Mumbai: The casting of journalist and internet personality Saurabh Dwivedi as the antagonist in Kartavya has reignited debate over follower-based casting in films, with industry executives saying producers are increasingly factoring in digital popularity, audience data and online engagement while making creative decisions.

Two key questions have been widely debated and discussed by industry professionals and audiences on social media. One is: Why are producers casting people based on their social media following or popularity? And the other: Is this strategy the need of the hour?

ET spoke to casting directors, producers and distributors to understand the rationale behind this trend.

Casting based on social media popularity provides business value to producers as such personalities drive engagement and viewership either in theatres or on streaming platforms, said casting directors.

"It is the need of the hour today. An entire generation of audiences may not connect with old Bollywood tropes. Influencers bring relevance and familiarity, which pique this audience's curiosity," said casting director Nandini Shrikent, who has worked with multiple directors and served as a casting director on films such as Gully Boy and Wake Up Sid.

Even studies support this trend. According to a study by research firm Ormax Media, 57% of Hindi films' box-office revenue comes from audiences below 30, usually digital citizens underlining the importance of catering to the social media universe and its influencers. Also, 40% of audiences share film-related memes on social media after watching films in theatres, the study showed.

Producers shared that casting based on followers reduces film marketing costs.

"Today, data plays a critical role in many creative and non-creative decisions related to films. Producers believe that replacing actors with people who have large followings can help reduce film marketing costs, as these influencers provide instant reach. Also, they believe that brand endorsements by influencers can help mitigate overall film costs," explained producer Rajesh R Nair.

But Nair observed that this trend is unfairly denying opportunities to genuine talent. "There is so much talent in the industry that is not even considered anymore. Actors are being judged first on their follower count instead of abilities. This is damaging not only to films but also to the industry," he added.

"Some filmmakers believe that people who have a strong digital connection with audiences can offer an immediate promotional advantage. These people can organically create conversations around a project from the announcement stage itself," said veteran producer Anand Pandit.

"We are already seeing creators like Kusha Kapila, Prajakta Koli, Bhuvan Bam and Dolly Singh becoming part of mainstream films and streaming platform projects because of their relatability and audience engagement," added Pandit.

Casting directors said that only those people who have a large following, but no acting skills, are failing.

"Increasingly, producers have realized that influencers work better for web series or music videos. But for films, only people with real acting ability survive in the long run," explained Kunal M Shah, casting director on web series and films such as Bhaukaal and Phule.

It’s hard not to recall Amitabh Bachchan’s iconic Gujarat tourism campaign when news emerges of the Bachchan family’s renewed link with the state. This time, however, the focus shifts to Abhishek Bachchan, who is stepping into real estate with a project in GIFT City, Gandhinagar — on the land originally acquired by his father years ago.

Bachchan jr has entered a profit-sharing agreement with producer and real estate entrepreneur Anand Pandit, whose real estate firm is expanding into Gujarat for the first time. A source told mid-day, “Veteran producer and real estate tycoon Anand Pandit’s close emotional ties with the Bachchan family are no secret. After collaborating with Abhishek in the OTT film The Big Bull (2021) he has joined hands with the actor for his real estate project. The duo will develope luxury residential, and commercial properties across the GIFT City area in Gandhinagar. It is Anand’s first venture.”

Confirming the development, Pandit told mid-day, “Abhishek is a close friend and confidant. We could not be happier to align our strategic entry into the GIFT City area with Abhishek’s rather sharp creative and business acumen. We look forward to working with him and scaling our presence in a high-potential, emerging real estate market.”

He added, “For this project, we have entered into a development agreement with Abhishek under a profit-sharing model. The project is being taken up through my company which has entered into a development agreement with Abhishek under a profit-sharing model. The property will be developed into premium residential, grade-A office and retail spaces with a built-up area of over one million sq.ft.”

Pandit further revealed that the land was purchased by Amitabh Bachchan around 15 years ago when he was the brand ambassador of Gujarat [early 2010]. “Yes, and then he gifted it to Abhishek,” clncluded Pandit.

