New Bollywood Romum Sparks discussion about stereotypes in southern India

The new Bollywood movie sparked an old conversation about how the largest and most influential film industry in India represented figures from non -HNID countries.

Param Sundari, ROMCOM starring Sidhant Malhotra and Janhvi Kapoor, is a love story between a woman from the southern state of Kerala and a man from Delhi in northern India.

Para and Swandri, the first heads of Baqab, then fall in love, and successfully overcome the cultural differences between them.

The idea is not new: Bollywood has long explored cultural clashes from the north and south through ROMCOMS, and in a multi -language country, romance through cultures that have been well implemented can be.

But in this case, critics and social media users from Kerala and outside the film called for filming the caricature of the country, especially Sondari.

Sondari often wears a series of jasmine flowers in her hair, which can communicate with elephants and climb coconut trees as a hobby – all stereotypes, often linked to Kerala. Although she lived there most of her life, Malaylamia is terrible.

Criticism began as soon as the movie trailer shared, with a lot of confusion on Swandari, the wrong Her name. This was also invited with another, very emotional character, Shalini Unnikrishnan (who played her role Adah Sharma), from the controversial movie Kerala story.

In both films, the heroes speak, although living in Kerala state, and she is unable to speak at all when they storm.

A few minutes after Param Sundari, when a friend of Param learns that they will visit a village in Kerala, called Nangiaarkulangara, he exceeds the name and asks, “Where is this? Africa?” It combines stereotypes and informal racism in one question.

Once he arrives in Kerala, the film wanders through a reference list of things that the average person to the tourist state – its famous background areas, coconut trees everywhere, Toudi, Awal, and Oneam, may be its most popular festival.

One references It is called the movie “Long Long Long Long Car Tourism”, which “bulldozers with joy on all the capabilities of any cultural difference.”

The film meets coconuts: PARAM and Sundari for the first time by a tree, and she abandons her anger with coconut fiercely, and finally admits his love from one summit.

For many viewers, the lack of cultural position is not an applause.

Rajev, from the northern state of Bihar, saw Paraman Sondari as an enjoyable window in an unfamiliar culture, saying that her pictures may not be correct in life, but chase of originality can fill entertainment.

“Perhaps this will change gradually. But this artistic freedom is fine to make the film interesting,” he said.

For others, however, the movie’s attempt to educate the masses is not the heart.

In a blatant review, critic Soyia Rajandran criticized the film as “general, exhausting and offensive”, saying that he hides tired clichés behind the strange “Kerala” environment and a degree that overcame the “foreigner” earthly.

Films and survival are often faced with casting: China Express (2013) was reinforced by critics but rose at the box office.

When Mary Com (2014) threw Priyanka Chopra to play the role of the Olympic Boxer from the Manepor State, she met with a lot of criticism. Chopra later admitted that “it was too late, the part should have gone to a person from the northeast.” But the film was a great success and Chopra won prizes for her vibrant performance.

The 1968 caricature of Mahmoud’s caricature of Tamil singer is still classic.

But the landscape of the Indian entertainment has turned: it has left cinema closure after birth and the rise of Bollywood broadcasting is struggling for visits, with the big budget crawls that shakes its dominance.

Non -Indian films now reach the country’s fans via Netflix and Amazon Prime Video, where they gain fans through dubbed versions, while the Big Bollywood version no longer dominates the cinema.

Since its release, Param Sundari has gained steadily but slowly, while Malayalam Superhero Lokah has become a lamentation for her innovative plot and its implementation.

There Article on Para SondariThe writer CRIS notes the number of Indian films industries that accept actors who play roles outside their cultures.

“When characters like the cartoons of a country or its people appear, the audience takes the attack.”

Param Sundari tries to balance the story novel. More than once, Swandari arrives at the school Baram and his friend about their assumptions about her mandate – in one case, they prevented them from “the ignorant north, illiterate, and arrogant Indians.”

Commentators refer to strong examples of the Indian Mobile Society: Godha (2017) tells her about the skill of a multicultural love story for the Punjabi wrestler in Kerala state; Akson (2019) deals with the discrimination faced by people from northeastern India with intelligence; QARIB QARIB Single (2017) follows the Malaya woman in Mumbai; The winner of the Cannes Festival, everything we imagine as light (2024) depicts migrant conflicts with nuances.

Bollywood is not alone: ​​the writer and poet Alina notes the Malaylamia cinema themselves from the tribe of the tribes, the Dalitz (formerly uncomfortable), and the figures of Tamil, while the Indian loudspeakers are often eaten in southern films.

“I think this is a greater issue of the dynamics of power and acting,” Alina says, with a focus on society’s role in shaping its own stories.

She says that when a community story depicts the inclusion of the true voices of people from society, its risks become deviant and unbalanced.

“We need to make participants or stakeholders in art try to do.”

Follow BBC News India Instagramand YouTube, twitter and Facebook.