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India Today
3 hours ago
- Entertainment
- India Today
Why every actor now wants to play the villain in pan-India films
In a striking shift across Indian cinema, the boundary between hero and villain is increasingly blurred. With pan-India spectacles becoming the norm, a new casting trend has emerged: top stars, across industries, are willingly stepping into the shoes of powerful Yash's much-hyped portrayal of Ravana in 'Ramayana', to Bobby Deol's bloody rampage in 'Animal', and Kamal Haasan's haunting Supreme Yaskin in 'Kalki 2898 AD', the villain has never looked more glamorous and compare this to a Hollywood tradition, where major stars frequently take on supporting or antagonist roles without necessarily being the central protagonist. From ensemble classics to recent examples like 'Oppenheimer', it is a familiar format. And now, that playbook is being adopted widely in Indian cinema, especially across pan-India films. But what is fuelling this surge of star-powered antagonists? And does it mark a fresh chapter in Indian storytelling or simply a marketing tactic dressed in dramatic grey?The rise of the star-villainThis trend of heroes turning villains isn't entirely new, it is rooted in Indian cinema's legacy. Legendary actor-politician Sr NTR played Ravana in 'Bhookailas' and again in his own production 'Seetharama Kalyanam', despite director KV Reddy's warning that such negative roles might clash with his divine image. In Tamil cinema, MGR took on a dual role in 'Ninaithathai Mudippavan', and Sivaji Ganesan played a rare negative part in 'Goondukili'. In Malayalam, Mohanlal debuted as a sadistic villain in 'Manjil Virinja Pookkal', while Mammootty's transformation as a ruthless landlord in 'Paleri Manikyam' was chilling and acclaimed. Even Rajinikanth built his early career on negative roles in films like 'Moondru Mudichu' and '16 Vayathinile'. But the modern wave, especially after 'Baahubali', has given villains a whole new cinematic weight. It has brought back the trend to the mainstream, but now with a different visual language and a new set of creative and commercial villains take centre stageStarting with Rana Daggubati as Bhallaladeva, his character was arguably more layered than the titular role of Baahubali. His cold ambition, wounded pride and emotional contradictions made him a towering presence in both films. It is no coincidence that the writing of the character rose in scale because Rana was playing the role. 'Baahubali' didn't just make Prabhas a pan-India hero, it turned Rana into one then, star villains have become a strategic casting choice. In 'Master', Vijay Sethupathi's Bhavani opens the film, setting the emotional tone even before Vijay's JD enters. His performance oozes menace and tragic backstory, elevating what could have been a routine gangster role. Similarly, Fahadh Faasil's psychologically unhinged cop in 'Pushpa' offered an eerie counter to Allu Arjun's rustic charisma. In 'Maamannan', again, Fahadh's portrayal of an upper-caste antagonist became the emotional core of the film's political then there came 'Animal', where Bobby Deol's largely silent, blood-drenched villain became a national obsession. His screen time was brief, but the impact was thunderous. A comeback narrative emerged overnight, one that has since translated into major roles for him in 'Hari Hara Veera Mallu', 'Kanguva' and 'Daaku Maharaaj'. The same goes for Kamal Haasan's Supreme Yaskin in 'Kalki 2898 AD', brief but are stars choosing the dark side?For one, it is commercially viable. As pan-India films target multiple linguistic markets, producers need faces that resonate across regions. A Bollywood star playing a Telugu or Kannada villain instantly expands the film's reach in the Hindi-speaking belts. As per trade reports, many of these actors, like Saif Ali Khan in 'Devara' or Sanjay Dutt in 'KGF 2', command hefty pay for relatively short shooting too, the villain role offers room to break free from formulaic heroism. Actors are no longer confined to righteous leads. They can be morally messy, psychologically broken, and theatrically powerful, all without carrying the burden of the viewer, it is a win. These face-offs between established stars have cinematic gravity. What could be more intriguing than Jr NTR clashing with Hrithik Roshan in 'War 2'? Or Ranbir Kapoor as Rama going up against Yash in 'Ramayana'? Or Prabhas crossing paths with Kamal Haasan in 'Kalki 2898 AD'? These aren't just rivalries, they are multi-layered battles of ethos, acting styles, and The multi-starrer pullThese casting choices also feed into the growing appetite for ensemble-led blockbusters. Take 'Kalki 2898 AD', where Prabhas, Amitabh Bachchan, Deepika Padukone, Kamal Haasan and Disha Patani all co-exist. Or the upcoming film 'Coolie', which brings together Rajinikanth, Nagarjuna and Upendra. In each case, the villain is not a throwaway baddie, but a carefully crafted piece of the stars in a film means scope to attract more markets. But more importantly, it allows the audience to witness their favourite stars in unexpected combinations. Fans don't just turn up for one actor, they