Benefits of bilinguals outweigh cost constraints

Though many commented about dubbing issues in Tamil, it was censored as bilingual and earned over Rs 100 crore, almost beating box office record of straight Tamil film Enthiran (2010). The success of bilinguals is motivating AR Murugadoss to make Spyder with Telugu Superstar Mahesh Babu as a bilingual. 

It is a surprising fact that both Tamil and Telugu cinema began their journey in talkies with a bilingual. The first Tamil talkie Kalidas (1931) contained many dialogues in Telugu and a few in Hindi too, making it like a trilingual. In the 2010 book, Cinemas of South India: Culture, Resistance, Ideology , Sowmya Dechamma states that Telugu dialogues were included in Kalidas , to “increase its market potential in the two important language markets of Southern India.” So, our forefathers knew the importance of expanding the market for a film by doing it as a bilingual. Tamil film industry has witnessed several bilinguals being made in Hindi, Kannada, Telugu and Malayalam languages. 

Tamil-Hindi bilinguals: Though these industries are not much connected, many films were made as Tamil-Hindi bilinguals. Examples include, SS Vasan directed Samsar am (1951) made as Sansar in Hindi. While Kamal Haasan made Hey Ram (2000), Aalavandhan-Abha y (2001), Mumbai Express (2005) and Vishwaroopam-Vishwaroop (2013) as bilinguals, Mani Ratnam made Ayudha Ezhuthu–Yuva (2004) and Raavanan-Raavan (2010) as bilinguals. Vikram Kumar’s film Yaavarum Nalam (2009) was a bilingual, 13B in Hindi. Sudha Kongara’s Irudhi Suttru was a bilingual as Saala Khadoos (2016). Currently Shankar’s 2.0 with Rajinikanth is being made as a Tamil-Hindi bilingual on a huge budget. 

Tamil-Kannada bilinguals: It began with Mudhal Thethi-Modala Thedi (1955) by Pa Neelakandan with Sivaji Ganesan, followed by films like Thangamalai Rahasiyam (1957), Thappu Thalangal (1978), Mazhalai Pattalam (1980), Paruva Ragam (1987), Kuppi (2007), Charulatha (2012), Vana Yudham (2013), Mudincha Ivanai Pudi (2016), Nibunan (2017) and Kadhalin Pon Veethiyil (2017) as Tamil-Kannada bilinguals. When the film features artistes with great appeal in Karnataka, it is better to explore as a Kannada bilingual to increase film’s reach. 

Tamil-Malayalam bilinguals: MGR’s Genova (1953), was a bilingual in Malayalam and set this trend. Allauddinum Albhhutha Vilakkum (1979) by IV Sasi with Kamal and Rajinikanth, Priyadarshan’s Snegithiye (2000), Mammotty-Arjun’s Vandae Maatharam (2010), Nivin Pauly’s Neram (2013), Dulquer Salman’s Vaayai Moodi Pesavum (2014) were successful bilinguals. 

Tamil-Telugu bilinguals: As both Tamil and Telugu industries are closely connected, bilinguals have been a norm since 1931. Notable Tamil-Telugu bilinguals are, Ezhai Padum Paadu (1950), Pathala Bhairavi (1951), Devadas (1953), Missiamma (1955), Mayabazaar (1957), Kuselan (2008), Unnaipol Oruvan (2009), Vinnaithandi Varuvaya (2010), Payanam (2011), Kadhalil Sodhappuvathu Eppadi (2012), Naan Ee (2012), Neethane En Pon vasantham (2012), Nimirndhu Nil (2013), Thoonga Vanam (2015), Inji Iduppazhagi (2015), Acham Enpathu Madamaiyada (2016) and Thozha (2016). 

There were also trilingual films like Kanchana (1952), Garjanai (1981), Little John (2001), Jai Hind (2015) and Devi (2016) made in three languages. Kamal Haasan’s Sabash Naidu, Prabhas’ Saaho are currently being made as trilinguals.

Considering market opportunity via theatrical, satellite and digital in other languages, when a film features stars like Rajinikanth, Kamal Haasan, Suriya, Karthi, Vishal, Lawrence, Prabhudeva, Arjun, Mohanlal, Mammootty, Arvind Swamy, Prakash Raj, Dulquer Salman, Nivin Pauly, Naani and Sudeep, the film must be made as bilingual or trilingual, as otherwise, the revenue opportunity shall be lost. The catch is on the story appeal. The subject chosen must be universal to appeal to all markets (like Baahubali) and not nativity oriented, with restricted appeal and understanding. 

Though there is additional cost involved in shooting a bilingual, it is worth spending that money to bring out an original film in different languages and earn maximum from it. Benefits of bilinguals far outweigh the cost and producers must think, plan and execute them when there is a universal subject and the lead artiste has appeal in other language markets.