44-574: The IIFA Utsavam rewards the artistic and technical achievements of the South Indian film industry . The ceremony is organised by Wizcraft International, the team behind the IIFA Awards , and represents Telugu cinema , Tamil cinema , Malayalam cinema and Kannada cinema . The ceremony was instituted in 2016, after the 2015 South Indian floods had delayed the event from December 2015. The Awards are presented in separate parts on two different days. On
88-504: A certain milieu, while appealing to the collective “Indian” sensibility, whereas Hindi films , of late aren't able to strike this balance because of their essential non-rootedness. For many years, films in Hindi have gone urbane and elitist, while down South, they remained rooted in telling the stories of people in a way they can enjoy as their own. Recent South Indian cinema sees a trend of violent heroes, deviating from virtuous protagonists of
132-411: A few like Dangal (2016), M.S. Dhoni: The Untold Story (2016). "A pan-Indian film does not mean that actors from different languages come together. That's all part of it. A pan-Indian film means a story and emotion that connects to everyone irrespective of the language. While creating a story, I think 'If I switch off this dialogue portion, will the audience still connect to my movie?' Many times,
176-611: A film actor, became the first elected 'Member of legislative assembly in the industry from Tamil Nadu. Meanwhile, Tamil film Chandralekha crossed all language borders. It was the time, when M. G. Ramachandran became one of the most remembered actors of India. His popularity enabled him to found a political party, the All India Anna Dravida Munnetra Kazhagam , which is regularly part of the Government of Tamil Nadu . He posthumously won Bharat Ratna . The time
220-468: A grand exhibition was organised in Madras . Its major attraction was the screening of short films accompanied by sound. A British company imported a Crone megaphone , made up of a film projector to which a gramophone with a disc containing prerecorded sound was linked, and both were run in unison, producing picture and sound simultaneously. However, there was no synched dialogue . Raghupathy Venkaiah Naidu,
264-566: A platform titled IIFA Utsavam, in order to reward the achievements of the South Indian film industry. The inaugural show was announced to be held in Hyderabad between 4 and 6 December. On 3 December 2015, Andre Timmins of the IIFA Management announced that the show would be postponed as a result of the 2015 Chennai floods and that the event would be held as a fundraiser at a later date. The show
308-557: A regular practice by which films from Telugu cinema and Tamil cinema gained popularity in the Hindi speaking regions . Majority of these films were dubbed after few weeks or months of the original version release. Similarly, Hindi films were frequently dubbed in Telugu and Tamil languages, but didn't gain as much popularity in Telugu and Tamil speaking regions as Telugu/Tamil films received, except
352-487: A screenplay and songs written by Muthukulam Raghavan Pillai . Malayalam films continued to be made mainly by Tamil producers until 1947, when the first major film studio , Udaya , was established in Alleppey , Kerala by Kunchacko , who earned fame as a film producer and director. The Madras presidency was divided into linguistic States, known today as Karnataka , Kerala, Andhra Pradesh and Tamil Nadu . The division marked
396-669: A successful photographer, took over the equipment after the exhibition and set up a tent cinema near the Madras High Court . R. Venkaiah, flush with funds, in 1912 built a permanent cinema in the Mount Road area named Gaiety Theatre. It was the first in Madras to screen films on a full-time basis. The theatre later closed for commercial developments. Swamikannu Vincent , who had built the first cinema of South India in Coimbatore , introduced
440-708: The Electric Theatre was established for the screening of silent films . It was a favourite haunt of the British community in Madras. The theatre was shut down after a few years. This building is now part of a post office complex on Anna Salai ( Mount Road ). The Lyric Theatre was also built in the Mount Road area. This venue boasted a variety of events, including plays in English, Western classical music concerts, and ballroom dances. Silent films were also screened as an additional attraction. Swamikannu Vincent , an employee of
484-473: The India Film Company Limited . During the 1920s, silent Tamil language films were shot at makeshift locations in and around Chennai, and for technical processing, they were sent to Pune or Calcutta . Later, some films featuring M. K. Thyagaraja Bhagavathar were shot in those cities as well. Telugu artists became active with the production of Bhisma Pratighna , a silent film, in 1921. The film
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#1732897810039528-454: The Congress virtually stopped soon after Indian Independence in 1947. With the introduction of electricity to rural areas in the 1950s Dravidian politicians could implement movies as a major political organ. Dravida Munnetra Kazhagam (DMK) was the first – and at the time the only – party to take advantage of visual movie media. Actors and writers of guerrilla theater , who were inspired by
