With its release just around the corner on August 29, 2025, Param Sundari has become a hot topic of discussion — not only for its star cast and trailer buzz but also for the cultural controversy it has stirred.
The film, directed by Tushar Jalota, pairs Sidharth Malhotra and Janhvi Kapoor in a romantic comedy about Param, a boy from Delhi, and Sundari, a half-Malayali, half-Tamilian girl from Kerala. While the premise drew curiosity, the trailer soon triggered a wave of criticism online, particularly from Malayali audiences, who objected to the way the character of Sundari is presented.
Much of the criticism has focused on Janhvi Kapoor’s accent and the cultural markers used in the film. Viewers argued that the dialogue delivery felt inauthentic, and that certain stereotypes — such as jasmine flowers in the hair and Mohiniyattam-inspired gestures — painted a reductive picture of Malayali women. Several voices on social media questioned why a Malayali actor was not chosen for the role, pointing out that authenticity could have been achieved with local talent.
The debate intensified when a reaction video from singer and radio presenter Pavithra Menon, who raised these concerns, was removed from her account after gaining traction. The removal sparked a second round of discussion about whether fair criticism of Bollywood was being suppressed online.
Both leads have addressed the comparisons and the backlash. Janhvi Kapoor clarified that her character should not be seen as a generic “South Indian” figure, but as a woman from Kerala with a Tamilian background, which is a distinct cultural context. She added that drawing parallels to films like Chennai Express was misplaced, as those projects dealt with entirely different settings and communities.
Sidharth Malhotra also weighed in, describing the comparisons as flattering rather than offensive. He acknowledged Chennai Express as an iconic film but pointed out that Param Sundari has its own unique story and setting. For him, the link was more about nostalgia than similarity.
The criticism surrounding Param Sundari fits into a broader discussion about how Hindi cinema often depicts regional cultures. Kerala, like many parts of the South, is frequently represented in Bollywood through shorthand symbols — traditional attire, classical dance, flower garlands — rather than the everyday lived experiences of its people. Many commentators see this as lazy stereotyping that fails to do justice to the diversity within India.
Supporters of the film argue that Bollywood often relies on familiar imagery to appeal to national audiences and that casting choices are shaped by commercial demands. Still, critics counter that authenticity matters, especially in an era when audiences are more vocal about accurate representation.