Kisi Ka Bhai Kisi Ka Anna: Salman Khan film makes a joke of dish India films

As somebody who experienced childhood in Chennai (not south India, Chennai) I went through years watching Bollywood films where characters who were purportedly ‘south Indian’ wore crazy measures of ‘gajra’ in their hair, communicated in Hindi in noisy voices and had overstated highlights. They were in every case part of the supporting cast or more regrettable still, lighthearted element. They were diminished to one heterogenous generalization that had no subtlety or knowledge.

Unfortunately, right around thirty years after the fact, nothing has changed as Salman Khan’s new film, Kisi Ka Bhai Kisi Ki Jaan shows. Or on the other hand to summarize Lucius Malfoy’s line, when you figured Bollywood could stoop no lower in its bold speculation of southern India, it does.

Since Pushpa delivered and made Bollywood scratch their heads and tremble in fear at the same time, there have been endeavors at making each Bollywood film a skillet Indian peculiarity. A joint effort among entertainers and businesses is really smart on paper. Yet, in the event that they are not taken care of seriously, they turn out to be just a complete debacle.

Kisi ka Bhai Kisi Ki Jaan highlights Salman Khan as ‘he who has no name’ or religion and is alluded to as Bhaijaan by his three siblings and everybody in his pin code. The willful lone ranger bhaijaan meets his match in Telugu young lady Bhagya, (Pooja Hegde) short for Bhagyalakshmi, who reestablishes collectibles and wonderfully even falls for one. What else can one say regarding a man who is more than twenty years more seasoned to her and expresses backward things like ‘one wrong lady can break a family’?

Thus, Bhagya is from Hyderabad and her ‘annaya’ or senior sibling is played by Venkatesh Daggubati, a famous Telugu celebrity. Her rich family lives in Hyderabad supposedly, however their home seems to be an enormous farmhouse style estate that might be in Lonavala. Not long before we travel to the hinterlands of Hyderabad, a banana leaf shows up on screen to declare ‘Welcome to the universe of South India‘ complete with bloom and coconut illustrations. That this can occur in 2023 appears hard to accept, yet therefore reality will continuously stay bizarre to say the least.

In this way, slice to Hyderabad ki haveli, which is home to Bhagya’s Alok Nath-esque Annaya and his more distant family who seem as though they rose up out of a Sooraj Barjatya dream. They wear vibhuti and kumkum, celebrate neighborhood celebrations, and scatter Telugu discoursed with highlighted Hindi. Poor Rohini Hattangdi looks conciliatory for being a piece of this reductive wreck where ‘Balaji’ booms uproariously behind the scenes when the Telugu family implores. Their last name is advantageously Gundamaneni, which Salman decreases to Gunda trying to terrify the miscreant.

Be that as it may, to watch developed men moving toward their sixties wear a white and gold ‘veshti’ and push their groin more than once while singing about lifting their ‘lungi’ is a lot to handle. Does one call these hip pushes obscene, adolescent, or stupid? It’s a genuine situation.

The Telugu talking people aren’t all charming rabbits. There is likewise a super lowlife played by Jagapathi Babu who is, and I quote, a ‘mental case and twisted person’. Thus, men in Hyderabad are either sweet or they are terrible. There could be no other choice. There is a dish Indian joint effort in the villainy as well. The Telugu bad guy has a Haryanvi partner who is as a very remarkable generalization. There is likewise an unbelievable Rambunctious Anna who became quiet subsequent to being fierce for quite a while. No curve balls about what that’s identity is, on the grounds that how might a famous male entertainer not be permitted to enjoy silly viciousness and hostility?

The urgency to charm crowds from the southern states is areas of strength for so, leaves you feeling equivalent parts sorry and appalled. The movies in different south Indian dialects, whether KGF, Pushpa, Kantara or even RRR succeeded on the grounds that they remained established in their nearby sensibilities while consolidating generally figured out topics and clashes. A portion of these movies had a dish Indian cast. However, the Bollywood entertainers in these movies were a natural piece of the story, not a pay off or motivation to draw in crowds.

Moving in veshtis and calling them lungis, depicting Hyderabad like a charming town from the 90’s, utilizing irregular Telugu words in tunes which have no importance to the characters or significance to the film, and projecting entertainers to capitalize on the skillet Indian pattern are only a couple of the many bungles committed by Kisi Ka Bhai Kisi Ki Jaan. No lungi can conceal the producer’s deigning disposition towards the crowd he is endeavoring to assuage. For this reason Hindi movies have never customarily done well in the southern states. For what reason don’t we zero in rather on creating films with characters and profound struggles that anybody can connect with?

To cite Salman from the film, “There’s no need to focus on power, it’s about resolve”. We should take care of the lungis, annas, and any remaining generalizations and quit humiliating ourselves as such.