--------------------------------------------

Gift City stands for Gujarat International Finance Tec-City, a planned global financial and IT services hub located between Ahmedabad and Gandhinagar in Gujarat

--------------------------------------------

Besides being a part of the entertainment industry, Abhishek Bachchan also co-owns Jaipur Pink Panthers, a professional kabaddi team from Jaipur that competes in the Pro Kabaddi League

Pratik Gandhi, Rajkummar Rao or Ayushmann Khurrana — producer Anand Pandit is spoilt for choice. He has three candidates in mind to headline the Hindi adaptation of his hit Gujarati film Chaniya Toli (2025), which released last Diwali. While the Hindi adaptation is in the works, the producer also plans to make versions in Malayalam, Telugu, Tamil, and Kannada.

Directed by Jay Bodas and Parth Trivedi, Chaniya Toli revolves around a teacher who enlists the help of seven women to rob a regional bank and deliver his own version of justice against corruption.

“I have Pratik Gandhi, Rajkummar Rao, Ayushmann Khurrana on my wishlist as all three are excellent actors and suit the role of the teacher,” begins Pandit, adding that scripting for the Hindi version is underway.

“We will finalize a director from the Hindi film industry after [the script is ready]. We are also exploring the opportunity of making it in four South languages with a South star and director. Despite being an independent production, [we may join hands] with somebody. It is the first time that a Gujarati film of mine is being remade in Hindi and other languages,” he smiles.

The film, which tackles middle-class financial woes, will resonate with audiences across regions, believes Pandit. “The story is universal. A bank heist can be shown in any language. It is loosely inspired from a true story in the 1970s when farmers faced a massive drought in Gujarat. While localised banks lent money to the farmers, [they charged huge interest rates].”

While he hopes to cast an established actor as the mathematics teacher, the seven women in the heist gang will be fresh faces — “from 20-year-olds to a 70-year-old daadi who will be an expert in some field”. “I plan to cast seven new faces from across India for the female roles. We took unknown faces but good female actors even in Chaniya Toli. Our hero is the story; the social message will be a suspense,” he concludes.

With two commercial releases having substantially boosted his financial portfolio in 2024, Kartik Aaryan is set to leverage the opportunities presented to him by his cinematic successes to expand his property investments. Aaryan, who already owns multiple residential and commercial units—including two apartments in Juhu, one in Versova, and another in Andheri—is adding two more properties to his name.

A source tells mid-day about his investments, “Since a week, producer Anand Pandit has been helping Kartik shop in Andheri for two properties—a high-end residential apartment, and a commercial space of over 2,000 square-feet. Two of his properties are already on rent.”

The source reveals that Aryan had made the lion’s share of his property investment in June 2023, when he purchased two residential apartments in Juhu, priced at over Rs. 17.5 crore each.

“He has rented out one of them at Rs 4.5 lakh per month. The upscale locality is known for housing celebrities. In 2019, Kartik had bought an apartment in Versova, where he had lived as a paying guest during his struggling days. He also bought a 2,000-square-foot office space at Veera Desai, where Amitabh Bachchan, Sara Ali Khan, Ajay Devgn, and Kajol also own offices. That has also been rented out.”

Mumbai: The IPO for Sri Lotus Developers & Real Estate is sure to be a star-studded affair. From super stars like Amitabh Bachchan and Shah Rukh Khan, to other big names like Ajay Devgn, Hrithik Roshan, Sara Ali Khan, Ektaa Kapoor, Tiger Shroff and Rajkummar Rao, all have recently bought small stakes in the company.

Earlier this month, the company that has made its name in the ultra-luxury residential and upscale commercial real estate segments in the city, made private placements of a little over 2.7 crore shares to 125 people including several Bollywood stars. The list of allottees also include some know names from the financial sector like Ashish Kacholia and Jagdish Master, ROC documents showed.

Only recently, AKP Holdings - that was a private limited company and operates under the brand name Lotus Developers - changed its name to Sri Lotus Developers & Real Estate.

Although company officials declined to comment on the IPO since it is in the process of finalizing the offer document, sources said that the Anand Pandit-promoted company is looking to raise about Rs 1,000 crore.