572-552: The South Indian Railways in Coimbatore , purchased a film projector and silent films from the Frenchman DuPont and set up a business as film exhibitor . He erected tents for screening films. His tent cinema became popular and he travelled throughout the state with his mobile unit. In later years, he produced talkies and also built a cinema in Coimbatore . To celebrate the event of King George V's visit in 1909,
616-451: The South Indian cinema landscape. Pan-Indian film Pan-Indian film is a term related to Indian cinema that originated with Telugu cinema as a mainstream commercial cinema appealing to audiences across the country with a spread to world markets. S. S. Rajamouli pioneered the pan-Indian films movement with duology of epic action films Baahubali: The Beginning (2015) and Baahubali 2: The Conclusion (2017), that changed
660-414: The answer is a yes." — S. S. Rajamouli , the director of Baahubali duology and RRR In 2015, S. S. Rajamouli 's duology of epic action films Baahubali: The Beginning (2015) and Baahubali 2: The Conclusion (2017); that became huge critical and commercial success. Baahubali 2 became the highest grossing Indian film of all time. The film was released in various languages across
704-518: The beginning of a new era in South Indian cinema. Cinema was celebrated regionally and exclusively in the language of the respective State. By 1936, the mass appeal of film allowed directors to move away from religious and mythological themes. One such film, Jeevitha Nouka (1951), was a musical drama which spoke about the problems in a joint family. Earlier, dozens of 'social films', notably Prema Vijayam , Vandemataram and Maala Pilla , have been released in Telugu. Touching on societal problems like
748-634: The beginning of the unification of a Pan-Indian film industry as one. After the emergence of South Indian Cinema, Hindi film actors and actresses who experienced a decline in their star value began participating in South Indian films to sustain their careers in the industry. In 1897, a European exhibitor first screened a selection of silent short films at the Victoria Public Hall in Madras (Present-day Chennai ). The films all featured non-fictional subjects; they were mostly photographed records of day-to-day events. In Madras (present-day Chennai ),
792-674: The combined revenue of South Indian film industries has surpassed that of the Mumbai -based Hindi-language film industry ( Bollywood ). Setting aside state language boundaries, recent years saw South Indian actors, writers and directors from Telugu, Tamil, Malayalam, and Kannada industries collaborating with each other as a single 'South Indian Cinema' entity to produce movies. This collaboration resulted in major hits such as Baahubali , KGF , Lokesh Cinematic Universe , Jailer , Lucifer Pushpa , RRR , Kalki 2898 AD ' Manjummel boys ' Amaran ,and Salaar . Film analysts say that this marks
836-511: The concept of "Tent Cinema" in which a tent was erected on a stretch of open land close to a town or village to screen the films. The first of its kind was established in Madras , called "Edison's Grand Cinemamegaphone". This was due to the fact that electric carbons were used for motion picture projectors. Full-fledged film studios were built in Salem ( Modern Theatres Studio) and Coimbatore ( Central Studios , Neptune, and Pakshiraja). Chennai became
880-427: The concept of Pan-Indian cinema always existed, and criticised the term as a new "coinage". Prabhas , who played the protagonist of Baahubali series, opined that the industry should make "Indian" films instead of "pan-Indian" films. Actor Siddharth echoed the same. He felt the term pan-Indian was a "very disrespectful word" as its use was limited to non-Hindi films. Writer-actor Adivi Sesh felt that "the word
924-559: The culture, dialect, politics, social structure, and lifestyle of the people in their respective regions. This can be seen in the films of Padmarajan or Bharathiraja that were set in the Malayali or Tamil milieu respectively. Similarly, K. Viswanath directed films based on arts — performing and visual , aesthetics , social structure and lifestyle of Telugu people . South Indian cinema has been able to find audiences across India, and even outside because of its ability to remain rooted in
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#1732897810039968-657: The demography of Indian cinema. The term "pan-Indian film" is used for a film that is simultaneously marketed and released in multiple languages across India – Telugu , Hindi , Tamil , Kannada and Malayalam . Such films make an attempt to appeal to the audiences across the country, cutting across the linguistic, regional and cultural barriers. Indian cinema is composed of various language film industries. Films are often remade in other languages, examples being Nuvvostanante Nenoddantana (2005, Telugu) and Chachi 420 (1997, Hindi). Films are also dubbed into other languages and released with localised titles either on
