Taapsee Pannu says Bollywood focuses on cleavage, South cinema on navel; sparks debate on item songs

For years now, the debate around Bollywood vs South cinema has dominated industry conversations. From box office comparisons and storytelling styles to questions of scale, authenticity and representation, actors, directors and producers across industries have weighed in. In the era of pan-India blockbusters like Baahubali: The Beginning and KGF: Chapter 2, the lines between industries may be blurring - but the cultural debate continues.

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The latest to comment is Taapsee Pannu, known for her outspoken views and strong film choices. In a recent interaction with Shubhankar Mishra, the actor made a candid observation about how women’s bodies are framed differently across industries.

“Hindi cinema is more about cleavage…”

Addressing the portrayal of women in commercial song sequences, Taapsee said, “It’s not that item songs in Hindi cinema don’t focus on it, but it’s not as much as in South cinema.”

She then added pointedly, “Hindi cinema is more about cleavage.”

Drawing a contrast, she remarked that in South films, especially in mass entertainers, the camera often emphasises the navel during song sequences. Her statement quickly went viral, sparking discussions about whether this reflects stylistic tradition or entrenched objectification.

The History of the ‘Item Song’ and the Male Gaze

The item number has been a commercial staple in Hindi cinema for decades - from Helen’s cabaret era to contemporary dance hits. Film scholars have frequently analysed how these songs employ what theorist Laura Mulvey termed the “male gaze,” fragmenting the female body through selective close-ups.

Similarly, in Telugu and Tamil mass cinema, choreographed sequences often highlight the waist and midriff. Cultural commentators note that while the navel has classical roots in Indian aesthetics and temple sculpture, its exaggerated cinematic focus in commercial films has drawn criticism.

Taapsee’s remark revives this long-standing critique: whether glamour in song sequences crosses into objectification.

A Consistent Voice on Representation

This is not the first time Taapsee has spoken about gender politics in cinema. With films like Pink, Thappad and Rashmi Rocket, she has built a reputation for backing women-centric narratives. In several interviews with national media outlets, she has emphasised the need for better-written roles for women rather than ornamental appearances.

Her latest comment appears less like an attack on a specific industry and more like an observation about commercial filmmaking patterns.

Beyond Bollywood vs South

While social media has predictably turned her words into a Bollywood-versus-South flashpoint, industry analysts argue that objectification in mainstream cinema is not confined to one region. With pan-Indian storytelling on the rise and OTT platforms encouraging diverse narratives, the grammar of song picturisation is slowly evolving.

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Taapsee's Assi: Response & Box Office

Taapsee Pannu’s latest film Assi, a hard-hitting courtroom drama directed by Anubhav Sinha, released on 20 February 2026. While critics and viewers have praised its powerful theme and performances, the movie has had a modest box office run so far, collecting under ₹5 crore domestically amid mixed audience turnout.