u/Thin_Abalone_8450

Was watching Kabzaa for the first time (lost a dare) and realized R. Chandru straight-up lifted a prison fight scene from one of my favorite action films, The Raid 2(Indonesia). Obviously, he took away the soul and craft that made the original prison sequence so great.

Then I came to this weird realization: an industry that spent years making official remakes eventually decided to just ‘freemake’ films instead. How can they claim to be pioneers of cinematic art when they steal not just scenes or characters, but sometimes entire films? At the very least, give the original creators some credit.

This issue has been nagging me since I saw the Hyderabad case where some men got caught by a female undercover cop. My list of such dumbasses in Kannada films:

• Appu in Appu — threatens the female lead, and thinks the best way to get a girl is by stalking, threatening, and harassing her even in her own home. Weirdly, the girl falls in love with him despite his psychotic ways, including threatening to fall to death on rejection from her. Days of harassment are forgiven, Appu gets a happy ending, gets married to her, and even becomes an officer at the end of the film. IF CHARACTERS LIKE THIS CAN BE OFFICERS, NO WONDER WOMEN’S SECURITY IS A JOKE IN THIS COUNTRY.

• Gani in Gaalipata — when this manchild faces rejection for the first time in his life, he thinks the next decision is to not live anymore. If this was not enough, Obiously he tries to manipulate Soumya by letting his parents and her in-laws pressure her into marrying him. I guess toxicity runs deep in friendship, just like how Kitty thinks it is fine to love and marry a girl who just passed 12th grade despite being much older than her.

• Sharath in Googly — typical incel dude, generalizes all women into one dumbass bracket. Slaps the only woman in the Googly universe who actually loves him. The reason for the slap was even more astounding , he slapped her because her male friend saved her life from death. Bro is the actual phenyl in the film.

• Gooli in Kirataka— stalks and harasses a literal 12th-grade child, threatens to ruin her image if she does not accept him. Man has a sister of almost the same age as the female lead. Of course the female lead falls in love with him. If this was not enough, he gets her pregnant within a year of her passing out of school. WTF?

• Chandru in Adhyaksha — man calls the girl a literal child in the entire first half, then thinks it is fine to love her later because she changed her clothes from a school uniform to a saree. Yeno idu? Obio even he gets her pregnant within 6 months. Why, just why?

• Siva in Pogaru — Nandakishore strikes again. I genuinely do not even have words. Why does the “Karabu” song have 300 million views? Who watches a girl get stalked and harassed continuously and enjoys it? Why does every director think all women have Stockholm syndrome,

• Prabhakar in Junglee — man, again, why is every lead a stalker and harasser? This dude even kisses her without consent before a song begins. I would rather watch Duniya Viji and Rangayana Raghu go on a road trip for 2 more hours than watch this shit.

• Kubera in Vaastu Prakara— this dude kisses the female lead without consent and then casually states that he asked permission from the moon.

• Upendra in all Upendra movies — man has SA’d a female lead in almost every single film he directed and acted in. Glad atleast he is more progressive in real life.

The worst is when I saw people cheer for darshan in the devil (2025) when he SAes a female in the film.

How is it that the only female directors I can name are Roopa Rao, Sindhu Murthy, and Sumana Kittur in an industry that is at least 75 years old? I know this is a national issue, but this sucks.

The Malayalam and Tamil film industries have a handful of directors/actors in the age group of 20 to 30. Why does our industry lack talent from this age bracket?

The problem with these characters is that all of them get happy endings. No consequences for their criminal activities. At least give them some consequences for their actions, man Some form of justice, Like I guess in Om where satya looses his leg for his rowdy activites

For an industry that gloats about how films like Bangarada Manushya got people to quit their jobs and join agriculture, or how Raajakumara reduced the number of people admitting elders into care homes, it also needs to take some credit/shame for crime too.

I was recently watching Yogaraj Bhat’s earlier works, and they felt like great comfort movies. However, not a single film after Drama truly felt like a Yogaraj Bhat movie. I tried watching Garadi, but I couldn’t sit through even 20 minutes of it. I don’t understand why he shifted from that zone of filmmaking to whatever he is making now.