Showing posts with label Brijesh Tandon. Show all posts
Showing posts with label Brijesh Tandon. Show all posts
Flower power in the Hindi heartland: Telugu masala rises as Hindi blockbusters fade
2:44 PM
What’s the secret sauce that makes viewers in Patna and Varanasi devour tales from Sheshadri Hills and Godavari Valley? Rajesh N Naidu dives into the fascinating world of Telugu masala movies and investigates the mysterious disappearance of the quintessential Hindi blockbuster
Rajesh N Naidu (THE ECONOMIC TIMES; December 8, 2024)
Crowds totalling two lakh souls, plenty perched atop light towers and hoarding scaffoldings for a better glimpse of the action, cops waving lathis across police barricades.
That was the scene at the trailer launch which flagged off the promotional tour for actor Allu Arjun’s Pushpa 2 – The Rule, the highly anticipated sequel of the Telugu movie Pushpa: The Rise - Part 01 (2021).
It isn’t just that the launch of a movie trailer drew such hordes. It is that all this was unfolding 1100 km from Hyderabad, in the quintessential heartland of Hindi - Patna - that makes it astounding.
Patna may seem a strange choice for a Telugu blockbuster’s opening salvo. Not so in the India of 2024, and not for those who have been observing the decades-in-the-making rise of Telugu potboilers in its home market and beyond, and the simultaneous weakening of mainstream Hindi movies.
ET spoke to film academics, distributors, seasoned journalists, entertainment companies and others to explain the seamlessness with which dubbed Telugu movies became the toast of Hindi heartland audiences, culminating in Allu Arjun’s party in Patna.
The prequel
The journey to Patna began in the late 1990s, and with one phenomenon - multiplexes. That was the start of the alienation of the mass audience from the mainstream Hindi cinema, which changed considerably in subsequent years.
What worked in the smaller confines of a multiplex was a certain genre of storytelling that clicked with urban audiences, which a new bunch of film-makers who grew up in urban environs could instantly identify with.
This contrasted with their predecessors, whose points of reference were different and who were far more grounded and aware of the world beyond the urban bubble.
They knew of the concerns and realities and dreams of people of almost all classes in the society and derived a great deal of their raw material from life, literature and lived experiences.
Consequently, their films cut across classes and geographies. Even movies like Vidhu Vinod Chopra’s Parinda (1989), which appealed to the urban audience, also struck a chord with the masses because of the universality of its storytelling. That’s not quite how it worked in the world of multiplex movies.
Avijit Ghosh, a veteran journalist and author of Cinema Bhojpuri, points out, “There was an explosion of a feel-good cinema which had sensibilities and style of narratives which worked with urban audiences.”
The new wave focused more on western culture and aesthetics. It also catered to Non-Resident Indians (NRIs) to a great extent.
Anupama Chopra, editor, The Hollywood Reporter India, points out, “There are mainstream Hindi films which are set abroad and speak a language which the masses cannot understand or relate to.”
For instance, the aesthetics of thriller writer James Hadley Chase showcased in Johnny Gaddaar (2007) may not work with the masses, with their markedly different language, ideological references, worldview and jargon.
Simply put, the single-screen audience could not identify with this cinema. This led to the disappearance of the commoner from mainstream Hindi films, resulting in the dwindling of those quintessential mass entertainers.
Brijesh Tandon, a film exhibitor from the Delhi and Uttar Pradesh regions, points out, “The masses want stories which contain multiple emotions, easily hummable music, and stories which can be watched along with families.”
These rich-in-imagination movies copiously incorporated the elements of Navarasa from Natyashastra, copiously mixing the nine emotions ranging from romance to peace, with each furthering the plot and complementing others.
Such movies were made solely with the intent to entertain. Movies like Ghayal (1990), Krantiveer (1994) and Ghatak (1996) are prime examples.
As Dr Sanjay Ranade, associate professor, Department of Communication and Journalism, University of Mumbai, underscores, “Hindi cinema as an alternative does not exist for the Hindi heartland. There is no entertainment in Hindi cinema. It is time for Hindi cinema to shut operations and go in a thinking mode.”
That is quite the indictment.
Mass entry
It is in the nature of economics that when there is demand, supply will find its way. The journey of dubbed Telugu films into Hindi heartland began with television, and interestingly, piracy.
Ira Bhaskar, who taught cinema studies at Jawaharlal Nehru University (JNU), explains, “One of the reasons why dubbed Telugu films clicked with Hindi heartland audiences is piracy. They were hardly released officially in the northern region.”
But in many areas, she says, local stores supplied dubbed Telugu films on pen drives. Those who viewed one wanted more. It had the cultural elements they craved for - the larger-than-life hero, action, themes, storytelling structure. The preeminence of the hero stood out in Telugu cinema.
Author Mukesh Manjunath in his book The Age of Heroes: The Incredible World of Telugu Cinema observes, “All Indian film industries have produced stars, megastars, and superstars. But one peculiarity differentiates the Telugu film industry from others: Telugu films do not produce stars, they manufacture ‘heroes’.”
