Thappad uses end-credits as a marketing vehicle

Watch the trailer of Thappad, first.

The end-credits of Thappad’s trailer.

Notice something different? No?

Let me explain.

I usually always look at the name of the music composer (composers, these days) in the end credit of trailers, and noticed ‘Anurag Dipali Saikia’ as the name! I know a ‘Anurag Saikia’ who composed very good songs like ‘Chota Sa Fasana’ and ‘Heartquake’ in Karwaan and ‘Intezaari’ in Article 15. But ‘Anurag Dipali Saikia’? Considering his past association with director Anubhav Sinha, I confirmed that this is the same composer.

But wait… Anubhav Sinha is listed as ‘Anubhav Sushila Sinha’! And then you notice! Almost everyone is credited with the template: [given name][mother’s maiden name][father’s name]

Sanjay Leela Bhansali started this trend in Bollywood, though South Indian musical stalwarts like ‘Madurai Shanmukhavadivu Subbulakshmi’ (M.S.Subbulakshmi) and ‘Madras Lalitangi Vasanthakumari’ (M.L.Vasanthakumari) had pioneered this name format even before.

This is a small, but also a thoughtful extension of the film’s context that hinges on ‘respect’. When you notice it, you cannot unsee/forget it and that adds a solid context to remember the movie. From a marketing point of view, that’s very impactful and talk-worthy.

This idea of using the end-credits to make a point, and that too, adding the mothers’ maiden name in context to the names in the credit is not new though. The 2017 Telugu film, Gautamiputra Satakarni, did exactly the same thing!

The minor difference is that Gautamiputra Satakarni used the [mother’s maiden name][putra][given name] format.

Other manifestations of the same thought:

Havell’s Hawa Badlegi (2013):

Star Plus – Nayi Soch (February 2017):

Star Plus – Nayi Soch (August 2017):

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