cinema’s big contributions to Indian cinema is the industry’s technical talent that has consistently been part of Bollywood’s top work. Among them is ace cinematographer-cum-actor ‘Natty’ Natarajan, who has worked in more than ten 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, advertisements, before landing his debut Hindi short film Last Train to Mahakali with Anurag Kashyap. “After going there, I gained the friendship of noted filmmakers including Shoojit Sircar and Pradeep Sarkar, apart from Anurag himself who helped shape my career,” he says. Although there was an initial period for about six months where he struggled to learn the language, he quickly acclimatised himself with the environment and the cities he travelled to. Interestingly, Natty found 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, highlights that the 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 GV 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 actor Chinmayi, who has proved her mettle across languages, admits that her versatile voice and grasp on multiple languages helped her to be more successful across the country. “I have dubbed in six to seven languages for advertisements for stars like Samantha and Anushka Shetty in languages including 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 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 artists 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, it's just a matter of time before your work gets recognised far and wide.”
Our artists continue to redefine craft and content beyond the boundaries of Tamil cinema, and today, Indian cinema and its discerning audience has 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 artists from Tamil cinema to back you up.