B Krishna Prasad
It has become increasingly evident that Telugu film producers are being pushed towards creating only ‘feel-good’ films, where the hero performs virtuous deeds and the villain’s misdeeds are kept minimal. The ongoing controversy surrounding Allu Arjun’s Pushpa and the state of Telangana has evolved into an indirect form of moral policing within Tollywood. Ministers have questioned how a character portraying a red sandalwood smuggler could be awarded the National Film Award, while CPI leaders have demanded explanations for the government’s liberal ticket price hikes and show-timing concessions for a film that depicts the rise of a smuggler.
As a result, it seems the Telugu film industry might be compelled to adopt plots reminiscent of ‘good boy Ramu’ films, with directors, story writers, and screenplay writers losing their creative freedom. Stories must now ensure that ‘good triumphs over evil’, even if it deviates from reality. Producers may also face expectations to portray lead characters, whether heroes or heroines, as paragons of virtue, devoid of bad habits such as smoking, drinking, or adultery, under the notion that their actions could mislead audiences.
The intrusion has reached such extremes that in the future, moral policing could demand that heroes refrain from roles requiring them to follow different religious beliefs.
For those who have forgotten, Bollywood legend Dev Anand played a smuggler in Jaal, an absconding gang member in Dushman, and a black marketeer in Kala Bazar. Does this diminish his status as a hero or his eligibility for awards? Similarly, Amitabh Bachchan’s iconic role in Don was that of a criminal mastermind. Looking at Hollywood, Marlon Brando’s portrayal of Don Vito Corleone in The Godfather earned him an Academy Award in 1972. Where was the outrage over Brando receiving an Oscar for such a role? In Tollywood, the legendary NTR was celebrated for playing negative roles, such as Ravanasura, Duryodhana, and Karna, which mesmerised audiences without inviting criticism.
It is unfortunate that some political leaders and sections of society fail to differentiate acting from real life. Appreciation for an actor’s performance is recognition of their skill, not an endorsement of the character they portray. Films are imaginative creations that transport audiences to a dream world, where larger-than-life . policing.
If this trend continues, further restrictions may be imposed on language, dialogue delivery, and even the actors’ style. A surprising aspect of the current controversy is the opposition to the recognition of a Telugu film and actor, with some Telugu leaders now advocating for the Tamil film Jai Bhim. While Jai Bhim carries a powerful message, it is perplexing to see Telugu leaders objecting to the success of a Telugu hero and film gaining national acclaim. The issue appears rooted in resentment over Telugu cinema’s rising popularity.
The film industry must remain a space for creative freedom, where art is appreciated for its craft rather than subjected to undue moral scrutiny. By B Krishna prasad It has become increasingly evident that Telugu film producers are being pushed towards creating only ‘feel-good’ films, where the hero performs virtuous deeds and the villain’s misdeeds are kept minimal. The ongoing controversy surrounding Allu Arjun’s Pushpa and the state of Telangana has evolved into an indirect form of moral policing within Tollywood. Ministers have questioned how a character portraying a red sandalwood smuggler could be awarded the National Film Award, while CPI leaders have demanded explanations for the government’s liberal ticket price hikes and show-timing concessions for a film that depicts the rise of a smuggler.
For those who have forgotten, Bollywood legend Dev Anand played a smuggler in Jaal, an absconding gang member in Dushman, and a black marketeer in Kala Bazar. Does this diminish his status as a hero or his eligibility for awards? Similarly, Amitabh Bachchan’s iconic role in Don was that of a criminal mastermind. Looking at Hollywood, Marlon Brando’s portrayal of Don Vito Corleone in The Godfather earned him an Academy Award in 1972. Where was the outrage over Brando receiving an Oscar for such a role? In Tollywood, the legendary NTR was celebrated for playing negative roles, such as Ravanasura, Duryodhana, and Karna, which mesmerised audiences without inviting criticism.
It is unfortunate that some political leaders and sections of society fail to differentiate acting from real life. Appreciation for an actor’s performance is recognition of their skill, not an endorsement of the character they portray. Films are imaginative creations that transport audiences to a dream world, where larger-than-life events, such as a hero defeating dozens of opponents, unfold. Expecting films to align with real-life values reflects a misplaced sense of moral policing.
If this trend continues, further restrictions may be imposed on language, dialogue delivery, and even the actors’ style. A surprising aspect of the current controversy is the opposition to the recognition of a Telugu film and actor, with some Telugu leaders now advocating for the Tamil film Jai Bhim. While Jai Bhim carries a powerful message, it is perplexing to see Telugu leaders objecting to the success of a Telugu hero and film gaining national acclaim. The issue appears rooted in resentment over Telugu cinema’s rising popularity.
The film industry must remain a space for creative freedom, where art is appreciated for its craft rather than subjected to undue moral scrutiny.