1012-505: The film attracted unprecedented numbers of viewers to theaters and thrust the young film industry into mainstream culture. During the same time, the first Kannada talkie , Sati Sulochana , appeared in theatres, followed by Bhakta Dhruva (aka Dhruva Kumar ). Both Sati Sulochana and Bhakta Dhruva were major successes. But prospective filmmakers in Karnataka were handicapped by the lack of studios and technical crews. Sati Sulochana
1056-420: The finest onscreen performances ever. He holds the record for having acted in the most leading roles – about 700 films. Another record is for the most enduring screen team along with actress Sheela . They played opposite each other in 130 movies. It was also the time when Rajkumar shot to fame. Rajkumar acted in more than 200 movies who also won National Awards for singing songs like "Naadamaya Ee Lokavella" from
1100-471: The first day the most promising upcoming South Indian film artistes from the Tamil and Malayalam film industries are honoured, while the second day honours artists & technicians of the Telugu and Kannada film industries. The Award nominees are selected by a jury of senior artistes and professionals and voted for by public polling. In October 2015, the team behind the IIFA Awards announced that they would create
1144-592: The first major Pan-Indian film from Kannada cinema . Success of other films like 2.0 (2018), Saaho (2019), Sye Raa Narasimha Reddy (2019) made Pan-Indian films widespread to other major Indian film industries. Marakkar: Lion of the Arabian Sea (2021) is the first major Pan-Indian film from Malayalam cinema . Following the success of the Telugu films Pushpa: The Rise (2021) and RRR (2022), Rahul Devulapalli of The Week identified "Content, marketing, [and] indulgent overseas audience" have led to
1188-620: The four industries developed independently for a long period of time, gross exchange of artists and technicians, as well as globalisation helped to shape this new identity. By 2010, South India became the home for 6320, or about 62% of the 10,167 cinema theatres in India. In 2021, Telugu film industry emerged as the largest film industry of India in terms of box office revenue. In 2022, Telugu cinema represented 20% of Indian box office revenue, followed by Tamil representing 14%, Kannada representing 5%, and Malayalam representing 8%. As of 2022,
1232-631: The guest speakers. The organisers stated that the next two annual shows will be held in Hyderabad , before taking the show abroad. South Indian film industry Cinema of South India , refers to the cinema of the four major film industries in South India ; primarily engaged in making feature films in the four major languages of the region, namely — Telugu , Tamil , Malayalam and Kannada . They are often colloquially referred to as Tollywood, Kollywood,Mollywood and Sandalwood, respectively. Although
1276-516: The hub of studio activity with two more movie studios built in Chennai, Vijaya Vauhini Studios and Gemini Studios . Thus, with the undivided Madras Presidency , being the Capital to most of South India , Chennai became the center for South Indian language films. The first Madras production was Keechaka Vadham (The Destruction of Keechaka), produced and directed by R. Nataraja Mudaliar, who established
1320-568: The ideologies of Periyar E. V. Ramasamy , brought the philosophies of Tamil nationalism and anti-Brahminism to celluloid media. The movies not only made direct references to the independent Dravida Nadu that its leaders preached for but also at many times displayed party symbols within the movie. When the DMK began using cinema for political purposes and actors like MGR and S. S. Rajendran rode into politics on their popularity as actors, Tamil cinema began to be noticed by academics, S.S.Rajendran , as
1364-529: The movie Jeevana Chaitra . His film Bangaaradha Manushya created a record at the box office for successfully running in the main theaters for more than two continuous years. He later spearheaded the Kannada language movement, followed by millions of his fans, however the star remained away from politics. South Indian films, whether Kannada, Malayalam, Tamil, or Telugu, have been predominantly rooted in their specific geography. They tell stories that are in tune with
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1408-468: The past and embracing "bad boy" personas, with violence integrated into their characters gaining popularity. Directors, taking on quasi-action director roles, break from traditional templates, earning commendation for creativity. Despite critics questioning the rationale, the enduring appeal of violent scenes persists, driven by fans of star-centric films. The CBFC's inconsistent certification approach adds to ongoing discourse, reflecting changing preferences in
1452-459: The rise of pan-Indian films from Telugu cinema. Actors like Prabhas , Yash , Allu Arjun , Ram Charan , and N. T. Rama Rao Jr. enjoyed nationwide popularity among the audiences after the release of their respective Pan-Indian films. Film critics , journalists and analysts, such as Baradwaj Rangan and Vishal Menon, have labelled Prabhas as the "First legit Pan-Indian Superstar". India Today states Prabhas as "a flagbearer of introducing
