What is very important to make a movie successful? The script, the actors, the editing, cinematography, production, direction, music, animation……….can we really pinpoint on one of the elements? When considering the most important elements in a successful film, it is practically impossible to separate the actors from the script, to consider the screenwriter more important than the actors or to minimize the role of the director is absurd. The making of a movie is a creative process, reducing any of the processes diminishes the product and thwarts its existence. From a commercial angle, the producer and the financers are most important; because without them, the movie wouldn’t be rolled out.

India is one of the few countries in the world where Hollywood doesn’t reign supremacy. This is because India has many regional film industries besides its main industry Bollywood. Indian viewers demand movies with Indian sensibilities and cultural intricacies. The regional film industries are coming into increasing focus for a number of reasons: the Marathi and Malayalam film industries have been going through a revolution of sorts in recent years regarding the quality content and kinds of movies being made. They are gradually getting national and international recognitions. What is worth noting is regional films are known for their smaller budgets and are less frenzied about their star culture. I think this allows filmmakers to put the content and story at the center of the films and experiment with different kinds of movies.

The best example is 2016 blockbuster Marathi film ‘Sairat.’ It is the highest grossing Marathi movie ever. Based on a very sensitive matter of casteism, the story is based on innocent love affair. The movie has two new faces, no leading actors are roped in the movie, shot at simple locations. The movie emerged a strong winner in 2016, becoming the first in regional language to cross Rs 100 crore in box office collections. The revenue model was designed to link performance of the film to the remuneration of talent. Though this practice is increasingly adopted by Bollywood but was never heard of in regional cinema.

In 2015, Rajinikath-starrer Kabali, Bengali romantic film Praktan, Telugu film A Aa and Punjabi movie Sardaarji 2 are some names which have a big share in growing the share of regional films at the Indian box office from 15 per cent to 20 per cent. The movie content is credited as the main reason. It is also because regional cinema caters to the audience’s more immediate cultures, given that we are a nation rich in regional heritage with so many cultures and languages coexisting. Regional cinema has started witnessing prosperity significantly pan-India. It’s worth noting that movie like Sardar Gabbar Singh, Sairat, Kabali are given a huge release platform outside of the regional market and foreign markets.

Another interesting fact is that, while the regional film industry has been flourishing, big production houses, which have been investing in Bollywood films, seem to have taken an interest in regional films too. Eros, Viacom 18 and Zee are some names who are looking at good regional content. It is also a good sign that corporate houses are entering the film industry.

2016 saw some of the best Bollywood movies: Pink starring Amitabh Bachchan and some new faces, directed by Aniruddha Roy Chowdhury, the film is a slap in the face of those who question the way modern women choose to live and dress. This movie’s greatest strength is its strong stand against gender inequality and sexual violence.

Akshay Kumar-starrer Airlift was inspired by the heroic tale of an Indian businessman who helped rescue around 170,000 of his compatriots in the face of looming war crisis in the Middle East. And, Shah Rukh Khan-starrer Dear Zindagi is a story of a young girl who changes her perception about life after meeting a therapist. Movie Dear Zindagi takes viewers on a joyous tour of soul-searching.

Aamir Khan’s Christmas release ‘Dangal’ made a roaring profit at the box-office with collections of Rs 155.53 crore after a five-day run. It’s a biopic on Indian wrestler and Coach Mahavir Singh Phogat, ‘Dangal’ had opened with an astounding figure of over Rs 25 crore and made its way into the prestigious Rs 100-crore club within the first weekend. What’s interesting is that even if we take the film’s five-day collections into consideration, it is already the biggest hit of the year. The film again revolves around female protagonists.

After content, budgeting has been another factor in guaranteeing growth. Movies making is drastically changing. Of late, we see that both Bollywood and regional movie business is not particularly star-driven. This means the talent cost is fairly rationalized. Secondly, the newcomers give their best, they don’t throw tantrums. One doesn’t need the world’s greatest line producer; a good script, some unknown actors, no flashy location, you can make a good film in a small budget.

The business model of movie making business is technologically driven, both pre-production and post-production. The impact of technology is in new cameras that allow cinematographers to shoot in a higher definition, letting viewers take in more of the amazing work in set design. Shooting in digital is much easier because you can do more in less time. Multiple cameras can run on the same shot, so you always get the angle you want without having to waste time on retakes.