Concurring with this thought, scriptwriter Jaidev Hemmady points out, “Telugu films have a typical larger than life hero who has a devil may care attitude which strikes a chord with the North hinterland audiences whereas mainstream Bollywood has become too politically correct.”
Sarrainodu (2016) is an example of this. In that movie, Gana, the hero, played by Allu Arjun, is a former army major who does not tolerate injustice. The story contains almost every trope that clicks with the Hindi heartland. The setting is a village. Gana is a man of principles. He is fearless. He fights for the have-nots and the oppressed.
Gana is the template for the hero the Hindi heartland craved for.
Bhaskar explains, “The Hindi heartland audience go for characters rather than actors since they do not know them well. So, the narrative of oppression, fight for justice and action genre are elements in dubbed Telugu films which work.”
The angry young man for the modern age then.
Plot twist
What also worked is the folktale structure Telugu movies tend to follow.
Take for instance, the dubbed Telugu film Don No. 1 (2008), a cult hit in the Hindi heartland. The film unfolds like a folk tale. Surya, the film’s hero, kills his parents’ killer. He wins because he is righteous.
As Manjunath notes in his book, “All mainstream Telugu films are folk tales. Not just the actions of these heroes, even the themes and tropes in these films stem from and are steeped in folk traditions.” He adds, “The hero (in Telugu films) does not survive because he is the hero; he is a hero because he survives.”
This kind of storytelling gives not only a sense of rootedness but also provides a great deal of familiarity in its setting for the Hindi heartland audience.
As Avijit Ghosh, author of the book Cinema Bhojpuri, points out, “Tropes such as a Zamindar with a henchman or a mother pining for a son, seen in old Hindi films are quite present in dubbed Telugu films. These stereotypes create a sense of familiarity with the underclass as they have been missing these elements in commercial Hindi films.”
Over the years, dubbed Telugu films also have exhibited a structure which has worked very well with non-Telugu audiences, reflected in the film’s pace and editing to its music.
Sanjay Ranade of University of Mumbai reckons that there are four key parameters which make dubbed Telugu films work in the Hindi heartland. They are slapstick comedy, crisp editing, engaging music, using interesting techniques and sound and action-oriented scenes.
Add to this the not so subtle showcasing of caste and class dynamics, along with the preeminence of family as the binding unit, and the thali is complete.
Ranade says, “In this manner, dubbed Telugu films have been creating more expansive narratives which are more generalized.”
Another aspect is their production value.
Manish Shah, owner of Goldmines Telefilms, a YouTube channel with more than 101 million subscribers which showcases dubbed southern languages films shares, “In dubbed Telugu films, money is invested in films and not in stars. As a result, the production value of these films is top-notch, which enhances their entertainment quotient.”
He adds, “Largely, there is not much vulgarity which makes them suitable for collective viewing especially with family.”
Add copious amounts of dishoom dishoom. Most of these movies being action oriented also help cut across geographical boundaries of states and appeals to the Hindi belt.
As Bhaskar points out, “Telugu films focus largely on the action genre which has high engagement value and cuts across geographical boundaries.”
Ghosh adds, “Despite modern action sequences, Telugu films have retained these elements. Also, these films have a certain degree of earthiness which the Hindi heartland audience identifies. The character Pushpa is a case in point. He is a throwback to an old hero. One can imagine a person from eastern Uttar Pradesh or Bihar emulating Pushpa’s swagger.”
Climax
No wonder then, as a seasoned event management professional puts it, the Hindi heartland is now home turf for Telugu heroes. “There is nothing unusual about Allu Arjun promoting Pushpa 2 – The Rule in Patna.
Telugu films have simply managed to achieve the masala entertainer grammar seen in mainstream Hindi films of directors Manmohan Desai and Prakash Mehra.
The Hindi heartland audience is a mass audience. It helps that the composition of the audience in Telugu-speaking states is not materially different.
The undivided Andhra Pradesh has been a cinema-loving state. This is reflected in the number of single screens (largely associated with the masses) in the state. According to the Film Federation of India, the number of single screens in undivided Andhra Pradesh was 2809. The only other state with a similarly large number of single screens is Tamil Nadu (1546).
As more and more Telugu films become bolder and bigger in their technique, scale and grandeur, will this sustain?
Let’s wait for the third installment of Pushpa.
Singham Again vs Bhool Bhulaiyaa 3: Cinema owners feel the heat ahead of big Diwali releases
2:32 PM
Rajesh Naidu (THE ECONOMIC TIMES; October 13, 2024)
Singham Again and Bhool Bhulaiyaa 3 have fired up the Hindi-language film industry ahead of their Diwali release. But even as the response to the trailers of the two mega productions portends fireworks at the box-office, with some estimates suggesting potential collection of around Rs 1,000 crore, cinema owners are facing intense pressure from distributors for more shows and screens for the respective films, said industry executives.
Cinema owners in not just metros but also tier-2 and tier-3 cities across the country find themselves in a bind over the competing big-budget films, they said.
