| Audience Segment | Reception | Example Comment (Translated) | | :--- | :--- | :--- | | | Largely Negative | “The soul is lost. SRK’s original voice is his identity. The dub is like watching a sinetron (soap opera).” | | Casual / Mass TV Viewers | Positive | “Finally I can understand without reading. The story is simple and the Indonesian voice is clear.” | | Youth (15-25 years) | Mixed | “Funny but weird. The jokes work in Indonesian, but the lip-sync is off.” |
ANTV reported that the dubbed premiere of Dilwale achieved a 12.4% market share in the 8 PM timeslot, outperforming the previous week’s Hollywood dubbed film. This suggests that dubbing successfully captured the “general viewer” demographic who prioritize ease of comprehension over authenticity. The case of Dilwale illustrates a core tension in media globalization. On one hand, dubbing democratizes access, allowing non-English and non-Hindi speaking Indonesians (the majority) to engage with Bollywood narratives. It transforms Bollywood into a form of localized “domestic” entertainment. On the other hand, it erases the star text of actors like Shah Rukh Khan, whose vocal cadence is a significant part of his on-screen persona. For purist fans, the dubbed version was a betrayal. Dilwale Dubbing Indonesia
You can copy and paste this content directly into a document editor (e.g., Microsoft Word, Google Docs) for formatting. Dilwale Dubbing Indonesia: Localization Strategies and Audience Reception of a Bollywood Film in the Indonesian Market | Audience Segment | Reception | Example Comment