The lockdown may have allowed film lovers to search for regional movies on digital platforms, but there has also been a parallel interest in dubbed cinema from the South, especially Telugu and Tamil films.
SR Prabhu, Partner, Dream Warrior Pictures production firm
This is not a recent incident. The 2018-19 report in India, published by the Broadcast Audience Research Council (BARC), states the percentage of viewers for films from the South on television in India that Hindi channels dubbed for “at least 11% viewership”. depended on the films made. Today, his company has uploaded Hindi movies to its YouTube channel.
There was a time in the ’90s and early names when Bollywood churned out ‘masala films’ featuring the likes of Sunny Deol and Sanjay Dutt. These films that occupied the prime time slot gradually dwindled with the emergence of content considered ‘multiplex friendly’.
This paucity of commercial potboilers prompted distributors like Anish Dev, Managing Director, WAM India (a pioneer in film distribution) to get into the dubbing business.
Until Rajinikanth’s 2005 film, Chandramukhi, the dubbed version of which was produced by Hindi-speaking audiences, Anish was woken up to the untapped potential of ‘masala films’.
SR Prabhu, Partner, Dream Warrior Pictures production firm, says that one of the factors in this preference for ‘masala films’ among the audience, is to choreograph action sequences in South films.
Along with the Tamil social-drama, Ratchasi, which was dubbed and released on its YouTube channel by Goldmines Telefilms as Madam Geeta Rani. Within a month, it had garnered 100 million views. Prabhu, who is the producer of Rachaasi, says that the film performed better on digital platforms during its theatrical run. Its dubbing rights earned his company the same revenue as satellite and digital streaming rights.
Anish explains that there are two types of markets; Native and other language markets. A critically acclaimed film that has done good business in the original market may not necessarily do well in the dubbed market and vice versa.
Take, for example, the Telugu film Srinivasa Kalyanam. The film garnered a lukewarm response in theatres but found more takers online.
through the comments on YouTube, I came to know that the northern states were watching movies that depicted Indian culture. ”
What are the demographics of the audience watching dubbed movies online?
The latter is for the urban audience, which has upward mobility and which can extract ₹600/700 for OTT subscription,” he says, adding, “India where the majority of the population is there and we have the audience, which is mainly tier- From 2 or 3 cities.
. Prabhu says that dubbed films resonate more with people from economically backward classes, who prefer to watch films in their vernacular languages.
Localization is also one of the reasons why streaming players have started dubbing their content now. Netflix dubbed the Spanish show Money Heist into English for those who didn’t want to read subtitles; South Korean Academy Award-winning film Parasite is now available in Hindi on Amazon Prime, while a host of Marvel movies on Disney+ Hotstar are available in Hindi, Tamil, Telugu, and Malayalam.
Recently, YouTube has opened up a new source of revenue for producers and distributors, allowing the latter to monetize viewership based on the ads generated for the content.
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“The dubbed version of A…Direction Satish admitted he loved it when the ball passed 135 light: “At the time of the year, the family at home; The person has not misinformed anyone. We’re young we’ve had some people said it was like a video of a large,” said, “however, going”Anish followed this incident, in the India-India analogy, “In marketing, we have something like India and India. The class should also be taken into account.