1496-404: The same release date or at a later date. Films such as Dilwale Dulhania Le Jayenge and Enthiran , were dubbed in other Indian languages and were released along with their original versions. According to The Times of India , the first pan-Indian film from Kannada cinema is Mahishasura Mardini released in 1959. It was dubbed and released in seven other languages. But, no other film
1540-462: The status of Untouchables and the practice of giving dowry , Telugu films increasingly focused on contemporary living: 29 of the 96 films released between 1937 and 1947 had social themes. Attempts made by some Congress leaders in Tamil Nadu to use stars of Tamil cinema were limited since this media remained inaccessible to the rural population, who were in the majority. The politicizing of movies by
1584-482: The term: "I hate referring to it as 'pan-Indian', it sounds like a frying pan. We just mean it is a film that can travel into all the Indian languages". Speaking with PTI , Dulquer Salmaan said: "The word pan-India really irks me. I just don't like hearing it. I love that there is so much exchange of talent happening in cinema, it's great, but we are one country. I don't think anyone says pan-America." Kamal Haasan felt
1628-493: The trend of Pan India films in the nation". Pan-Indian films also employ actors from different language industry to increase their visibility and bring a universal appeal. In an interview with Film Companion , filmmaker Karan Johar said: "Pan-India is a phenomenon we cannot diminish or dilute." Several actors, filmmakers and critics have criticise the term Pan Indian film . In an interview with Deadline Hollywood , actor N. T. Rama Rao Jr expressed his disapproval for
1672-572: The world. Filmmakers started a new film movement, that is, rather than remaking the same film in various languages, they are dubbing the same film in various languages and releasing simultaneously. Srivatsan S of The Hindu wrote that Telugu cinema has excelled in marketing Pan-Indian films. It primarily employed two strategies – promoting the film outside their home territory and collaborating with other regional stars for more visibility. Kannada film K.G.F: Chapter 1 (2018) directed by Prashanth Neel also released in five languages, thereby becoming
1716-516: Was directed by Raghupathi Venkaiah Naidu and his son R. S. Prakash. The two, along with Yaragudipati Varada Rao , would go on to produce and direct dozens of films throughout the decade, casting theater actors in major roles. They established a long-lasting precedent of focusing exclusively on religious themes; Nandanar , Gajendra Moksham , and Matsyavatar , three of their most famous productions, centered on religious figures, parables, and morals. The first Tamil silent film, Keechaka Vadham ,
1760-456: Was hailed as "the period of giants" in Malayalam film industry, due to the work of film stars Sathyan and Prem Nazir . Nazir catapulted to the row of the finest actors of India with the film Iruttinte Athmavu (1967). Playing a demented youth – Velayadhan, Nazir discovered his prowess as a dramatic actor of great intensity. Many critics have evaluated this role as his masterpiece, and as one of
1804-470: Was made by R. Nataraja Mudaliar in 1918. The first talking motion picture, Kalidas , was a multilingual and was released on 31 October 1931, less than seven months after India's first talking motion picture Alam Ara . Popularly known as talkies , films with sound quickly grew in number and popularity. In 1934, the industry saw its first major commercial success with Lavakusa . Directed by C. Pullaiah and starring Parupalli Subbarao and Sriranjani ,
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1848-416: Was released in more than four languages, since then. Indian Cinema industries often remake each others works, Between 2000 and 2019, one in every three successful films made in Hindi was either a remake or part of a series. And most of the star actors, have starred in the hit remakes of South Indian films. Since 2010s, dubbing and telecasting of South Indian films (primarily Telugu and Tamil) in Hindi became
1892-563: Was shot in Kolhapur at the Chatrapathi studio; most filming, sound recording, and post-production was done in Madras. It was difficult, as well, to find financial backing for new film projects in the region; thus, very few movies in Kannada were released during the early years of Indian sound cinema . The first talkie in Malayalam was Balan , released in 1938. It was directed by S. Nottani with
1936-468: Was subsequently rearranged and held from 24 to 25 January, with the proceeds of the events going on to help with recuperation efforts from the 2015 Chennai floods . As a part of the inaugural event, the makers organised the FICC–IIIFA Media & Entertainment business conclave in order to create a synthesis of business and entertainment, with Ramesh Sippy , and Rakeysh Omprakash Mehra being amongst
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