Showing posts with label Manoj Desai. Show all posts
Showing posts with label Manoj Desai. Show all posts
Gaiety-Galaxy closure: Why Mumbai’s iconic Bandra theatre complex has shut down
9:46 AM
V Narayan (THE TIMES OF INDIA; September 8, 2026)
Mumbai: Following an FIR registered by the Bandra police against the management and owner of the iconic Gaiety Galaxy, DCP (West Zone-2) Mohit Garg said action was taken after police learnt that management had violated Maharashtra Cinemas (Regulation) Rules and had not renewed the licence for five years.
The FIR was registered under Bharatiya Nyaya Sanhita Section 223 for disobedience of an order promulgated by a public servant.
Under the rules, cinema halls and public performance venues receive a permanent operating permit, often called Form C, valid for one year. Annual renewal requires payment of fees of about Rs 2,000 and inspections and safety clearances, including a fire safety NOC, structural stability certificate, electrical and PWD clearances, and approval from Mumbai Police's local licensing branch. Failure to pay fees or obtain certification can result in immediate suspension of shows.
Section 223 provides for up to six months' simple imprisonment and a fine of up to Rs 2,500 if disobedience causes or risks obstruction, annoyance or injury to lawfully employed persons. If it causes or risks danger to human life, health or safety, punishment may extend to one year and a Rs 5,000 fine.
Co-owner Manoj Desai disputed the claim in comments to an online news outlet, saying burnt or damaged theatre cables had caused the shutdown rather than a licensing dispute. He did not respond to TOI's repeated calls and text messages on Monday.
Gaiety Galaxy, opened in 1972, is a prominent single-location Mumbai cinema with longstanding links to Bollywood audiences.
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Madhulika Ram Kavattur (MID-DAY; September 8, 2026)
Moviegoers were shocked to learn on Monday that Bandra’s iconic G7 Multiplex, commonly referred to as the Gaiety-Galaxy cinema complex, on 30th Road had been shut by the Mumbai Police’s Special Branch after the previous day’s last show, with about 12 small notices pasted to the walls of the premises announcing the closure. The messages read in Marathi, “This cinema hall has not renewed its licence. Hence, further shows are cancelled.”
According to Bandra police sources, karyakartas from a political organisation had arrived at the theatre and created a ruckus over the non-premiere of the devotional superhit Hanuman Ansh. Following repeated arguments, the karyakartas allegedly tore down posters of Mirzapur The Movie, after which the police were called. After reaching the theatre, the police registered a case against those involved.
As part of the procedure, the police also checked the theatre’s documents and found that its licence had not been renewed since 2021-22. Therefore, the police directed the theatre management to shut the premises for non-compliance.
“Given that the theatre did not have a valid licence, we ordered the management to shut it down immediately,” a senior police official told this newspaper. Another senior officer told mid-day, “All theatres need an entertainment licence to function. It is issued by the Mumbai Police Headquarters near Crawford Market in Fort. Gaiety-Galaxy’s licence had not been renewed since 2021-22, which is why a notice was served.”
Asked about the informal appearance of the notices posted on the walls of the theatre, the official said, “We only issued the formal notice to the theatre; we are not the ones who have put the notices on the walls. The management of the theatre has put those up.”
Theatre management speaks
Manoj Desai, the executive director of G7 Multiplex, told mid-day, “Some of the cables in the theatre got burnt, so we need to replace them before we can resume our shows. We are arranging for new cables from Lohar Chawl in South Mumbai, and until the work is completed, the screens will remain shut. The timing is certainly unfortunate, especially with the kind of films currently playing, but maintenance of the screens is paramount. We have to ensure that everything is functioning properly and safely before we reopen. It is purely a technical shutdown and nothing more than that.”
Trade talk
Girish Wankhede, trade analyst, told mid-day, “Gaiety-Galaxy has around seven screens, so the loss can be quite substantial. On an average, one screen can do around 1 to 1.5 lakh from a show, of which the cinema’s share would be roughly 50,000. So, for a day, you are looking at a loss of around 2.5 lakh per screen. Across seven screens, that can work out to around Rs 17 to Rs 18 lakh a day, and if the shutdown continues for seven days, you are looking at a loss of over Rs 1 crore. What makes this particularly unfortunate is the timing. It has happened at a bad time of the week, when films like Toxic and Mirzapur The Movie, which are very mass-oriented, are playing. Gaiety is the kind of cinema where these over-the-top potboilers and mass films draw a strong crowd, so the owner is losing out on an important period of business.”