On Dec 4, Sri Lotus Developers made the private placement at Rs 150 per share and mobilised about Rs 407.6 crore. Among the allottees, Bollywood superstars Amitabh Bachhan bought about 6.7 lakh shares at Rs 10 crore while Shah Rukh Khan Family Trust bought about 6.75 lakh shares for 10.1 crore. Among other big names Hrithik Roshan bought 70,000 shares for a little over Rs 1 crore. Several of these Bollywood stars own residential and commercial spaces in Lotus Developers' properties, sources said.

Generations of fans have been inspired by Amitabh Bachchan, be it for his inimitable career or his grace. Among them is producer Anand Pandit. Last year, the real estate developer-producer had recounted to mid-day how he had arrived from Gujarat to Mumbai to make a mark for himself, inspired by Bachchan’s character Vijay in Trishul (Thinking big, thanks to Big B, Dec 29). Now, on the eve of the legend’s 82nd birthday, the producer has the perfect gift for him. Pandit plans to make a sequel to the 1978 offering with Bachchan.

“I have watched Trishul almost 60 times, and it impacted me deeply when it was released. The story of a man, who comes with nothing to a city and makes it big in the construction business, inspired me immensely,” shares Pandit. He says the sequel will be a manifestation of his dream. “It will be my tribute to the man, who began to influence my life even before he met me in person. Trishul was a cinematic masterpiece and it was Amitji’s performance that motivated me to move to Mumbai.”

Helmed by the late Yash Chopra and boasting an all-star cast of Sanjeev Kumar, Bachchan, Shashi Kapoor, Waheeda Rehman, Rakhee and Hema Malini, the movie told the story of an illegitimate child, who, fuelled by his anger towards his father, aims to destroy him. The sequel is in the nascent stages, with the producer yet to speak to Bachchan or the original’s makers about it. But Pandit has the story ready.

He says, “Trishul 2 will narrate how life unfolded for Vijay after being accepted in the Gupta family. It would be fascinating to find out if he lived happily ever after with Geeta [Rakhee’s character], if his own family grew, and whether he was able to heal his wounds.”

If things work out, this will mark his fifth collaboration with Bachchan after Sarkar 3 (2017), Chehre (2021), Fakt Mahilao Maate (2022) and Fakt Purusho Maate. Pandit also backed Abhishek Bachchan’s The Big Bull (2021). Trishul 2, however, is not just a professional aspiration for the producer.

“This will be my heartfelt tribute to a superstar, who has meant the world to me.” Asked if he has zeroed in on a director yet, he says, “I haven’t thought about it, but it will likely be a young, new director.”

Confusion around India’s official submission to the Oscars started on Tuesday morning, when the makers of Swantantrya Veer Savarkar announced that their film had been “officially submitted” to the Oscars, thanking the FFI for “this remarkable appreciation.” This came a day after the FFI (Film Federation Of India) announced Laapataa Ladies as this year’s submission.

When HT City reached out to FFI president Ravi Kottakara, he laughed at the claim, saying, “They (the makers) have given some wrong communication... Only Laapataa Ladies has been sent for Oscars from India officially.”

The announcement was a collab Instagram post by co-producer Sandeep Singh, and the film’s production houses and actor Ankita Lokhande. However, director and lead actor Randeep Hooda did not share any updates on his social media. A source close to the situation told us, “This is very shady. Even a quote attributed to Randeep was given out in press releases when he has not given a quote.”

We tried to reach out to Hooda, but he was unavailable for comment. There was no response from Singh and Lokhande either.

--------------------------------------------------

I didn’t know when the film was submitted; I was told about it on Monday. Going to the Oscars is a big milestone. I am, of course, very happy.

- ANAND PANDIT, CO-PRODUCER OF THE FILM

In the first half of 2024 Bollywood saw a lull at the box office. There weren’t too many big-ticket films released, and those that did, performed below expectation. Fighter, Shaitaan, and Crew brought in some moolah, and some medium-budget (Srikantj, Munjya, Article 370, Madgaon Express) films clocked in good numbers, but overall, the numbers didn’t give the industry a reason to celebrate. As we look ahead at the second half of the year, BT talked to industry experts to understand their expectations and hopes from the upcoming lineup of theatrical releases and why exhibitors are relying on Telugu films to bring in phenomenal numbers.

