The Tamil-ification of Bangla cinema: Why is our industry going 'South'?

A man in a black coat stands by himself as thunder rumbles behind him. He's surrounded by a group of thugs, but with a neck crack and a swipe of blood from his mouth, he dives into a slow-motion brawl—each punch landing with a deep, booming thud.

Orange sparks scatter when someone slams into a truck, while others are sent flying through the air. The hero strolls away; hair messy, sunglasses on, as a sombre flute plays in the background.

If you feel like you have seen this before, you are not alone. All we were describing was a cliché scene from South Indian action movies.

What stands out is how unmistakable the Tamil-Telugu influence has become. Last year's biggest hit Toofan was a high-octane film filled with intense violence, bloodshed, and exaggerated, stylised action sequences. Both viewers and critics noted strong similarities with South Indian blockbusters like KGF and Pushpa, as well as Bollywood's Animal. This Eid's release, Borbaad, appears to follow that same formula.

In recent years, numerous Bangla action films have also begun to mirror the style of Tamil-Telugu blockbusters. From the visual aesthetics to the combat choreography, the influence of South Indian cinema is unmistakable.

This shift has drawn both praise and criticism from audiences and critics alike, raising questions about originality, cultural blending, and the changing identity of commercial Bangla cinema.

Dhallywood going South

Bangladeshi director Shankha Das Gupta also acknowledges that Tamil cinema has carved out a unique identity and strength. However, he feels our industry must focus on our roots and bring those stories to the big screen, instead of sticking to a fixed formula.

"It's wonderful to draw inspiration—every filmmaker instinctively follows a certain cinematic rhythm, adding their own creative touch. But we shouldn't stop at imitation. That influence needs to be expanded, evolved, and rooted in our own cultural context," said Shankha

Bangladeshi films have not shied away from taking inspiration from Bollywood and South Indian films, as people of our country resonate with those films and enjoy them as well. 

SM Imran Hossain, chairman of the Department of Television, Film and Photography at Dhaka University, observed, "Recently, I've noticed a number of Bangla films drawing influence from the South Indian style. From action sequences to overall production and set design, there appears to be a growing inclination towards imitating Tamil cinema."

According to him, these movies are being produced because that is what the audience probably wants right now. "And to be fair, some of these films are gaining commercial success," he added.

Part of the reason for this shift lies in the changing tastes of viewers. With easier access to foreign films through YouTube, OTT platforms, and piracy, audiences in Bangladesh have exposure to South Indian content like never before.

Some local OTT platforms host a large collection of dubbed Tamil-Telugu movies, which, of course, adds to the rising demand for that specific type of film.

What stands out is how unmistakable the Tamil-Telugu influence has become. Last year's biggest hit, 'Toofan,' was a high-octane film filled with intense violence, bloodshed, and exaggerated, stylised action sequences. 

Both viewers and critics noted strong similarities with South Indian blockbusters like KGF and Pushpa, as well as Animal—a Bollywood film that, while not Southern, shares much of the same visual and narrative style. This Eid's release, 'Borbaad,' appears to follow that same formula. 

In his review, popular writer and critic Mahfuz Siddique Himalay remarked, "The infiltration of Telugu-Tamil elements into films from Kolkata and Bangladesh began quite some time ago and up to a certain level, it might have been tolerable, but after a certain time, it has taken the shape of dominance."

South Indian culture and lifestyle differ greatly from those of Kolkata or Bangladesh. When films borrow stories and styles without adapting them to local contexts, they often feel disconnected and out of place to audiences.

Himalay explained, "Take 'Toofan' or 'Borbaad,' for example — you do not see any Bangladeshi guy in real life who looks like that, with that kind of beard, that hairstyle, or appearance. The problem now is one of locational relevance."

He further added, "The story and the characters feel foreign, but the location is Bangladesh, the language is Bangla… it's not a comfortable experience for the average viewer."

Which is why Himalay thinks that in the long run, this kind of cinema is going to fail — it is not something that is here to stay. "The characters are speaking in Bangla on screen, but their mannerisms are straight out of Tamil-Telugu films," he said, noting that the audience will eventually feel disconnected from those movies.

Consequences in the long run

SM Imran said that extensive depictions of bloodshed, violence, and brutality inevitably influence society, especially depending on how they are portrayed on screen.

According to him, the kind of violence portrayed in Tamil films is not something positive for society. "Just look at the growing menace of teenage gangs — many of them idolise South Indian film heroes and aspire to be like them, act like them."

"If Bangla films start following the same path, and teenagers start following those, it is bound to have a social impact. Cinema influences society in many ways," said Imran.

The question now is whether this trend will deepen or evolve into something else.

Renowned director, Nuhash Humayun, acknowledges that it's natural for filmmakers to draw inspiration from foreign industries, but he emphasises the importance of eventually prioritising originality. 

According to him, while borrowing styles can be a starting point, the industry must also begin showcasing its own unique, homegrown stories.

"Our industry has no shortage of talented directors," Nuhash said, "but what we really need now are fresh, original ideas."

He pointed out how even Bollywood once leaned heavily on Hollywood for inspiration, but eventually developed its own voice. 

"Similarly, while Bangladesh has taken inspiration from Bollywood in the past, we've also produced original stories—films like 'Hawa' and 'Surongo' are great examples. I'm hopeful we'll see even more of that in the future."

Until then, the fight scenes will probably stay dramatic, the slow-mo shots will keep coming, and our heroes might look like Tamil stars ordered on Daraz.

The audience may be responding positively to the trend for now but sooner or later, Dhallywood must find its own voice or risk losing touch with its own culture.