I owe my best roles to south Indian cinema, says Genelia D'Souza
Responding to a question about whether she missed out on good roles in the South, Genelia said it would be wrong to say that South Indian films did not offer her meaningful characters. "In Hyderabad, I am known as Hasini for my role in Bommarillu. For the Tamil industry, I am known as Harini for my role in Boys, and in Kerala, I am known as Arackal Ayesha for my role in the Malayalam film Urumi,' she said.
'All the good roles I played are from the South Indian film industry, and I am blessed to have received such opportunities. I am thankful to the South Indian film industry for giving me a chance to work with them,' she added.
The actress also touched upon the criticism she sometimes faces for her choice of roles in recent films. "Some people even judge me for the roles I played in new films," she said.
Genelia, who has built a strong fan base across various film industries, continues to be celebrated for her memorable performances, especially in the South.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
New Indian Express
17 minutes ago
- New Indian Express
Iron Man to Thunderbolts*: How Marvel went from genius to 'generic' and how they can fix it
In the chaos of superhero cinema, where mediocrity wears a fluttery cape and calls itself entertainment, Marvel proclaimed its latest release, Thunderbolts*, was a game changer. But you know the Hindi saying: andhe mein kana raja; in the land of the blind, the one-eyed is king. That's what I felt watching it. This latest Marvel offering feels less a crown jewel and more a child's scribble of it. Marketed as the 'new Avengers', Thunderbolts* is the cinematic equivalent of a reheated pizza: familiar, slightly stale, and missing that original zing. But hey, even cold pizza tastes good when you're hungry. Are you hungry, though? What I liked best about the film was its first line: 'There is something wrong with me. An emptiness.' Cue the world's slowest clap. Is this honest self-assessment from Marvel, a writer's cocky sneak-in, or simply a Freudian slip for a franchise haemorrhaging creativity while swimming in cash like Scrooge McDuck in DuckTales? Marvel ruled the zeitgeist in the 2010s. But come the 2020s, and they're just a notch better than the fare DC turned out in the 2010s. Sure, Thunderbolts* isn't the worst offender in the superhero genre, but let us also not pretend it is Iron Man reborn. Ah, Iron Man. Remember 2008? When Tony Stark crash-landed into our hearts with his outrageous ego, AI tools before AI was cool, and a geopolitical conscience? That film wasn't just explosions and snark; it pointed a finger at American hubris, wrapped in a full metal jacket (pun intended). Fast-forward to Thunderbolts*, where the stakes are… uh… something something world-ending macguffin? Yawn!!! The magic of early Marvel was its microscopic focus: Tony saving himself, Cap punching Nazis (and nationalism), and Civil War turning heroes into squabbling siblings over a Sokovia-sized guilt trip. Those films had texture; they were political thrillers with a coating of spandex. But post-Endgame, most Marvel's scripts seem penned by aliens who've only heard of Earth via garbled intergalactic podcasts. Eternals? A snooze-fest of celestial taxidermy. Multiverse of Madness? More like Multiverse of Meh-ness. And Quantumania? Let's just say it made the quantum realm feel as exciting as a spreadsheet. These films float in a narrative tesseract, untethered from reality, emotions, or basic logic. Remember when Marvel villains had motives deeper than 'muahaha, destruction'? Thunderbolts* tries. It really really does. There's a Tulsi Gabbard-esque politician, and a half-baked metaphor about talking to evil to quell it and a desperate attempt to reheat the old trope of washed-out, has-been, or could-have-been superheroes redeeming themselves. Yet, somehow the results don't match the desperation, and we get a film that's all sizzle, no steak; a fireworks display where the fireworks are CGI and the fuse is a damp matchstick. Writing action movies is tough. I know, cause I've failed a few times. You've got to have six or seven set action pieces. They take up 30 to 40 per cent of your time. So, in a 100-minute feature, you're left with just an hour to tell your actual story and even