Industry experts seem quite optimistic about the second half of the year. Trade analyst Taran Adarsh says, “We are optimistic. Hopefully we will recover lots more.”

Amit Sharma, MD, Miraj Entertainment Limited, chimes in, “The past six months have been really dull for Bollywood, however, the calendar for the upcoming months look exciting. We have a medium budget get film coming in every month, along with big budget films. And to have that mixed slate is important. The next six months are going to be really crowded at the box office. I am positive about the business. The next six months we will repeat the numbers that we did last year.”

Film exhibitor Akshaye Rathi stresses on the importance of tentpole movies. He explains, “The second half of the year looks a far more promising because you have a much higher number of big-ticket releases. We have pan-India movies ranging from Kalki 2898 AD and Pushpa 2 - The Rule to big Tamil movies like Indian 2 and then of course, there is Singham Again, which is one of the biggest franchises. These big-ticket entertainers are the true-blue theatrical watches. Hopefully, these films will create an impact and get revenues for multiplexes, single screens - tier one, tier two, tier three - everywhere across the board.”

Devara, Kalki 2898 AD, Pushpa and Game Changer are few of the pan-Indian movies that the trade experts are pinning their hopes on. Moreover, Sanjeev Kumar Bijli, Executive Director, PVR INOX Ltd, mentions that Hollywood movies such as Deadpool & Wolverine, Joker, and Venom 2, might be saviours in the second half of 2024. 

Anand Pandit says, “Indian makers are no longer making films for a single demographic.” He also said, “Every year, we may not be able to deliver back-to-back blockbusters but as long as we remain creative, inspired and optimistic, we will always see more success than failure.”

Akshaye Rathi elaborates, “It is not that we don’t have confidence in Hindi films, but there aren’t as many big-ticket Hindi films coming out this year. It is a year run by Ajay Devgn and Akshay Kumar on Hindi front. There is no Shah Rukh Khan, Salman Khan, Hrithik Roshan, Ranbir Kapoor or Ranveer Singh film releasing. Hence, this dependence on the Telugu movies is huge.”

Films expected to be money spinners from July-Dec 2024

1. Kalki 2898 AD

2. Auron Mein Kahan Dum Tha

3. Sarfira

4. Stree 2

5. Singham Again

6. Bhool Bhulaiyaa 3

7. Chhaava

8. Welcome to the Jungle

9. Sitaare Zameen Par

10. Baby John

11. Devara

12. Game Changer

13.Kanguva

14. Indian 2

15. Pushpa 2

On January 6, mid-day reported that following months of conflicts regarding the intellectual property rights (IPR) of SwatantryaVeer Savarkar, actor-director Randeep Hooda, and producers Anand Pandit and Sandeep Singh had come to an understanding (One fight ends, freedom fight begins, Jan 6). In the latest development, all the concerned parties submitted the final agreement, wherein it is stated that the biopic’s IPR—including the derivative rights, trademarks, copyrights, script and publicity rights—will jointly belong to the producers’ respective studios and Hooda’s banner, with the former holding 51 per cent share to the actor’s 49 per cent.

Per the agreement, a copy of which is in possession of mid-day, the IPR can be shared by Pandit and Hooda in the ratio of 50:50, after the producer’s recovery of investments of Rs 6 crore. All the creative decisions, however, solely rest with the actor-director. Pandit is happy that Hooda, Singh and he have resolved their differences.

“Profit-sharing has never been a major issue. It was a misunderstanding that has been cleared. I’ve always been inspired by Veer Savarkar, and doing business was never [the motive] with this film. By showing Savarkar’s contribution in the freedom struggle on the big screen, I wanted our generation to know more about him,” he states.

While Hooda steps into Vinayak Damodar Savarkar’s shoes, Ankita Lokhande plays his wife Yamunabai Savarkar. Pandit says that as the director, Hooda is the best person to take the creative decisions.

He adds, “Randeep is taking the creative calls, including which trailers and posters should appear, the marketing, and so on. Now, we’re going all out with the promotions, so that we can release the movie on February 23 or March 1.”