show up for the clash of flip sideBut it all comes at a cost. As more actors are cast in stylised villain roles, the risk of typecasting increases. Sanjay Dutt, post'KGF 2', Bobby Deol after 'Animal', and Vijay Sethupathi following 'Master' have all found themselves featuring in similar roles - bloodied, generic but larger-than-life. While the success is undeniable, the range starts to narrow. Even Fahadh Faasil, who is celebrated for his versatility, is now being used repeatedly as the off-kilter antagonist in big-budget There is also the question of sustainability. Bigger budgets to accommodate multiple stars mean smaller films are being squeezed out. When three actors co-lead one Rs 300 to 400 crore project, that is potentially three solo films not being made, leaving the theatres empty. The increasing budgets for giving that big-screen experience is also impacting other films, which are made considerably on lower budgets. The industry's middle layer, indie, mid-budget and small-budget cinema, is increasingly under concern is the rising trend of glorified violence. From Rolex in 'Vikram' to the final bloodbath in 'Animal', violence is now rendered with such style and bravado that it becomes seductive. The moral complexity is lost to slow-motion swagger. Are we now cheering brutality just because a beloved actor delivers it?Where does it go from here?This trend shows no signs of slowing down. Upcoming films like 'Ramayana', 'Coolie', 'The Raja Saab' and 'SSMB 29' are doubling down on hero-villain dualities featuring superstar pairings. The villain is no longer a secondary role. It is often the second lead, or in some cases, who forms the real emotional core of the audiences will not settle for style alone. For these star-villain roles to be impactful, the writing must evolve too. Not every villain can be Bhallaladeva and not every face-off can rest on legacy alone. The emotional architecture of these characters must rise to match the trend of heroes stepping into villainous roles has unlocked new space, for performance, for audience thrill, and for expanding the idea of pan-Indian stardom. It's where star power collides with story tension, and where anti-heroes stand shoulder to shoulder with traditional leads. But how long this lasts will depend on how smartly the industry evolves. The challenge isn't just casting bigger names, it's about writing stronger characters. And above all, it's about keeping the balance, and knowing when to push boundaries and when to pull back.- EndsMust Watch
India.com
2 days ago
- Entertainment
- India.com
After Ranbir Kapoor, Alia Bhatt will star in Ramayana, she will portray the role of..,Lord Ram will be played by superstar…
After Ranbir Kapoor, Alia Bhatt will star in Ramayana, she will portray the role of..,Lord Ram will be played by superstar… Ever since Nitesh Tiwari's Ramayana has been announced, fans and filmy buffs cannot wait to witness the magic it's going to create on screen. From the big banner productions, high technology usage, and the release of its first promo, it has been creating a buzz on social media. But after Ranbir Kapoor, who is all set to portray the role of Lord Ram, and Sai Pallavi, who will play Sita in Nitesh Tiwari's film. Another Ramayana-based film is also taking shape in the South, this time from veteran actor Vishnu Manchu. Vishnu Manchu's Ramayana Vishnu Manchu shared earlier that he has been working on this mythological film for a very long time. But he is going to adapt it with a twist. He also revealed that this version will emphasise Ravana's perspective. He came up with this concept back in 2009 and reached out to superstar Supriya to play the role of Ram. However, due to budget constraints, the film couldn't be made at that time. The direction of the film was supposed to be done by Vishnu's father, actor Mohan Babu, who would also be doing the dual role by portraying the role of Ravana. The scripts and dialogues of the film were also ready however, it was shelved that time and now years later, the project has once again gained momentum. Who Will Play The Role of Lord Ram, And Goddess Sita? Recently, in an interview, Vishnu shared that he has prepared the entire script, which would depict the story of Ravana from his birth to his eventual end. Speaking of casting, Vishnu immediately named Supriya as his first choice for the role of Lord Ram, while Bollywood's beloved actress Alia Bhatt was finalised for the role of Sita. He also shared that he wanted to play the role of Lord Hanuman; however, his father did not approve of this. He instead wants him to play the role of Indrajit, Ravana's powerful son. Meanwhile, Vishnu had visualised junior NTR's brother Kalyan Ram in the roles of Lakshman and Bharat, while veteran actor Satyaraj was chosen to play the wise and valiant Jatayu. This highly ambitious project will showcase a fresh and never-seen perspective on the classic tale by focusing on the character of Ravana, not just as a villain, but as a complex and multi-layered figure. As Nitesh Tiwari's Ramayana is all set to hit the theatres. All eyes will also be on Vishnu Manchu's take, which promises to showcase the old age tale with a twist.
