Abstract
The South Asian film industries have always found a niche in formula films that would cater to its audiences a free mix of action and comedy, preferably with a rich amount of romance in a well-‘melo’-ed drama (Ganti, 2004). Most of the commercially successful formula films in this region often house powerful film techniques which are Brechtian in nature. This paper locates them in select South Asian cult films. Brechtian techniques are quintessential to the Third cinema, which shuns the establishment and “commerce” altogether. Therefore, the paper takes an interest to comment on whether it is possible for these South Asian commercial films to do justice to Brechtian techniques or not. To do so, the paper has adopted the theoretical approaches of the Screen theorists who heavily align their thoughts with political and third cinema filmmakers. Espousing Screen theory, this paper analyzes the contents, i.e. select South Asian films [which are Beder Meye Josna (1989), Dilwale Dulhania Le Jayenge (1995), Punjab Nahi Jaungi (2017), and Chhakka Panja (2016)], and identifies employed Brechtian techniques in them such as freeze frame, direct audience addressing, use of songs and dance sequences to disrupt the linear storytelling as well as recognizable crossdressing in order to evaluate the uses or abuses of the techniques to gain commercial success in the market.
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