Actress Priyamani is on a streak of ambition that proves her to be an insatiable force in Indian cinema. Fresh off her recent release in the engaging political drama “Article 370,” she is already set for her next big project, “Maidaan,” and poised to start filming for the hotly anticipated third season of Amazon Prime’s hit series “The Family Man.” On top of that, she’s also involved in a new Kannada film project that’s underway. When asked about the challenge of managing roles across different language film industries, Priyamani responds with a bright smile, attributing her seamless schedule to a “wonderful team” that makes it so all she has to do is “pack [her] bags and go.”
The talented artist can barely contain her excitement as she awaits her return to the world of “The Family Man,” a series that has significantly contributed to her recognition in Hindi cinema, despite her deeply rooted fame in the south film industry. Priyamani’s turn as Suchi has captured audiences and critics alike, and her keenness to reunite with her onscreen ‘family’ is palpable. “I am so excited to get back to playing Suchi. We are starting soon. I’m dying to meet the whole family,” she expresses with a radiant beam.
Priyamani’s journey has been one made for celluloid: a successful career in the south, which then catapulted her into the Hindi film space thanks to creators Raj-DK and their trailblazing series. Her character and performance have dovetailed with the prominence of the show’s lead, Manoj Bajpayee, to yield a spy thriller that has been nothing short of a phenomenon. This acclaim has opened doors to more opportunities in Bollywood, prompting a wider appreciation for her talent across the linguistic landscape of Indian cinema.
An important aspect of Priyamani’s career trajectory has been her ability to successfully navigate between film industries without diminishing her fanbase in any. She hasn’t faced the dilution of stardom that some regional actors experience upon making a leap to Bollywood. Priyamani talks about this balancing act with profound simplicity and pragmatism, stating that “For me, it’s work; it doesn’t matter if it is a Hindi project or Tamil or Telugu.” She emphasizes the importance of quality and commitment in her work, suggesting that as long as an actor is doing right by their craft, a hiatus between films in one industry can be bridged by another film in a different one. The geographical and linguistic boundaries of her popularity, according to her, remain unaffected, as long as the work resonates with audiences.
Her philosophy refutes a concern common among regional actors who fear losing connection with their initial fanbases. Priyamani’s perspective represents a certain modernity and global outlook that is increasingly shared by actors in today’s interconnected entertainment industry. She believes in the universal language of performance, one that transcends regional and linguistic barriers to touch the hearts of viewers everywhere.
Her career’s momentum in no way reflects a prioritization of one industry over another. Instead, it mirrors the multidimensional capabilities that Priyamani embodies. Straddling diverse roles, she has maintained her appeal and connection with fans from different regions, celebrating the universality of storytelling and the enduring appeal of good work. Her rise in one region is not the fall in another; it is the expansion of a star who, through her talent and dedication, demonstrates that good art indeed knows no bounds.