The process of distributing film also has gone digital. Distribution through YouTube has been the most common form of marketing for quite some time. Studios have released big-budget trailers. This has made the method for film to outlive its usefulness. Digital films can be stored on company servers, without taking up too much space. The costs to maintain this infrastructure are also lower than the costs to store and re-master film.

Going digital largely means foregoing the large containers of film that used to be synonymous with film making. It also means production companies complete their shoot schedules with less waste, keeping the entire project under or close to budget.  Adding visual effects to film was often a precise art, where the effect had to blend seamlessly with what was being shot. This was a painstaking process that editors no longer go through. Digital effects are created and added to the shot, this software also allows editors to work on entire sections of a film, easily piecing scenes together after the post production effects are added in. That includes audio, which now has a high definition digital file that ensures the audience will hear every word and action that they see.

The number of technology-based jobs has increased.  The post-production jobs are easier to offshore and move overseas than on-set roles. Yes technical jobs in the movie making are on rise: automated dialogue editors, aerial camera assistants, aerial photographers, lighting technicians, archivers, sound recording, art department assistants, armourers – there are few more.

One factor needs a special mention here. That is Luck. To release a movie at the right place, right time, with the right promotion requires luck factor with it.  A lot of famous actors, directors and producers believe in taking help of astrologers for seeking the right time to release their films. Success in the film industry is heavily dependent on luck.  We cannot reduce importance of actor’s, director’s talent, dedication and hard work, but it is pretty obvious that those things are not enough on their own.  There are number of extremely hard-working, talented people out there, who are yet to get the recognition they deserve.

Sairat – which means ‘wild’ is one of the super duper hits in 2016. The Marathi film produced by filmmaker Nagraj Manjule has created a stir at the box office and all over the country even in other states than Maharashtra. The film has team of all new actors:  the hero-heroine are two unknown faces. The movie has a typical love story based against the backdrop of caste system. Manjule tells a tragic actual love story in today’s fast age. He refuses to surrender to the conventional parameters of filmmaking as even as the film rolls out a strange, shocking climax. The film’s success seems to signify that the audience has begun preferring movies that crack the stereotypes rather than watch a film that refuses to respect their sensibilities.

Caste System is one of the major curses India faces and that has a big hand in paralyzing the growth of the nation in terms of both economic and social. However, the film industry plays a big role in creating awareness against it. Thanks to Bollywood, it has time and again played a big role in showcasing the caste system, its values and ethos. Media too plays a big role in eliminating the evil practices. After 66 years of independence it plays a big role in votebank: vote bank is a loyal bloc of voters from a single community, who consistently back a certain candidates or political formation in democratic elections. Such behaviour is often the result of an expectation of real or imagined benefits from the political formations, often at the cost of other communities. Bollywood and other regional films are against this social evil since years, and a glimpse of this can be seen in Hindi films fighting this evil over the years. Let’s look at some of the best films against Caste System in India.

Achhut Kanya – 1936: Pratap (Ashok Kumar) and Kasturi (Devika Rani) are childhood friends, deeply in love with each other. Unfortunately, Pratap is a Brahmin and Kasturi an untouchable (achhut).  The movie shows the scotching realities about the Dalit girls how they were treated inhumanly. The movie was quite bold: it shows that both hero and heroine though get married to different people – Pratap gets married to Meera (Manorama), while Kasturi marries Manu (Anwar). Both of them are unable to forget their first love, they struggle to make their respective marriages work.

This movie was considered as “reformist” by many critics. This movie is one of the earliest examples of unhappy love stories filmed in Bollywood between lovers coming from different castes and social positions of the society. In 1936 the Indian society was steeped into the Caste System and Gender Inequalities, this film, focused on a girl as the protagonist of the story. It was indeed a bold venture and worth its praises even today!

Sujata – 1959: This movie showcased romance between a Brahmin boy (Sunil Dutt)) and an untouchable girl Sujata (Nutan). The movie criticized the practice of untouchability in India.

