How the success of Impuran, Alexander’s failure exposes Bollywood content crisis
Mohanlal’s ‘Impuran’ and Salman Khan’s ‘Alexander’ clashed at the box office in this march. The opposite of the results of films, the opposite exposes large -scale serious issues in Bollywood.
“Bollywood is over.”
This social media post on X interacted about how the Hindi film industry was sinking. Filmmaker Hansal Mehta echoed the idea, saying that Bollywood needs reset. Earlier, director Anurag Kashyap had announced that he had left Bollywood and moved to the south, claiming that the industry became very toxic. Vivek Agnihotri, an associate of his industry, wrote a long post with the title ‘Bollywood is Falling’.
Agnihotri wrote in a post on Instagram in March, “Bollywood is in tableau. And it is good for the industry. To erect a new building, you should demolish the old. It’s time.”
In the last few years, South films have been seen dominating the Hindi market. SS Rajamouli’s ‘Bahubali’ series, Allu Arjun’s ‘Pushpa: The Rise’, Yash Ki ‘KGF: Chapter 2’, Junior NTR-Rim Charan’s ‘RRR’, and similar Ilk’s films broke the regional barrier, conquered the northern belt and created a global mark.
In the last weekend of March, a large Malayalam film ‘Imapuran’ was seen with Salman Khan’s ‘Sikander’. And there is a story to tell in the results of both films.
The Epic Impuran vs Alexander Clash
The march saw Malayalam superstar Mohanlal’s ‘Emapuran’ and Bollywood superstar Salman Khan’s ‘Sikander’ at the box office. Director Prithviraj Sukumaran’s ‘Impuran’ made a head-launch on the release in theaters on 27 March, while ‘Alexander’ was released on 30 March on the occasion of Eid.
Unlike two major release, luck – ‘Ampuran’s’ controversy’ and Alexander’s amazing success despite Alexander’s performance – highlight Bollywood struggles. The success and failure of these two films reveals deep issues within Bollywood, an industry that once dominated the Indian entertainment scenario, but is now facing serious challenges in brainstorming hits.
Empuran: victory against obstacles
The much awaited sequel ‘Impuran’ in the ‘Lucifer’ franchise, directed by Prithviraj Sukumaran and starred by Mohanlal faced controversy over its release. A part of right -wing supporters committed crimes on several scenes that portray the 2002 Gujarat riots. Despite the backlash, which was snowed in a political storm, the film recorded the world for Rs 250 crore and is still doing well at the box office.
Although ‘Impuran’ portrayed a convenient script and the rivers angle, it still became the highest -grossing Malayalam film, defeating ‘Manjmel Boys’.
Unlike ‘Lucifer’, which depended on Mohanlal’s Stephen Nedampali character, ‘Imapuran’ had a proper backstory for Prithviraj’s Zayed Masood. This served as a proper revenge story with a political background. With the characteristic of Mohanlal with Star-Power and epic Slow-Mo Shots, ‘Ampuran’ offered a full cinematic experience.
Alexander: When Star Power is not enough
In contrast, Salman Khan’s ‘Alexander’ failed to influence the audience, either seriously or commercially, despite the characteristic of an attire artists. The film’s non -stop storylines and its flaverless treatment contributed to its underperform at the box office. In fact, everything went wrong for ‘Alexander’. So much that Salman Khan’s star-power bridge was also not enough.
India Today rated 2 of the digital rated ‘Sikander’ 2 and said that the film is ‘an ODE for Salman Khan’s stardom which is devoid of fun’. The review referred to the forecast story, chronic treatment and lack of authentic emotional resonance as due to the failure of the film.
‘Alexander Ka’ brilliant performance highlights a growing reality in cinema: Can Star Power lone audiences draw in theaters in the world of K-Pandic?
Bollywood’s broad struggle
These opposite results reflect a comprehensive issue that has emerged in Hindi cinema over the years. Bollywood was once an industry with extraordinary production houses, thrown out a hit one after the other. However, the last few years have been worrying as they have been in the net of non-inventivity.
Instead of relying on the script, the manufacturers are mostly followed by the trend. In the last few years, a lot of remakes have been seen from the south, increasing big budget projects that have turned into moist squeb.
The looming crisis also indicates a worrying tendency, which is a large -scale brother -in -law. Many people say that after the mines, who are probably close to the end of their respective careers, there are no definite heirs to enjoy superstardam like mines. The current crop of actors, except for some, belong to the film families. While they bring in glamor and star-power, they are often criticized for lack of talent.
In addition, the Covid-19 epidemic exposed the audience for diverse global content on streaming platforms, raising their expectations and reduced tolerance to the average story.
Many filmmakers and actors feel that Bollywood should now focus on the original scripts rather than running behind the trend. The success of material-operated films with the novel campus in industries suggests that the audience is demanding authenticity and innovation rather than surface packaging.
The opposite reception of ‘Emapuran’ and ‘Alexander’ represents an important lesson for an industry at an intersection. To reconstruct its cultural relevance and commercial feasibility for Bollywood, it needs to embrace changes in its outlook for original stories.