The Maldives has been a favourite shooting location for Bollywood filmmakers, with movies such as Maine Pyaar Kyun Kiya (2005), Agent Vinod (2012), Ek Villain (2014) and Ram Setu (2022), shot in the island country. However, given the deteriorating relations between India and the Maldives lately after three ministers made derogatory remarks against Prime Minister Narendra Modi after his visit to the Lakshadweep, the Federation of Western India Cine Employees (FWICE) has appealed to the producers to boycott shoots in the Maldives.

Their statement read: “In solidarity with the nation, the members of the FWICE have decided to boycott Maldives for their shooting locations. Instead, we appeal to its members to choose similar locations in India for their shooting purpose and contribute towards developing the tourism in India.”

FWICE chief advisor, filmmaker Ashoke Pandit, says, “It was important for Bollywood to extend support to show the Maldives that we can’t be taken for granted.”

There are a lot of locations for us to shoot our films. Nothing matters more than our country’s pride.

A couple of songs were scheduled to be shot in the Maldives. FWICE’s notice would dent the whole travel economy and film shoots.

Changing any location at the last minute costs us. It also delays schedules as you have to start the process all over again. As a filmmaker, I think it’s unfair to the director, but then, this can happen for many other reasons too, including natural disasters, airline issues, etc. I don’t think filmmakers or the film fraternity should boycott any country or location unless the government officially asks us to do so.

We can find alternatives. We are no longer in the cinematic era where foreign locations were necessary for romantic songs. From a monetary point-of-view, I don’t see any negative impact of FWICE’s decision.

We have many islands in India that are like the Maldives. Maldives waise bhi bahut expensive country hai. We support PM Modi and the country with this decision. Maldives ne apna bahut nuksaan karaya hai in statements se.

In August, mid-day had reported that Randeep Hooda, and producers Anand Pandit and Sandeep Singh were at loggerheads, with the actor-director claiming that he alone held the rights to the intellectual property (IP) of SwatantryaVeer Savarkar. Now, we hear the conflict between the trio has been resolved, paving the way for the release of Vinayak Damodar Savarkar’s biopic. Hooda and the producers are eyeing the February 23 window, thus commemorating the freedom fighter’s death anniversary on February 26.

A source from the creative team reveals that the patch-up was initiated by a common friend in September. “A mutual friend from Delhi made Randeep and Anand see eye-to-eye. The issue was sorted out amicably before Randeep’s wedding to Lin Laishram on November 29. The couple even attended Anand’s 60th birthday bash in December. A fresh agreement is currently being drawn out.” 

Singh confirms the development, saying, “We are trying to finalize the agreement at the earliest as we want to release the film on Veer Savarkar’s death anniversary. The IP rights were with Anand and me in the beginning. But some people take advantage and artistes like us come under their influence. Now, the rights are with the three of us.”

The movie will trace Savarkar’s contribution in the freedom struggle and how he shaped the Hindu nationalist political ideology of Hindutva. Ankita Lokhande plays Savarkar’s wife, Yamunabai Savarkar.

Anand Pandit, producer of Chehre (2021) and The Big Bull (2021), was initially hesitant about his biography being published. But he was certain about one thing—should there be a biography, he would like Amitabh Bachchan to pen the foreword. Last week, on Pandit’s birthday, the megastar launched the book, Almost Perfect, which chronicles the producer’s early years in Ahmedabad, his shift to Mumbai and how he rose to become one of the country’s biggest property developers before branching out in the movies. 

In the foreword, Bachchan reflected on his two-decade association with Pandit, as he wrote, “Philosophically, it is believed that we only meet those whom we have met before—an incomplete debt, karma or fate—relationships that attach themselves to us, limited but moving together. Meeting Anand Pandit has been, I believe, a manifestation of such a karma and fate, one that has brought admiration and respect between the two of us.”

Pandit tells us that writer Kaajal Oza convinced him to go ahead with the biography. “I had told her that there is nothing significant about my life. But she said that my hard work and struggle should reach the next generation and inspire them. The book reflects my life’s journey, and [sheds light on] my relationships with Bachchan saab, Shah Rukh Khan, Salman Khan, Ajay Devgn, Rakesh and Hrithik Roshan.”