Brahmin couple Upen and Charu bring up the orphaned Sujata. Although Upen is fond of the adoptive child, his wife Charu can never fully embrace Sujata because she is an untouchable. They keep reminding Sujata that she is a Dalit girl. Upen’s wife falls down the stairs and is rushed to the hospital. The doctors tell the family that in order to save Charu, they need blood of a rare group. Only Sujata’s blood matches, and she willingly donates blood. When Upen’s wife knows that her life was saved by Sujata, she realizes her mistakes and accepts her as her daughter. This movie ends on a positive note; as Sujata and Adheer (Nutan and Sunit Dutt) get married.

Sujata was directed by the great director Bimal Roy whose expertise lied in portraying the innate essence of Indian Society onscreen. It showed the deep rooted caste system in the Indian society and its caste-based value judgment in the garb of a love story between two people of different social castes.

Ankur – 1974:   is the story of Surya (Anant Nag), a young college graduate who is sent by his wealthy and landowner father to manage a village farm. His young wife is to join him after several months when she comes of age. Surya, is shown as a man who does not believe in the caste system and is drawn toward his attractive maid-servant (Shabana Azmi), wife of a low caste, drunken, deaf-mute farm hand. The deaf-mute is driven out of the village in punishment for a pilfering incident. In his absence, Surya takes the beautiful maid to bed, and she conceives. When his young wife arrives in the village, Surya rejects the maid and her unborn child.

Shyam Benegal criticizes the caste system and exposes the hypocrisies of the ruling class with subtlety without any loudness. Ankur is a powerful, emotionally complex work, beautifully filmed and stunningly acted. The movie depicts a lot of caste based social rituals in rural India in the seventies. The lead actress playing the role of an exposed Dalit girl, the drama takes on a whole new level.

Ek duje ke liye – 1981: Directed by K.Balachander, the movie is about the love between a Tamil man, Vasu (Kamal Hasan), and a North Indian woman, Sapna (Rati Agnihotri) who fall in love. They come from totally different backgrounds and can hardly speak the other’s language. Their parents despise each other and they have regular skirmishes. When Vasu and Sapna admit their love, there is chaos in their homes, and their parents reject the idea; their parents reject the idea of both getting married stating the caste difference.  The movie showcases hatred prevailing in society against other caste; this movie shows difference between veg and non-veg eaters.

As a ploy to separate the lovers, their parents impose a condition that Vasu and Sapna should stay away from each other for a year. After such a period, if they still want to be together, they can get married. During the year there should be no contact between them whatsoever. Vasu and Sapna reluctantly agree to the condition and decide to separate.

A lot of drama happens in the one year’s time, and the movie ends tragically when Vasu and Sapna commit suicide by jumping off a cliff.

Bandit Queen – 1994: Shekhar Kapoor’s Phoolan is married to a twenty-something fellow called Puttilal, she is a young girl. Child marriages were customary during that time, Phoolan’s mother Moola objects to the timing of the match. Phoolan’s aging father conforming to his culture, regrettably disagrees, and Phoolan is sent off with Puttilal.

Phoolan faces to some sexual and exploitative abuses, which are part and parcel of the lower caste system.  Puttilal is physically and sexually abusive, and Phoolan eventually runs away and returns home. As Phoolan grows older she faces incidents of (non-consensual) fondling and groping from the Thakur men. At the next town meeting, the panchayat wield their patriarchal authority to banish Phoolan from the village, since she will not consent to the sexual advances of the higher caste males, who treat her like lesser human. The film focuses highlights all the trauma and injustice that women of lower castes (specifically, in rural India) have to face every single day in the hands of the Thakurs, or the feudal lords. Although it’s isn’t a documentary, the film blatantly puts forth all the caste-related issues of India, without trying to reform the society or be preachy.

Conclusion: The caste system will continue in this nation for many political and administrative reasons. The caste prejudice thrives in an extensive social environment even today. The biggest hindrance we face in ending this system is marriages. Even today, a big percentage of marriages still happen based on caste. Unless caste is removed from such a fundamental institution, we are never going to be able to end this. The movie ‘Sairat’ ends leaving the audience stunned and shocked. People leave the cinema hall with heavy hearts and lost in deep thoughts about that last scene. Most of the viewers say “when will the caste system end in India?”