Duniya Vijay has beaten the sophomore slump with his latest film, ‘Bheema.’ By successfully replicating the hit formula of his directorial debut, ‘Salaga,’ and targeting his specific audience with precision, Vijay has revitalized his two-decade-long career, embracing his newfound dual role as both actor and director.
‘Bheema,’ much like ‘Salaga,’ is an intense crime drama, set against the gritty backdrop of Bengaluru’s slums. The film delves into the dark and dangerous repercussions of youth substance abuse. However, unlike many mainstream commercial films that depict men from impoverished neighborhoods as the standard villains, ‘Bheema’ introduces distinctly unique characters from these marginalized areas.
Vijay, who worked with 60 new actors for this project, creates an authentic world that mirrors the realities of life in these localities. “When you set a film in a particular environment, it’s very important to depict the realities that exist there,” Vijay says. This dedication to authenticity resonates deeply with young film-goers, especially those from underprivileged backgrounds and the lower middle class, who are some of Vijay’s most ardent fans.
Duniya Vijay first soared to stardom with his 2007 blockbuster ‘Duniya,’ where he portrayed a laborer working in a stone quarry, striving to build a tombstone for his mother’s grave. Since that breakthrough role, his representations of marginalized men fighting for justice have struck a chord with young audiences, who see their own struggles reflected in his characters.
Renowned filmmaker Suri, who launched Vijay into stardom with ‘Duniya,’ highlights a dialogue from the film to illustrate Vijay’s journey in the industry. “There is a line in the film that goes, ‘Just because someone is dark and poor, he or she isn’t a thief or a corrupt person.’ Vijay wants to tell his fans that in real life, a hero can be one among them,” says Suri.
In the buildup to both of his directorial ventures, Vijay captured the attention of his fans with the irresistible and funky songs of Charan Raj. His collaborations with singers from the Siddi community and the Jenu Kurubas only added to the films’ appeal, and these experiments turned out to be successful.
This strong association with marginalized communities, alongside Vijay’s vocal support for Ambedkarism, has attracted both industry insiders and fans alike. Vijay emphasizes, “When you talk about Ambedkar, people associate him with one community. However, for me, Ambedkar is someone who advocates for equality irrespective of any group. I will continue to idolize Ambedkar. If you see in ‘Bheema,’ I don’t show the plight of the poor. Even children from rich families get affected by drug addiction in the film.”
In Bengaluru, several slum quarters house Tamil-speaking populations who consider themselves ‘Tamil-speaking Kannadigas.’ Vijay has addressed this demographic in both ‘Salaga’ and ‘Bheema.’ Notably, in ‘Bheema,’ Vijay is introduced during a funeral song (‘Don’t Worry Baby Chinamma’) sung by Tamil singer ‘Gana’ Muthu. Gaana, originating from the narrow lanes of north Chennai, is a music genre that symbolizes liberation from poverty for the subaltern.
. This genre was popularized in Tamil film music by funeral singers.
In one poignant scene, the death of a prominent character is observed through song and dance, with the protagonist seen drinking—an authentic portrayal of customs in these neighborhoods, reflecting their way of honoring the dead. In ‘Salaga,’ Tamil folk singer Anthony Daasan performed the funeral song ‘Suri Anna,’ continuing this tradition.
However, despite the socially relevant messages in Vijay’s films, the representation of societal issues often falters. ‘Bheema’ aims to highlight the adverse effects of violence, drugs, and alcohol on the youth. Yet, the film sometimes focuses more on the acts themselves rather than their consequences, occasionally veering into glorification.
By contrast, Suri’s films, such as ‘Jackie’ (2010) and ‘Kadipuddi’ (2013), portray protagonists who, despite possessing typical commercial cinema hero traits, remain vulnerable and accurately fit into their respective environments. “My style of representing society comes from my learnings and mentors. I have worked with Jayanth Kaikini and Surendranath, who have shaped my thinking. My work is influenced by what I read as well. Vijay will learn too; he has just made his second film,” Suri says.
Vijay also defends his creative choices in ‘Bheema.’ “If you notice, a young boy blames the hero for smoking and drinking and dares him to lead by example. That’s a moment of realization for the hero, leading him to quit his addictions. At the same time, I make some choices driven by the demands of commercial cinema. A ‘mass’ crime thriller is like serving a dish to many people. I need to please them all,” he reasons.
Beyond the content itself, film critic Kairam Vaashi attributes ‘Bheema’s’ success to Vijay’s relentless hard work and innovative promotional strategies. “Whether setting up an interview at an unexpected location like a graveyard or collaborating with contemporary actor Ganesh to discuss each other’s upcoming films in a video, Vijay is extremely inventive about marketing his film,” Vaashi notes.
“Vijay takes a hands-on approach, setting up the entire interview himself—from selecting the venue to choosing the equipment. He treats it like shooting a film,” Vaashi adds. Vijay also strategically capitalized on the film’s post-release hype with consistent promotion.
While sticking to a particular formula has certainly helped Vijay carve out his niche as a director, there is hope that he will surprise audiences with fresh content to stay relevant in the ever-evolving film industry.
Kannada cinema and Indian cinema as a whole will be watching closely to see what Vijay delivers next.
