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Pan-Indian film refers to an Indian film that crosses over its multi linguistic, multi cultural and multi ethnic backgrounds and barriers, appealing to a large number of audiences. "Pan-Indian" refers to simultaneous releases in multiple languages like Tamil, Telugu, Malayalam, Kannada, Hindi with an aim to maximise the screenings all over the globe.

Background

Mughal-e-Azam had the widest release all over India up to that time, and patrons often queued all day for tickets. Released on 5 August 1960, it broke box office records in India and became the highest-grossing Indian film of all time at that point in time. The 1975 Dacoit Western film Sholay when first released, received negative critical reviews and a tepid commercial response, but favourable word-of-mouth publicity helped it to become a box office success. It broke records for continuous showings in many theatres across India, and ran for more than five years at Mumbai's Minerva theatre. The film was also an overseas success in the Soviet Union. Sholay topped the British Film Institute's "Top 10 Indian Films" of all time poll of 2002. It was also included in the Time magazine's Best film list in 2010.

My Dear Kuttichathan was the first Indian 3D Fantasy film released in 1984 along with dubbed versions in Tamil, Telugu and Hindi. The Telugu and Hindi versions were titled Chinnari Chethana and Chhota Chetan respectively. All the versions proved to be successful across India. During late 1990s, Mani Ratnam directed and presented pan-Indian Terrorism trilogy consisting of Roja (1992), Bombay (1995), and Dil Se.. (1998), the latter became the first Indian film to enter the top 10 in the United Kingdom box office charts, earning £537,930.

During early 2000s, Ram Gopal Varma directed and presented pan-Indian works casting actors across the country, such as the Indian Political Trilogy, and the Indian Gangster Trilogy; film critic Rajeev Masand had labelled the latter series as one of the "most influential movies of Indian cinema. The first installment of the trilogy, Satya, was also listed in CNN-IBN's 100 greatest Indian films of all time.

Drishyam (2013) was remade into four other Indian languages: Drishya (2014) in Kannada, Drushyam (2014) in Telugu, Papanasam (2015) in Tamil and Drishyam (2015) in Hindi. It was also remade in Sinhala language as Dharmayuddhaya (2017) and in Chinese as Sheep Without a Shepherd (2019) thereby becoming the first Indian film to be remade in Mainland China. Drishyam had a 100-day theatrical run across multiplexes in Chennai, Mumbai, Bengaluru, Ahmedabad and Hyderabad.

Growth

"A pan-Indian film does not mean that actors from different languages come together. That's all part of it. A pan-Indian film means a story and emotion that connects to everyone irrespective of the language. While creating a story, I think 'If I switch off this dialogue portion, will the audience still connect to my movie?' Many times, the answer is a yes."

Two Telugu films Baahubali: The Beginning (2015) and Baahubali 2: The Conclusion (2017), directed by S. S. Rajamouli changed the face of Indian cinema. The film was released in various languages across the world. Filmmakers started a new film movement, that is, rather than remaking the same film in various languages, they are dubbing the same film in various languages. Srivatsan S of The Hindu wrote that Telugu cinema has excelled in marketing Pan-Indian films. It primarily employed two strategies – promoting the film outside their home territory and collaborating with other regional stars for more visibility.

Kannada film K.G.F: Chapter 1 (2018) directed by Prashanth Neel also released in five languages, thereby becoming the first major Pan-Indian film from Kannada cinema. Success of other films like 2.0 (2018), Saaho (2019), Sye Raa Narasimha Reddy (2019) made Pan-Indian films widespread to other major Indian film industries. Marakkar: Lion of the Arabian Sea (2021) is the first major Pan-Indian film from Malayalam cinema.

Following the success of the Telugu films Pushpa: The Rise (2021) and RRR (2022), Rahul Devulapalli of The Week identified "Content, marketing, indulgent overseas audience" have led to the rise of pan-Indian films from Telugu cinema.

Pan-Indian films also employ actors from different language industry to increase their visibility and bring a universal appeal. In an interview with Film Companion, filmmaker Karan Johar said: "Pan-India is a phenomenon we cannot diminish or dilute."

Criticism

In an interview with Deadline Hollywood, actor N. T. Rama Rao Jr. expressed his disapproval for the term: "I hate referring to it as 'pan-Indian', it sounds like a frying pan. We just mean it is a film that can travel into all the Indian languages". Speaking with PTI, Dulquer Salmaan said: "The word pan-India really irks me. I just don't like hearing it. I love that there is so much exchange of talent happening in cinema, it's great, but we are one country. I don't think anyone says pan-America." Prabhas, who played the protagonist of Baahubali series, opined that the industry should make "Indian" films instead of "pan-Indian" films. Actor Siddharth echoed the same. He felt the term pan-Indian was a "very disrespectful word" as its use was limited to non-Hindi films. Writer-actor Adivi Sesh felt that "the word is somewhat abused," and used like a euphemism for dubbed film.

Tracking portal Box Office India stated that the term "pan India" means nothing in Hindi film circuits and it is only Hollywood films that cater to all of India. Bharti Dubey and Hemachandra Ethamukkala of The Times of India stated that the pan-Indian films have mostly been action films and criticised the perceived violence in such films.

Dubbed films

Indian cinema is composed of various language film industries. A film made in a language was usually remade in other languages. Dubbing of a film into other language is not a regular practice in Indian cinema. Few films such as Dilwale Dulhania Le Jayenge, Enthiran, etc. were dubbed in other Indian languages and were released along with their original versions, but only in Telugu, Hindi and Tamil.

Since 2010s, dubbing and telecasting of South Indian films (primarily Telugu and Tamil) in Hindi became a regular practice by which films from Telugu cinema and Tamil cinema gained popularity nationwide. Majority of the films were dubbed after few weeks or months of the original version release. Similarly, Hindi films were frequently dubbed in Telugu and Tamil languages, but didn't gain as much popularity as Telugu/Tamil films received, except a few (Dangal (2016), M.S. Dhoni: The Untold Story (2016), etc.). Over time, Kannada and Malayalam films were also being dubbed.

Notable films since 2015

See also

• Parallel cinema
• Transnational cinema
• World cinema

References

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