parts of that are build-ups to the action. To somehow make the audience feel for a protagonist in such a short time, that's a tough ask. Yet, to use all the 100 minutes for nothing but build-up, action, and slapstick gags like Deadpool & Wolverine ( read my previous rant here ) make it seem less a movie, more TikTok montage (shoutout to the fugly dog, though; true MVP). And Thor: Love and Thunder? It turned Marvel's god into a punchline with repeated gags, inconsistent tone and forced humour. So, what's the issue? All these films made money, didn't they? Yeah! But so did Pablo Escobar and Adolf Hitler. Do we sing paeans for them? In cinema, when you prioritise spectacle over soul, when a green screen outshines your hero's journey, sorry, but you've lost the plot. Now, here's the thing. It's fun to simply critique, but can I offer Marvel any solutions? As a screenwriter and film geek, I think I can. In 2008, Marvel was the scrappy underdog, not the behemoth ordering audiences to 'assemble' like a corporate retreat. Iron Man wasn't just a film; it was a dare. A dare to care about a narcissistic weapons dealer with a heart condition. The genius? It didn't ask us to love Tony Stark; it asked us to root for his redemption. His villain wasn't some alien warlord; it was his own weapons, his greed, his America. The film's climax wasn't a city-levelling laser fight (okay, fine, there was a big fight and a few buildings were indeed damaged), but Tony Stark admitting, 'I am Iron Man,' mind-blown because it was a confession that felt like a middle finger to secret identities and a handshake with accountability. Compare that to Thunderbolts*, where the team's 'redemption' arc is about as deep as a puddle after a drizzle. These characters aren't flawed: they're conveniently damaged. Their backstories are tossed out like food packets in a refugee camp: here's a tragic childhood, there's a dead sidekick. Oops, did we forget to make you care? And let's not forget Captain America, the boy scout. His first film's heart didn't come from a super-soldier serum; it came from a scrawny kid who kept getting punched but stood up anyway. The First Avenger was a love letter to integrity in the face of fascism; a theme that has aged finer than the best wine. But Thunderbolts*? Its political commentary is about as sharp as a spoon. That Tulsi Gabbard knockoff and congressional hearing? Seems as forced as the back stories. So, what's the fix? First of all, give writers time to write. Make 20 films a year, fine. But give writers the time to dig into the want versus the need, the internal conflicts, the personal rebellions, the hubris! The idea is to shape the soul so the outside VFX acts like a nice little jacket. And remember to go micro, not macro. Iron Man worked because Tony's biggest enemy was his own ego. He wasn't trying to save the world, he was just trying to save himself. Civil War ripped the Avengers apart over ideology, not aliens. Even Infinity War made us care about a purple guy with a gardening fetish. Thunderbolts*? The catastrophe is smaller, yes, a city-ending event that could gobble the world. And yes, it does give intimacy an intimate shot! Yet, it just doesn't come together. And the golden rule? Inside out. Start with a character's heart, then build the explosions around it. Iron Man did this. So did Black Panther. Even Guardians of the Galaxy – a film about a talking raccoon – made us cry over a tree saying, 'I am Groot.' But Thunderbolts*? It's outside in. Its action set-pieces seem to have come first; the rest of the story feels like it was reverse-engineered to get there. The result? A film that feels like a trailer for itself – all highlight reel, little soul. Marvel, darling, we're rooting for you. Truly. But recycling the same 'save the universe' schtick is like serving ketchup as soup. Just make movies because you love to make them, not because you feel beholden to shareholders. Stop chasing the spectre of Endgame. Stop trying to be the 'new Avengers.' Just be the old Marvel; the one that took risks, loved its characters, and remembered that even superheroes need to breathe. Yeah, that's it. Be the old Marvel and you'll find your new Avengers.
Time of India
an hour ago
- Time of India
When Anushka Sharma reacted to losing her debut award to Asin: 'I got very upset...'