In the book, he has explained how Bachchan was the inspiration behind his journey. “Bachchan saab’s character in Trishul [1978], complete with his Shanti Constructions, inspired me to establish my real-estate business.”

It looks like an off-screen fight will precede the retelling of freedom fighter Veer Savarkar’s life. Yesterday, in a film trade magazine, Randeep Hooda’s legal counsel issued a public notice, claiming that the actor-director is the sole owner of all intellectual property (IP) rights of the upcoming biopic, Swatantrya Veer Savarkar. This has brought to light the tussle, apparently brewing since late last year, between Hooda and producers Sandeep Singh and Anand Pandit.

After the biopic was announced in March 2022, Mahesh Manjrekar—who was to initially helm the offering—exited the project in September. Soon, it was announced that Hooda would serve as the director as well. Sources say the friction began soon after.

A source close to Hooda says, “After Mahesh Manjrekar opted out, Sandeep and Anand couldn’t get another director. Randeep, who had lived with the subject and even lost 26 kilos for the role, took charge. He not only wrote the movie with Utkarsh Naithani, but also directed it. When the producers weren’t funding the project, Randeep invested his own money and raised funds to make the film. He has also produced the film.”

An insider associated with Singh and Pandit, however, offers a different version of events, asserting that the duo fulfilled all their responsibilities as producers. “After Mahesh’s exit, Sandeep was to direct the film. But after much coaxing, the producers gave in and let Randeep direct the movie,” says a source.

Things took a turn for the worse when the actor-director allegedly overshot the budget. “The producers had set two conditions—that he would receive a nominal fee for his directorial duties, and that he would complete the film in the stipulated budget of Rs 20 crore. Randeep not only went over-budget, but also took the negatives and all the footage with him. He also went ahead and released the teaser of his own accord,” adds the source.

On November 3 last year, Hooda sent a legal notice to Singh and Pandit, followed by three more on December 8, June 7 and June 26 this year. While the contents of the notice remain undisclosed, the clash went public yesterday as the actor-director’s legal consultants issued the statement. Besides highlighting his sole ownership, it underlined how the actor completed the film against all odds. “Randeep Hooda, under his banner, has successfully written, produced, directed and completed the film despite all odds coming his way, including financial, mental and physical challenges. He has thwarted obstructions created by other entities bent upon disrupting the making of the film, also attempting to infringe on his legal rights (sic).”

On their part, the producers replied to Hooda’s notices last month, a copy of which is in possession of mid-day. Their response stated that the actor-director has committed several wrongdoings, and demanded that he return the negatives, master and all material related to the film.

Ravi Suryawanshi, Singh’s legal counsel, dismissed Hooda’s alleged claims. He said, “Legend Studios Private Limited, along with Anand Pandit Motion Pictures LLP, are the exclusive joint producers and owners of the entire intellectual property rights and exploitation rights of the film. Our client is utterly shocked with the false and baseless claims made by Randeep Hooda. The producers are in the process of taking appropriate legal action [both civil and criminal] against him.”

The films Hera Pheri (2000) and Phir Hera Pheri (2006) remain etched in the minds of cinegoers. Around 17 years later, the hit trio of Akshay Kumar, Paresh Rawal and Suniel Shetty are coming together for its third part. Similar is the case with Indian, (1996), which is being revisited for a second part after 27 years. Gadar (2001), which saw actor Sunny Deol rise to ranks of a superstar, is also getting a sequel.

However, there is ample proof of adaptations and sequels not working out — Bunty Aur Babli 2 (2021), which came out 16 years after the first part, Namaste England (2018) and Love Aaj Kal (2020), both of which were revisited 11 years after the release of the original. All of these disappointed, both critically and commercially. Despite this, is it a safe bet or a risky proposition to be revisiting film brands that were established decades ago?