“Single-screen theatre owners are facing a tough dilemma when it comes to allocating shows between these two films,” said Anil Bohra, owner of City Light, a single-screen theatre in Palanpur, Gujarat. He added that the potential for these films to generate strong box-office business could be diminished due to their release on the same day.
Echoing concern, Brijesh Tandon, a film exhibitor from the Delhi and Uttar Pradesh regions, said, “Both films look promising and could be big money-spinners. However, I believe the clash could have been avoided. Releasing them separately would have been better, as business will inevitably get divided with both films competing on the same day.”
According to the 2024 FICCI-EY media and entertainment report, India has a total of 9,742 cinema screens. Trade analysts estimate that 25-26% of these are multiplex screens, while the majority are single screens.
Singham Again is being distributed by PVR Inox Pictures.
PVR Inox is the distribution arm of multiplex firm PVR Inox, which operates 1,747 screens across the country.
Meanwhile, Bhool Bhulaiyaa 3 is being distributed by AA Films, owned by Anil Thadani, one of the most successful pan-India distributors. “Multiplexes with at least five screens can easily allocate sufficient space and showtimes to both films. Distributors of these two films are unlikely to suffer significant losses in multiplexes,” said a person, who did not wish to be identified.
“Single-screen cinema owners, however, will face intense pressure from distributors of both films.”
Independent film distributor and trade analyst Shaaminder Malik said, “Exhibitors cannot afford to upset distributors of both films. If Singham Again has big stars and a big studio attached to it, then one cannot underestimate Anil Thadani, who is distributing Bhool Bhulaiyaa 3. He has a long-established record, brand name and quite a standing in the industry.”
He added that exhibitors are aware that these distributors and studios can distribute and produce around a dozen films a year. Nitin Datar, president of the Cinema Owners and Exhibitors Association of India, said he was optimistic despite the tension between the exhibitors and distributors. “Single-screen owners will certainly feel significant pressure from distributors,” he said. “However, this will likely be a weekend issue. By Monday, November 4, after Diwali, it will be clear which film gets more shows and screens, as the audience’s verdict will be reflected in the box-office collections.”
Trade analysts said the running time of the two films — Singham Again (about three hours) and Bhool Bhulaiya 3 (around two hours and 40 minutes) — would also play a role in how many shows and screens they get. However, expectations from both films are high, they said, as these films don’t face competition from another big-budget production for at least a month.
Big films may improve the scenario but smaller films are helping theatres to get going
8:13 AM
Big films may improve the scenario but smaller films are helping theatres to get going
Shreya Mukherjee (HINDUSTAN TIMES; January 11, 2021)
Soon after theatres reopened in mid-October last year, filmmakers have been testing waters to see if audiences are now stepping out and going to watch films in cinemas. Is Love Enough - Sir and Suraj Pe Mangal Bhari initiated the chain of new releases in Bollywood in November 2020, followed by Indoo Ki Jawani and Shakeela in December and Ramprasad Ki Tehrvi marked the beginning of this year. Meanwhile, Hollywood biggies — Tenet and Wonder Woman 1984 (WW’84) — too helped up the box office collections. Having covered almost the first quarter of the new beginning since cinemas reopened, industry insiders talk about the present scenario.
BOX OFFICE RESPONSE
Trade expert Komal Nahta feels the only “relief is that films are running and cinemas are functioning”. Suraj Pe Mangal Bhari also did a bit better business than other Hindi films, shares exhibitor-distributor Brijesh Tandon.
Trade expert Atul Mohan says, “The re-released films and new ones made about 5-10% business. Only Tenet, WW’84 made about 15-20%. After the difficult 2020, we must get things running with big films.”
ALL EYES ON BIG FILMS
With big-budget films expected to release March onward, and Shibasish Sarkar, CEO, Reliance Entertainment group, announcing that either Sooryavanshi or ’83 will release during Holi, has given many hope. “Many theatres are still shut, 50% occupancy cap is a concern. Turn-around time given the sanitisation procedure has reduced the number of shows. Now, only big films can change the game,” shares distributor-exhibitor Akshaye Rathi.
Raj Kumar Mehrotra, general manager, Delite Cinemas, shares Madam Chief Minister starring Richa Chadha releasing this month might bring business. “Till now, we had 15-20% occupancy, which went up to 30-35 % during Tenet, WW’84. Once big films come, it’ll go over 70%,” he says.
VACCINATION will help
“Vaccination will improve collective sentiments and provide courage. With all precautions, theatres are ready. Now, audience should extend support,” shares Rathi.
Highlighting how reworking of ticket pricing is a determining factor to increase footfalls, Mohan adds, “Pandemic has hit the economy hard, leading to job losses. If ticket pricing is on the lower side, it might draw more people to the theatres.”
A LOOK AT THE BOX OFFICE BUSINESS SO FAR (All approx figures)
Tenet: ₹15 crore
Wonder Woman 1984: ₹12.5 crore
Suraj Pe Mangal Bhari: ₹2.5 crore
Indoo Ki Jawani: ₹60 lakh
Shakeela: ₹30 lakh
Ramprasad Ki Tehrvi: ₹25 lakh
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