The year 2008 marked the arrival of two different yet impactful female leads in Bollywood—Anushka Sharma, who made her debut with Shah Rukh Khan in 'Rab Ne Bana Di Jodi,' and Asin, who was in the movie with Aamir Khan in 'Ghajini. ' Both performances were lauded, both films were box office successes, and both actresses were nominated. Although when the envelope opened, it was Asin who took home the trophy. 'I was very upset… I cried like a child' In a resurfaced 2018 interview on 'Look Who's Talking With Niranjan,' Anushka candidly recalled her heartbreak, saying, 'I'm very upset they didn't give it to me. I made my calculation, you know. Asin had already done Ghajini in Tamil, Telugu, and maybe Kannada. She's already been an actress for many years. Obviously, they won't give it to her! Debut toh mera hua hai, main nayi hoon, maine nayi film mein kaam kiya hai. I need the encouragement.' In spite of clapping for Asin during the ceremony, Anushka admitted she was devastated afterwards, as she said, 'I cried like a child—as if I didn't get a certificate in school.' The 'debut' debate: Fresh face vs. first Hindi film Anushka's frustration was not just all personal; it became a larger industry debate. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 5 Books Warren Buffett Wants You to Read In 2025 Blinkist: Warren Buffett's Reading List Undo The question though lies what truly defines a debut? While 'Ghajini' was Asin's first Hindi film, she was already a popular star in South Indian cinema. Anushka, on the other hand, was a complete newcomer, stepping into the spotlight with no prior screen experience. This distinction, Anushka felt, should have mattered. She emphasised, 'She's already an actress. I was new. I needed the encouragement.' A-Sin or just a sin? In a cheeky moment on 'Koffee With Karan,' Anushka even referred to Asin as 'A-Sin,' a pun that reflected her lingering disappointment. While said as a joke, it ignored how deeply the moment had affected her. Where they stand today Asin stepped away from acting after 'All Is Well,' choosing to focus on family life. Anushka, meanwhile, has shaped herself into one of the Bollywood's most respected actors and producers. Her upcoming film 'Chakda 'Xpress,' which is based on the cricketer Jhulan Goswami, is among the most expected biopics in recent memory.
India.com
an hour ago
- India.com
Saira Banu pens an emotional note on Dilip Kumar's death anniversary: 'I am still...'
Saira Banu pens an emotional note on Dilip Kumar's death anniversary: 'I am still...' On the death anniversary of legendary actor Dilip Kumar, his wife and veteran actress Saira Banu shared a deeply moving note, reflecting on the everlasting bond she continues to share with him. Calling him the 'guiding star for generations', Saira described her late husband as more than just a legendary actor. She highlighted how he touched the lives of political greats like Pandit Jawaharlal Nehru, Atal Bihari Vajpayee, and Narasimha Rao, while also being deeply loved by the common man. On Monday, Saira Banu shared a heartfelt video featuring photos of Dilip Kumar from his iconic films and younger days. For the caption, she wrote, 'The dearth of Sahib could never go… and yet, I am still with him One in thought, in mind, in life. In this lifetime, and in the next, my soul has learnt to walk beside him even in his absence. Each year, this day finds me cradling Sahib's memories like delicate blossoms. His admirers, well-wishers, friends and family they never forget.' 'Their messages of love and remembrance arrive like prayers, wrapped in warmth. And I read each one with a heart full of gratitude, knowing that the world still holds space for the man Sahib was and forever will be.' Saira Banu shares a touching tribute to Dilip Kumar on his death anniversary View this post on Instagram A post shared by Saira Banu Khan (@sairabanu) The veteran actress added, 'You see, Sahib wasn't just my life's greatest joy He was an entire era. An inspiration across six generations of actors and the guiding star for those yet to come. He was the finest companion to great statesmen Pandit Jawaharlal Nehru Sahab, Atal Bihari Vajpayee Sahab, Narasimha Rao Sahab and counted among his dearest friends some of the sharpest minds lawyers, economists, industrialists but never once was he removed from the common man's soul 'He adored sports played cricket and football like he'd been born on the fieldand often said, 'If not destiny, I would have been a national-level sportsman.' But destiny had its own plans and gave the world the greatest actor of all time instead. Behind the icon, though, was a tender, charming, witty man. Sharing glimpses of his playful and tender nature, Saira recalled one particular evening when Dilip Sahib quietly slipped away from a gathering at home, leaving behind a simple, affectionate note: 'Feeling sleepy, what do you suggest, Aunty?… Yours 100%.' It's in these everyday moments, she said, that his love, wit, and unforgettable presence live on. Saira Banu concluded the note writing, 'He made the ordinary moments eternal. And through every jest, every note, every glance he left behind something rare: Love that lingers. Dilip Sahib is forever. Beyond time. Beyond life. May Allah continue to keep him wrapped in His noor and mercy. Aameen.' Dilip Kumar, known as the 'Tragedy King' of Hindi cinema, passed away on July 7, 2021.
