There’s no dance in Pushpa 2’s 'Kissik' & 'Peelings'. If director Sukumar aimed to recreate the magic of Samantha Ruth Prabhu’s Oo Antava, then he lost the plot miserably.
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Depravity and sleaze rules south Indian film industries. And it should not come as a surprise. For long, these film industries have survived solely on churning out soft porn movies – Silk Smitha being the primary example.
As a result, the south Indian film aesthetic has developed along these lines only. Unfortunately, the same gets reflected in modern south Indian films.
The heroes look like street urchins. Even the homeless poor in India have a better sense of “style” than these actors. About the dances – the less said the better. Basically meant to titillate the men and draw them into theatres.
Times have changed but the south Indian film industry pyche remains stuck in the past.
“magic of Oo Antava”? Are you serious?
Just the other day The Print carried a brilliant article on the dancing girls of Bihar – how they are exploited and used by the rural masses.
Wish to know what inspires the rural masses to indulge in shameless acts of depravity? It’s the trend set by Bollywood and other film industries. The “item numbers” are the inspiration for such vulgar dances and songs which, very unfortunately, have become a part of rural life now.
Of course, the rural peasant cannot afford to have an actress like Samantha Ruth Prabhu dance for them. Hence, they make do with what is available – the poor and vulnerable girls.
One would hope that respectable media outlets like The Print would stop glorifying such sleazy “item numbers”.
There was no “magic” in Samantha Ruth Prabhu’s Oo Antava. It was pure sleaze, outright sexual titillation – a shameless appeal to the base instincts of the male audience. And yes, it worked. Men, in droves, watched the entire film solely for the depravity of Oo Antava.
It’s hard to understand how soft porn, no matter how successful in the box office, passes off as “magic”.
Depravity and sleaze rules south Indian film industries. And it should not come as a surprise. For long, these film industries have survived solely on churning out soft porn movies – Silk Smitha being the primary example.
As a result, the south Indian film aesthetic has developed along these lines only. Unfortunately, the same gets reflected in modern south Indian films.
The heroes look like street urchins. Even the homeless poor in India have a better sense of “style” than these actors. About the dances – the less said the better. Basically meant to titillate the men and draw them into theatres.
Times have changed but the south Indian film industry pyche remains stuck in the past.
“magic of Oo Antava”? Are you serious?
Just the other day The Print carried a brilliant article on the dancing girls of Bihar – how they are exploited and used by the rural masses.
Wish to know what inspires the rural masses to indulge in shameless acts of depravity? It’s the trend set by Bollywood and other film industries. The “item numbers” are the inspiration for such vulgar dances and songs which, very unfortunately, have become a part of rural life now.
Of course, the rural peasant cannot afford to have an actress like Samantha Ruth Prabhu dance for them. Hence, they make do with what is available – the poor and vulnerable girls.
One would hope that respectable media outlets like The Print would stop glorifying such sleazy “item numbers”.
There was no “magic” in Samantha Ruth Prabhu’s Oo Antava. It was pure sleaze, outright sexual titillation – a shameless appeal to the base instincts of the male audience. And yes, it worked. Men, in droves, watched the entire film solely for the depravity of Oo Antava.
It’s hard to understand how soft porn, no matter how successful in the box office, passes off as “magic”.