Showing posts with label Bheemla Nayak. Show all posts
Showing posts with label Bheemla Nayak. Show all posts
Gangubali Kathiawadi is set to beat its Southern counterparts, Valimai and Bheemla Nayak
3:32 PM
Box Office India Trade Network
The Hindi film industry has seen huge negativity towards it through the pandemic through digital media and social media and it was being said that South films is what the audience to wants to see and not films from the Hindi film industry as South films are better. At the end of the day it does not cost to open your mouth so crap will come out.
The stars had negativity towards them but the ground realities were always different. The stars remained stars and hugely popular with the audience and South dubbed films barring an exception here or there were always going to bite the dust and that is what has happened. Akshay Kumar and Alia Bhatt probably had negativity towards of them through the pandemic for some reason or another as it was the fashion but with cinemas open its business as usual and both delivered HITS.
On the other side no doubt Pushpa (Hindi) gave 83 a huge beating but there will be exceptions to the general rule and here if '83 was not a poor product, then PUSHPA: THE RISE - PART 01 (Hindi) would been left well behind. This week saw big films in the South release but at the end of the day GANGUBAI KATHIAWADI will leave them behind despite their huge openings in their respective markets as the Alia Bhatt starrer has turned out to be a better for its audience than the South films for their audience.
If we look at the all India figures on Monday, then GANGUBAI KATHIAWADI is doing double of Tamil film VALIMAI. Though BHEEMLA NAYAK is similar, that will not last and from here on its all about GANGUBAI KATHIAWADI.
The totals so far are with Monday numbers in brackets are as follows.
Gangubai Kathiawadi - 45.50 crore (8 cr)
Bheemla Nayak - 86 crore (8.25 cr)
Valimai - 77 crore (4 cr) (5 Days)
There is still this Pan India thing which is a bit of joke within the industry as even the likes of URI does almost 50 crore nett in South without being DUBBED but that does not make it a pan India film. A DANGAL does even more and there will be others with more but they are still not pan India films. The only films that have potential to be pan India on a regular basis are Hollywood films as they can reach mass in the south and Hindi circuits.
At the moment if a South film releases in Hindi circuits its called a pan India film when its actual reach is not even as much as BADHAAI DO as far as most of India is concerned. A BADHAAI DO will clock up similar business in the South as VALIMAI or KHILADI does in its Hindi dubbed version. It is being said that BHEEMLA NAYAK is releasing this week but the question is will it actually release and how many exhibitors who have theatres which collect will release it. The multiplexes will hardly give shows to BHEEMLA NAYAK even in smaller centres.
The collections of VALIMAI in Hindi were pretty embarrassing over the weekend and on Monday there was no audience. The South has basically believed in the negativity for the Hindi film industry and tried to get a foot in. They will understand soon enough the market is there only for select films and most of their films may be mass for films for their respective markets but they are not mass films for the Hindi audience.
This dubbed films releasing will die out soon enough as to release regularly in Hindi you have to cater to the audience and when you do this you have to concentrate on this. This can lose you some of the potential in the home markets which are in reality is the first priority or should be first priority as core audience comes first because it is made you what you are.
A sort of example is this that the Tamil film industry has around 22 or 23 All TIME BLOCKBUSTER films from the first CHANDRALEKHA (1948) till the last ENTHIRAN in 2010. Around 15 or 16 of these belong to Rajinikath but when he was concentrating on Hindi films for around 4-5 years in the early 80's there was no historic blockbuster in sight for him. Then after wrapping up the Hindi films in the mid 80's, the megahits in Tamil flowed again. At the end of the day, the importance of core markets is of huge magnitude and eventually it all comes back to that and the faster you realise the better it is.
Now, more than the language, the audience connects with the emotions of the characters-Rana Daggubati
8:09 AM
Suhas Yellapantula (BOMBAY TIMES; January 5, 2022)
Rana Daggubati enters the new year brimming with positivity and exudes confidence about the way film content is going to be consumed in 2022. While there is uncertainty around upcoming theatrical releases due to a spike in Coronavirus cases across the country, Rana, who has featured in films such as The Ghazi Attack, Housefull 4, Haathi Mere Saathi and Baby, believes OTT has bridged the gap between regional cinema and Bollywood, and has opened up new avenues for artistes.
He says, “The whole process of OTT and video-on-demand has broken all barriers. Now, more than the language, as an audience, you connect with the emotions of the core characters. That’s what’s bridged the gap between regional cinema and Hindi cinema a lot more. Having said that, as much as you’d love to see an adaptation, you would also love to see content in the comfort of your own language. Now, this opens a lot more doors. ”
It’s going to be a big year for the pan India actor, who will be seen in big ticket films like Bheemla Nayak (Telugu) with Pawan Kalyan and Virata Parvam (Telugu) with Sai Pallavi. However, Rana is most excited about teaming up with his uncle, Tollywood star Venkatesh, for the first time ever. The duo will feature in an upcoming web series, which is the adaptation of the popular American Crime Drama, Ray Donovan.
“Right from the time that I became an actor, I knew that at some point Venky and I would work together. I always knew that when we act together, it will not be in a conventional film — I wanted it to be different and cool. When I got the opportunity to do this web show, I knew this was it. It’s going to be special,” he says, excitedly
The Baahubali actor feels that the Indian audience has gotten used to long form of storytelling thanks to OTT platforms. “Commercial cinema is made for the box-office, because it costs a lot of money to release the film in theatres, to market that to audiences. Unless it’s extremely engaging, with so much content available, it’s very hard to bring people to the cinema hall. But when it’s genre-specific, niche content, people don’t mind watching it from the comfort of their homes. This definitely leads to more localised and much deeper storytelling. It won’t be wrong to say that OTT has gotten us hooked to long form storytelling where you’re not just connected with a character for three hours, but you’re with them for seasons after seasons,” he adds.
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