Filmmaker Anees Bazmee, who successfully revisited Bhool Bhulaiyaa (2007) through Bhool Bhulaiyaa 2 last year, says nothing is “safe” in this day and age. “People’s moods change every day. Aisa bol hi nahin sakte ki any film will work 100%. It’s just your gut feeling and experience. Iss tarah ki films ko revisit karna mehnat ka kaam hai. It’s a huge responsibility because the previous film has had such goodwill,” he adds.

Awara Paagal Deewana (2002), Omkara (2006) and Desi Boyz (2011) are also on the list of films to be revisited. Producer Anand Pandit, who has backed these films, says: “Some stories are eternal, like Omkara. We have to tell it differently. But, if you bring, say, Sholay 2 today, it will not work. You can’t experiment with the main story. If it’s a franchise like Dhamaal or Masti, you can bring any story as ultimately, you just want to bring smiles on people’s faces. There is no connection with the first film as such. The name is just for recollection.”

The love for the story is what made director Anil Sharma revisit Gadar. “People gave the original so much love, it’s the public’s film. Maine kabhi pressure liya nahin. Public dekhegi, mere haath mein kuchh nahin hai. Business side of things is important, but so is the craft,” he says.

But, exhibitor Akshaye Rathi feels a story needs to be plated differently, if revisited. “The audience has changed completely. The older one is great to borrow from, but the content that comes out in the new version needs to be like old wine in a new bottle. You have to repackage and modernize it. As long as that can be done, why not [revisit]?” says Rathi.

Unlike last year, which saw only a few Hindi films rake in the moolah, Bollywood seems to be in an experimental mood this year. While Shah Rukh Khan-starrer Pathaan became a blockbuster without any promotions, another interesting initiative has been old hits such as Dilwale Dulhania Le Jaayenge (1995), Titanic (1997), Jab We Met (2007) and Tamasha (2015) re-releasing across cinemas in India.

What encouraged the backers of these cult titles to release them again? Producer Anand Pandit says, “I don’t know the purpose behind it. I can understand if there’s an occasion like (actor) Amitabh Bachchan ji’s 80th birthday, when his old films released again. Woh baat alag thi. Randomly films ko laana… I don’t know if people will spend Rs. 200 on them.”

It’s worth noting that all the titles that have re-released are romantic films. Trade analyst Taran Adarsh feels they will work: “Love stories will do well this week due to Valentine’s Day. I remember how I wanted to watch Amitabh ji’s films when they re-released, despite having seen them years ago. That craze was still there. There’s no harm in re-releasing them.”

The fact that no new Bollywood release is slated for this Friday may also work in the favour of these films. “Pathaan has also slowed down and there’s a vacuum. So, releasing timeless films again is a good idea,” says Adarsh.

Filmmaker James Cameron’s had re-released Avatar (2009) before Avatar: The Way Of Water hit cinemas last year. Trade expert Atul Mohan says, “Many movie lovers from today’s generation don’t watch these films, thinking yeh films slow hain. Theatre mein films dekhne ka mazaa alag hota hai. Even I will go to watch these films, thinking, ‘I watched them before marriage, now I’ll go with my wife’. I don’t see big numbers coming, but nostalgia trip definitely hoga.”

Many argue that classics should not be remade. But producer Anand Pandit believes that important stories should be revisited and introduced to a new generation. It is with this thought that he has announced the remake of Vishal Bhardwaj’s Omkara — which starred Ajay Devgn, Saif Ali Khan, Kareena Kapoor Khan, Konkona Sensharma, Bipasha Basu and Vivek Oberoi, and was adapted from William Shakespeare’s Othello.

Tell him that reimagining Bhardwaj’s celebrated crime drama is a big responsibility, and Pandit says, “Remaking the classic movie will be challenging. But I am sure we can do it. Our remake will be completely rewritten. After every three years or so, the audience’s taste changes. Omkara was made 15 years ago; two generations have been born in the period. I am remaking Omkara for today’s generation.”

Pandit, along with Parag Sanghavi and Eros International, are currently finalizing the writers for the project. Only after the script is ready will they begin approaching directors and actors. Has he spoken to Bhardwaj, or the film’s leading men about the remake?

“There has been no conversation with them [so far]. After we finalise the story, I can call them. I respect Vishal as a director, but most filmmakers are not keen to direct their movies’ remakes.”

