After a disaster like ‘Mosagallu’, MAA President Manchu Vishnu is currently working on an interesting project which has been named ‘Ginna’. Glamorous girls Sunny Leone and Payal Rajput are the female leads in this movie which is getting ready for release. The makers released a special video revealing the Manchu hero’s look in this film.
In the video, we can see everybody waiting for Vishnu to arrive. Director Suryaah, cinematographer Chota K Naidu and fight masters order the assistant director to call him. Vishnu doesn’t respond despite getting called onto the sets multiple times. Upon arriving, Prem Rakshit master tells the AD to call him as ‘Ginna’. As soon he is called as ‘Ginna’, Vishnu arrived jumping through the wall.
Vishnu is looking handsome in white and white dress with an ‘Om’ bracelet on his wrist. He appears muscular and is expected to take the audience on an entertaining ride. ‘GINNA’ will be released in multiple languages including Telugu, Tamil, Hindi and Malayalam. Eshaan Suryaah is the director of this project while Vishnu himself is the producer. G Nageshwara Reddy penned the script while Anup Rubens is the music composer. Bhanu and Nandu wrote the dialogues while story, screenplay and creative producer of this movie is Kona Venkat. The choreography of songs in this film is done by elite professionals like Prabhudeva, Prem Rakshit and Ganesh Acharya.
Recent Random Post:
South Cinema’s Rise and Bollywood’s Response
Recent media reports suggest that a section of Bollywood is reportedly unsettled by the rapid rise of the South Indian film industry, particularly the Telugu film industry. The growing dominance of South Indian cinema, both in terms of box office success and audience appeal, has sparked discussions and comparisons within the Indian film fraternity.
Bollywood veteran Rakesh Roshan, in a recent interview, shared his critical views on South Indian cinema. He remarked that South cinema tends to follow conventional patterns and lacks the courage to explore new genres. In contrast, Roshan asserted that Bollywood consistently pushes creative boundaries, resulting in higher risks and a lower success rate.
However, this claim has faced scrutiny. If Bollywood is indeed pushing the boundaries of storytelling and innovation, why have very few Bollywood films managed to cross the ₹500 crore mark at the box office in recent years? The only major hits, such as Jawan and Pathaan, belong to the commercial space often associated with South Indian cinema, demonstrating that audience preferences lean heavily toward engaging and entertaining content rather than experimental narratives.
South Indian cinema, particularly Telugu cinema, has redefined commercial filmmaking by delivering mass appeal and cinematic excellence. This trend is evident in the global acclaim and box office dominance of South Indian films. Instead of dismissing the achievements of South Indian cinema, Bollywood could benefit from studying its approach and adopting strategies to create content that resonates with audiences on a larger scale.
The undeniable rise of South Indian cinema has reshaped the dynamics of Indian cinema, and its influence continues to grow. Rather than resisting this wave, embracing it could lead to mutual growth and the creation of a more diverse and vibrant Indian film industry.
