His annual star vehicle blockbusters started with 2009’s Wanted and became an industry juggernaut the following year with Dabangg (Fearless), both focusing on fearless policemen….well, kicking ass, wooing beauties, dancing around and crooning ballads - not actual plots or anything. Just as India was generally starting to pull away from the old “masala” formula most of the world disproportionately knows it by, Khan erased notions that Bollywood’s signature genre would completely disappear or even stop holding power to pull some of the biggest audiences. Asian Film News Weekly Roundup: 20 January – 2 February.Remakes of Korean movies used to come in sparse smatterings, but now they’re not just getting fairly frequent, but thanks to superstar Salman Khan, for the first time represented the very biggest of releases: Radhe. India was the only other big holdout for about that long.īut like with pretty much every other case, once the wave started engulfing India, there doesn’t seem to be any stopping it. The first wave was for Korea itself in the 90s (and yes, their film industry was so dismal in pre-democratising times that they needed their own) the next hit most of the Asia-Pacific region in the early 2000s (led by My Sassy Girl) but it didn’t penetrate the Western mainstream (therefore not counting the mid-2000s niche mini-wave led by Oldboy) and especially the notoriously foreign language-phobic USA until the end of the 2010s decade via Parasite, BTS and Blackpink.
I know most refer to there being a singular Korean Wave, but they were too irregularly spread out by time and place (and format but here we’re mainly talking film, then TV/music) to be that way. It took a considerably longer time for the “Korean Waves” to start reaching deep into India than most other countries. Can India’s hottest Korean remake since the pandemic live up to all the hype?…
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