Rumours suggested that Khan, who played the memorable Langda Tyagi in Omkara, has been approached for the latest edition. Pandit clears the air, stating, “We have not approached any actor. Both Ajay and Saif are fabulous actors who made Omkara and Langda Tyagi iconic. Since the remake will be rewritten, all the characters may not even be there. I would like to cast the lead from the current generation of actors so that the youth can relate to the story.”

Anand Pandit is all set to begin 2023 on a high note. The producer is joining hands with Eros International and Parag Sanghvi to produce a sequel to Desi Boyz and the remake of Omkara, two blockbusters that enjoy huge public recall and have great nostalgic value.

Sunil Lulla, Chairman, Eros International, says, “We are excited to collaborate with Anand bhai to revive the magic of these films that have remained indelible in our memories. We have often wondered what happened to our favourite cinematic characters and if their journey took them in surprising directions. These films will answer many such questions. We will work together to ensure that the essence of these classics remains untouched, even as we infuse new energy and fresh vibrance in them.”

Talking about the collaboration, Anand Pandit shares, “These two films — Omkara and Desi Boyz — were trailblazers for their storytelling, star cast and music. They remain unforgettable for their command over their respective genres. They have a huge following for different reasons and it seemed like the perfect time to revisit these hits and take their stories forward for a new generation of viewers.”

Parag Sanghvi says, “I am thrilled to be a part of these amazing projects. It will be exciting to take the legacy of these films forward. The partnership with Eros International is very strategic, as they are best placed in India to maximise distribution and marketing, including on digital platforms globally.”

Desi Boyz (2011), a romantic comedy, was directed by Rohit Dhawan, son of director David Dhawan. The film starred Akshay Kumar, John Abraham, Deepika Padukone and Chitrangda Singh in lead roles, while Sanjay Dutt featured in an extended cameo.

Omkara, a 2006 Indian crime drama adapted from William Shakespeare’s Othello, was co-written and directed by Vishal Bhardwaj. It was headlined by some of Bollywood’s top stars, including Ajay Devgn, Kareena Kapoor Khan, Saif Ali Khan, Konkona Sen Sharma, Vivek Oberoi and Bipasha Basu.

Ever since lights on the big screen turned back on after the pandemic lull, there have been back-to-back releases to ease up the clogged release calendar. Some, however, are making their way to the theatres without much buzz. This doesn’t imply that theatres have become dumping grounds, but heralds the trend of the token release — films being released on a small scale in select theatres in order to help streaming platforms gauge the right price for deals.

“Streaming platforms are very clear that they want films to go to the box office and see how they perform there. Based on that, they will find the right price to acquire it,” shares exhibitor Akshaye Rathi.

Since for many films, deals with OTT platforms and satellite channels are done in advance, the latter have made it necessary for many projects to release in theatres first. “That is why filmmakers are opting to release films at limited screens — as a token release. They know it is crowding the box office, but OTT giants are not willing to take any or every project for their platform,” notes trade expert Komal Nahta.

Explaining the idea behind building the buzz prior to the pandemic, marketer Varun Gupta says, “A lot of films were sanctioned by OTT players even before they went on floors, for a minimum commitment that they will pay to the producers or the studio, once the film releases in theatres.” But things changed after the pandemic.

A film’s producers would get the decided amount only if it released in theatres. “Hence, these films are being released more as a formality, in very, very select screens, because the producers know that nothing is going to come out of it in terms of box office. And that is the reason they didn’t put the money in marketing and promotions,” Gupta adds.

Another factor forcing makers to skip pre-release buzz, are the rising costs of marketing. Producer Ramesh Taurani says, “Promoting a film has become very expensive, which is why many films are skipping it and just hoping the audience will come in with word of mouth.”

Producer Anand Pandit agrees, saying, “Earlier if we used to put in Rs. 1 crore, we would be sorted because the mediums were also limited. Now, the options are unlimited — print, online, digital, TV, tours etc. Now, unless you put Rs. 6-7 crore in the marketing, you will not get noticed, which a lot of films can’t afford.”