The Indian film industry has always been a powerhouse of storytelling, filled with larger-than-life emotions, colorful narratives, and a wide variety of genres. However, over the last few years, a new concern has emerged in Bollywood: a noticeable struggle when it comes to delivering successful mass action entertainers. According to veteran filmmaker Karan Johar, this isn’t just a phase; it’s a crisis.
In a candid conversation on The Streaming Show podcast with Suchin Mehrotra, Karan didn’t hold back as he dissected the problem plaguing Bollywood’s attempts to recreate the magic of South Indian blockbuster cinema. The conversation quickly zeroed in on the question that’s been on the minds of many film enthusiasts: Why is Bollywood struggling to make big, testosterone-fueled action films when South Indian directors are doing it so effortlessly?
The Director’s Dilemma
Karan Johar firmly believes that the problem lies at the very core with the directors. “It is a director crisis,” he declared. “You can’t think of more than a name or two. There isn’t anyone [in Bollywood] who can mount those kinds of big event films.”
His reasoning is simple, yet striking. The current generation of Bollywood directors, Karan says, grew up watching a very different kind of cinema: romantic dramas, family stories, and globe-trotting escapist fantasies. Think of Shah Rukh Khan singing in the Alps or stories rooted in urban sensibilities. That’s what shaped their cinematic language. As a result, many of them are ill-equipped to tell stories that require a raw, front-footed, high-octane energy, something the South Indian industries have mastered.
“Now, they can’t learn it,” Karan added bluntly. “So, they emulate it and fall flat on their face.”
The Rise of the Southern Wave
It’s no secret that Tamil, Telugu, and Kannada filmmakers have changed the dynamics of Indian cinema in recent years. Directors like SS Rajamouli (Baahubali, RRR), Sandeep Reddy Vanga (Kabir Singh, Animal), and Prashanth Neel (KGF, Salaar) have delivered massive box-office juggernauts. They’re not merely action pictures. They’re events with stylized presentation, appealing heroes, and rousing scores that set the crowds ablaze.
Bollywood, in trying to follow this model, has mostly fallen short. There have been a few successes, but a lot of movies have not translated, neither with the critics nor the masses. Karan Johar’s argument is not to decry the effort but to note that technical largesse is insufficient. The soul, the authenticity, and the knowledge of the genre are missing.
The ‘Saiyaara’ Effect
Though Karan might criticize Bollywood’s efforts at mass action movies, he has not lost his trust in what the industry does best: emotional storytelling. He cites Saiyaara as a recent example of a Bollywood film that stuck to its roots and succeeded in a big way.
Directed by Mohit Suri and starring newcomers Ahaan Panday and Aneet Padda, Saiyaara turned out to be a box-office revelation. With a worldwide collection of over ₹500 crore, it became the most successful love story in Indian films. It didn’t depend on beefy heroes or fancy explosions. Rather, it captured hearts with emotional depth and genuine storytelling, something Bollywood has always succeeded at.
Karan shared an interesting anecdote: “When I met Mohit Suri, he told me that all the filmmakers from the south called him after watching Saiyaara. That was gratifying to know, because we are usually the ones picking up the phone, telling them how incredible their films are.”
That moment of mutual respect, according to Karan, was a reminder. “We do one thing well, so let’s do that. Let’s go back to our storytelling.”
Back to the Basics
Karan Johar’s own work echoes this sentiment. His latest directorial, Rocky Aur Rani Kii Prem Kahaani, was a sentimental romantic drama featuring Ranveer Singh and Alia Bhatt. Released in 2023, it tugged at the heartstrings of people and earned more than ₹300 crore globally. It even won a National Film Award, something that just goes to show that when Bollywood goes back to its strengths, things can be both economically successful and rewarded by critics.
So, what’s the takeaway here?
It’s not that Bollywood need not venture into mass action films. Cinema, by its very nature, lives on innovation and experimentation. But as Karan Johar points out, copying without comprehension does not end well. The South Indian industries did not learn the action genre in a night; it’s in their filmmaking DNA. Instead of copying their formula, perhaps Bollywood needs to rediscover its own.
As Karan aptly puts it, “Thank God for Saiyaara. This, we can do.”