ALLU ARJUN MOVIE PUSHPA
The Rise, which also stars in pivotal roles, has managed to earn Rs 100 crore in Hindi, and over Rs 300 crore overall since its release on 17 December 2021. This has made the Telugu film industry, the most successful one in the pandemic era.
The year also saw the Telugu film industry’s share in box –office revenues rise to 29 percent, higher than Tamil cinema’s 17 percent and Hindi cinema’s 27 percent, according to the Box Office Report 2020 and 2021. Furthermore, the report also stated that the combined contribution of Tamil, Telugu, Kannada and Malayalam cinema was 59 percent of the domestic box office revenue in 2020-21.
This is in sharp contrast to their combined contribution reaching 36 percent of total box office earnings in 2019. In the same period, Hindi cinema’s share fell to 27 percent from 44 percent.
According to Business Standard, the change in Hindi cinema from single screen-oriented mass movies to realistic multiplex-oriented stories have resulted in the industry see few moviegoers even when opened during the pandemic.
Furthermore, according to Media CEO Hindi films need to be released in multiple states to gain huge profits since the language is spoken about 8-10 times more than any other. This is in contrast to Telugu or Tamil cinema, which need only one or two states for box office earnings. The differing norms in many states made it difficult for Hindi films to release and mint money at the box office.
was the only film, which managed to buck the trend and collect over Rs 200 crore at the box office.
The release of Marvel Cinematic Universe’s Spider-Man: No Way Home also set cash registers ringing, both in India and the rest of the world. According to the superhero drama has grossed over $1.74 billion worldwide. As per a Business Standard report, the film has earned over Rs 249 crore in India.
The woman bends low before the camera as she sings, “Lord, my Lord ... When I walk behind you, it feels like I am climbing towards the Temple, Lord. When I sit next to you, I feel like I am seated beside Lord ... Lord, my Lord.”
The lyrics rolling off her tongue may sound as if they belong in a hymn to a religious deity, but the object of her devotion is another species of lord and master – her very human, male lover.
As frame after frame stays focused on her dipping neckline, pointed by the cinematography and strategically choreographed dance moves only by later visuals of Samantha Ruth in a crudely shot song-and-dance appearance], she seats herself on muddy ground. When he walks past, she reverentially touches a footprint he leaves in the soil and brings her hand to her forehead, leaving a dot of dust on her brow – the ultimate gesture of worship and her servility towards a fellow human.
This is played by the token female ‘lead’ in the latest Telugu blockbuster Rise – Part
The lyrics quoted above are a translation of the song in paraphrased from the subtitles on Amazon Prime Video. in Telugu is variously interpreted, depending on the tone and context: lord/god/master/husband/darling. The opted to translate it as “darling”, a choice that does not match and movements as she sings, or the rest of her words.
Writer-director story of smugglers in Andhra revolves around a titular role tailor made for the Telugu star Women in the film are scarce, and exist almost solely to further this omnipotent man, to admire him, love him, be leered at, loved and saved by him, be declared his property and be protected by him. was released in in its original language and in dubbed Tamil, Hindi, Kannada and Malayalam versions in mid-December 2021, and went on to become the year’s box-office hit of Indian cinema, according to trade reports. In the past month, the media has been filled with news about the Hindi version smashing records, and theatrical collections continuing to flow in weeks after dropped on Amazon. Indian producers and distributors rarely reveal figures officially, but as per numerous media reports, is not just one of Telugu cinema’s biggest all-time hits, it is also a certified pan-India winner.
Usually, this would be great news since it signals a dent in Bollywood’s hegemony and a blurring of boundaries between India’s multiple film industries and audiences. But considering the similarity of content with male commercial cinema across Indian languages, the film’s pan-India appeal also indicates a disturbing truth:
that a country divided by sectarian considerations, languages and deep cultural chasms is united in its embrace of patriarchy and misogyny in mass entertainment.
In the longs for to notice him. When she finally does, it is not out of genuine interest but following a bizarre chain of circumstances during the course of which her friends arrange a barter with his friend the women persuade to acquiesce to a demand that she glance in direction and smile at him in exchange for the cash pays them when they are short of money to buy tickets for a film.
This scene and the one that follows are designed as light breaks between bloodletting and negotiations among smugglers. Their comedic tenor is written with complete disregard for the fact that is being pimped and purchased here.
When learns of the arrangement, he declares that his pride and ego have been reduced to dust. Nevertheless, he decides that if was willing to smile at him for Rs 1,000 then he will pay Rs 5,000 for a kiss. And – wait for it – she agrees.
In keeping with the tradition of other Indian films down the decades that have revolved around He Men like soon falls for him. He then becomes her messiah, a woman that he and the writers are allowed to but no other man must dare to eye.
His response to her declaration of love for him is in itself an illustrative example of patriarchy’s proprietorial stance on women. There is tension between and Shortly thereafter, the villainous Jolly wants a barter of his own with her – he abducts her father and agrees to release him in exchange for one night of sex with her. When a miserable apprises of the situation, he shrugs her off and tells her to go to Jolly. His expressions of indifference continue until she says she is in love with him. When that happens, he immediately explodes with rage against Jolly and beats him to a pulp in his den.
In The Rise’s most telling moment, as batters Jolly while a cowering, weeping stands with her head nestled in his shoulder and he with his arm around her, he glares at Jolly, points to then silently slaps his palm on his own muscular chest. No words are needed. “She is mine” – the message is clear.
Also unspoken in that sequence of events: I will not let you rape her because she is mine.
The triumph The Rise United we stand in our patriarchy and misogyny.
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