India.com
3 days ago
- Entertainment
- India.com
Vishnu Manchu to make 'Ramayana' with Alia Bhatt playing role of Sita, role of Lord Rama and Ravana will be played by...
Director Nitesh Tiwari's upcoming film 'Ramayana' has garnered lots of buzz in the news. Its first look was out recently, in which a glimpse of Ranbir Kapoor and Yash was seen. Now, Telugu actor Vishnu Manchu has made a revelation in an interview. He has said that he is planning a mythological project based on 'Ramayana'. But it will not be from the angle of Ram and Sita, but from the point of view of 'Lanka Naresh' Ravana and also mentions who he will cast in it. What ideas did Vishnu Manchu have for Ramayana? Vishnu Manchu told in an interview on Nayandeep Rakshit's YouTube channel that he has a completely ready script, which shows the journey of Ravana from his birth to his death. When the actor was asked who he would give which role to, he replied, 'The name of actor Surya comes first in my mind for the role of Lord Ram.' At the same time, he sees Alia Bhatt in the role of Mata Sita. Which actor was supposed to play Raavan in Vishnu Manchu's film? Vishnu Manchu said that this idea came to his mind in 2009 itself, and he also talked to Surya about this, but due to the budget not being according to my needs, it could not be made. The director of the film was going to be Raghavendra Rao, who is a famous film producer. My father (Mohan Babu) was going to play the role of Ravana. I have its script and dialogues ready. But I don't know whether I will ever be able to make it or not.' More about Vishnu Manchu's Ramayana 'Kannappa' actor Vishnu Manchu said that he wanted to play the role of Hanumanji in the film. But director Raghavendra did not want him to play this role because he had seen Vishnu in the role of Lord Indrajit. But the actor wants Surya's brother Karthi to play the role of Indrajit. He further told in the interview that Junior NTR's brother Kalyan Ram should be cast in the role of Laxman and veteran actor Sathyaraj should be cast in the role of Jatayu.
Indian Express
4 days ago
- Entertainment
- Indian Express
Alia Bhatt as Sita and Suriya stars as Lord Rama; Vishnu Manchu reveals dream cast for his Ramayana: ‘The script and dialogues are ready'
In the past few years, Indian mythology has become the new favourite subject of several filmmakers. The Ramayana was recently adapted by director Om Raut into his 2023 project Adipurush. However, his version of the Ramayana didn't resonate with the audience, and emerged as a major flop. Amid the criticism for that movie, filmmaker Nitesh Tiwari announced his version of the Ramayana, which is scheduled to release in two parts and is currently under production. Now, actor Vishnu Manchu has revealed that he, too, has a script ready. But, his version of Ramayana focuses on the life of Ravana. In a recent conversation with Nayandeep Rakshit on his YouTube channel, the Kannappa actor was asked whom he'd cast in his version of the story, and he quickly said, 'The only person who immediately appears in my mind for the role of Lord Rama is actor Suriya.' For the role of Sita, he picked Alia Bhatt. He then revealed, 'Funny that you ask, but I already have a script about Ravana. It covers his story from his birth to death. For the same, I approached Suriya in 2009 to play Ram. But, because the budgets were not working out for me, it didn't work out. The director of the film was supposed to be the legendary filmmaker Raghavendra Rao. My father was supposed to play the role of Ravana. I have the script and dialogues ready for it, but I don't know if I will ever be able to make it.' ALSO READ | Shah Rukh Khan injured while filming for King, flown to US for treatment, resting in UK: report He then expressed the desire to play the role of Lord Hanuman. 'But, Raghavendra sir didn't want me to play Hanuman. He wanted me to play Indrajeet. But, I would probably want Suriya's brother Karthi to play Indrajeet.' He added, 'The character of Lakshman is very soft, I would probably cast Jr NTR's older brother Kalyan Ram. For Jatayu, I would cast Sathyaraj sir. The Katappa from Baahubali.' Vishnu Manchu recently pulled off a big budget mythological drama Kannappa, where he played the titular role while actors Akshay Kumar, Prabhas and Mohanlal played Lord Shiva, Rudra and Kirata, respectively. The film, however, had a short run at the box office. It earned just Rs 41.75 crore. Meanwhile, Nitesh Tiwari recently surprised his fans by sharing a glimpse of his version of Ramayana, where actor Ranbir Kapoor is playing the role of Lord Rama. Actress Sai Pallavi is playing Goddess Sita and Yash is playing Ravana. The first part of the film is scheduled to release on Diwali next year. Other films to have taken inspiration from mythology were Ayan Mukerji's Brahmastra (2022) and Nag Ashwin's Kalki: 2898 AD (2024). Both films earned well at the box office.
Indian Express
5 days ago
- General
- Indian Express
Funeral practices across faiths and regions in India
Different cultures imagine the afterlife differently and so have different funeral practices. Typically, those who believe in one life place bodies in tombs and mark burial sites with gravestones. Likewise, those who believe in rebirth merge the body with nature: through fire, water or even exposure to wild animals. In Assam, the Ahom kings, who came from China via Southeast Asia in the 13th century, used to bury the dead in mounds known as Moidams. Sometimes, even attendants or other people were buried along with the kings. This changed after they became Hindus and started following the practice of cremation. As per the Hindu customs, the bones were then cast into a river to facilitate rebirth. Thus, a shift in funeral practices reveals a shift in culture. In prehistoric times, pots were integral to burial. In primary burials, ancient people used to bury the dead within pots. In secondary burials, pots would contain bones collected after cremation. Tamil Sangam poetry even refers to a widow asking a potter to create a large pot for her deceased husband. Prehistoric burial sites also have 'cist', pits lined with stones, typically found in South India. In the Harappan civilization, there was cremation but many communities buried the dead. Burial sites have been found in Harappa where people with very minimal burial goods like beads and some pots. In Dholavira, there are burial mounds with no bodies, perhaps raised in memory of those who died while travelling to distant lands. Megaliths in the Deccan region are related to burial sites of the Iron Age (1000 BC). Megalithic culture is typical of South Indian culture at the time Vedic culture thrived in Ganga-Yamuna river basin. At the burial sites, the shrine would be made of two vertical stones over which a capstone is placed horizontally (called dolmens). Under the structure, bones and food items were kept to remember the dead. The Vedas refer to both cremation and burial practices. Cremation is mentioned in both the Ramayana and the Mahabharata. Dasharatha is cremated. Ravana is cremated. Kauravas are cremated. Post-funeral rituals involved feeding the dead, the Pitr. Funerals are typically in upper caste communities, who can afford firewood. Many lower caste communities continue to follow pre-Vedic burial practices. Burials are often done in fields owned by the family to indicate ownership and proprietorship. In many parts of India, people were buried in the seated position, especially if they belonged to a religious community. It was believed that people who belonged to a religious community would not be reborn. In many Hindu monasteries, the saint would be buried in a seated position, and tulsi would be planted above it in a specially designed pot. In the case of Jain monks, often a tree would be planted on the grave or a stupa would be built on top of it. The building of stupas over the bones of cremated monks was a practice which was even followed by the Buddhists. In fact, Buddhists were reviled by the Vedic people as worshippers of bones. Buddhist sites of burial of body or bones were called Stupas while Hindu and Jain sites were called Samadhis. Sepulchre shrines were built, where the site of burial or the site of cremation would be marked by a temple with an image of the Shivling placed on it. This was practiced by a few Chola kings. In Rajasthan, Gujarat and many parts of India, hero stones marked the spot where a warrior died protecting the village from raiders or wild animals. Sati stones marked spots where women immolated themselves on their husbands' funeral pyre. Nishidhi stones in Karnataka mark sites where Jain sages fasted to death. Tomb building began with the arrival of Islamic culture in India after the 10th century AD. But tomb building is not an Arabic practice. Rather, it comes from Central Asia. The Arabs buried the dead, and ancient Zoroastrians (Persians) exposed their dead to the elements and wild birds like vultures. The central Asian tribes, who had embraced Islam, liked to build tombs and began the construction of monumental tombs in India. Therefore, after the 10th century, we find in India the tombs of Khiljis, Tuglaqs, Lodis and Suris, followed by the famous Mughal monuments – the most famous being the Taj Mahal. Sufi saints' burial sites also became places of pilgrimage. Observing this Muslim practice, many Rajputs began building cupolas and pavilions at the site of royal cremation. These were the Chattris. Some are even found in Maharashtra and Gujarat. This was a practice that became popular from the 13th century to the 19th century. Even today, sites where political leaders are cremated are marked with 'samadhis'. This was against the Vedic belief that no trace of the dead should be kept in order to facilitate rebirth. There are tribal communities such as the Monpa in Northeast India where the bodies are cut into 108 pieces and the pieces are thrown into rivers to be consumed by fish. Thus, the study of the funeral monuments across India offers insights into the diverse religious practices and beliefs in the country. Why did the Ahom kings in Assam, who used to bury the dead in mounds known as Moidams, change this practice? What are hero stones, sati stones, and nishidhi stones, and what do they commemorate? How have funerary practices been shaped by caste, class, and accessibility—such as the use of firewood for cremation? What does the evolution of funerary architecture reveal about India's interaction with Persian, Central Asian, and indigenous traditions? The study of the funeral monuments across India offers insights into the diverse religious practices and beliefs in the country. Comment. (Devdutt Pattanaik is a renowned mythologist who writes on art, culture and heritage.) 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