Nostalgia hits
While news of the theatre closing slowly spread via word of mouth and the internet, a few people who were clueless showed up to the theatre around noon on Monday.
Mandira Das, who had come from Bhayander with her husband and their son, said, “I had checked the ticket booking platforms before leaving from my home, but it wasn’t showing any available shows, so I thought it was a glitch. But when I showed up here and saw the building and the street in front of it was so silent, I realised something was off, and then I saw the notice which was posted on the walls.”
Das and her family have a very specific ritual while going to the theatre in Bandra. She explained, “Most of the fancy multiplexes have strict rules about kids and A-rated movies, and we wanted to watch Mirzapur, so we came here to our go-to theatre. We usually buy some fast food, sneak it in, and enjoy the movie. Afterwards, we go to Bandstand to enjoy the breeze, but today our plans have been derailed. I just hope they resolve the issue soon.”
A Bandra resident who had been living in the area for years now, Rohinton Polishwala, said, “Gaiety-Galaxy is a very strong memory for me from my childhood. I used to go there often till 12 or so years ago. Now that I have a family and everything, we prefer PVR; but back in the day, the theatre was an essential part of any Bandra resident’s life. I hope that they are back in business soon.”
History behind the theatre
G7 Multiplex started with three theatres — Gaiety, Galaxy, and Gemini. The two biggest screens, Gaiety and Galaxy, have a combined capacity of around 1800 seats.
In the late 1990s, four more theatres were added to the complex — Grace (a preview theatre), Gem (next to Galaxy's stall), Glamour (between Galaxy's stall and balcony), and Gossip, which has a separate entrance at the back.
Inputs by Aishwarya Iyer and Mohar Basu
Tech glitches hit Dhurandhar The Revenge’s paid previews
9:46 AM
Niharika Lal (BOMBAY TIMES; March 20, 2026)
The much-anticipated preview screenings of Dhurandhar The Revenge didn’t go as planned across multiple cities, with shows abruptly halting at interval as the second half failed to reach many cinemas. Disappointed moviegoers, who had booked the film’s previews in advance, had to either wait 1.5-2 hours for the film to start, watch it begin after the interval, or leave as the film failed to resume in most cinemas. “I had booked a 7.30 pm show in Noida, and when we came out during the interval at 8.30 pm, we found that moviegoers who had come for the 5pm show were also waiting for the post-interval version of the film,” a moviegoer shared.
‘It’s not that we don’t want to show a film; it’s just that we don’t have one’
When we spoke to the exhibitors, they refused to comment on the issue and said they had tried their best to ensure that moviegoers could watch the film, but it was not possible in some cases due to technical glitches.
At some screens, the situation turned almost humorous, as moviegoers actually called the police to complain that the film was not being played. Police officials had to intervene to calm down furious fans, telling them, “It’s not the cinema’s fault; they don’t have the film.” Hassled cinema managers claimed, “It’s not that we don’t want to show a film; it’s just that we don’t have one.”
Delays happened due to content-related challenges: PVR
Issuing a statement, PVR clarified, “To everyone who stayed back and watched the film despite the delays – thank you for your patience, warmth, and love for cinema. It truly means a lot to us. To those whose shows were delayed or cancelled, we sincerely apologize. We understand how disappointing it feels when something you were looking forward to doesn’t go as planned. We wanted to share a clearer update with you: Delays happened due to content-related challenges in certain locations beyond our control. Cancellations occurred as regional language versions were not made available by the production side, as also shared on their official platforms.”
Film reaches late, second half missing at many screens
The film didn’t reach most screens in time, leaving audiences angry. The delivery to digital service providers like UFO Moviez happened at the very last minute. Usually, it is done two days before. Insiders say there were multiple instances of things going wrong for the preview content not reaching in time and, in some cases, the second half of the film not reaching cinemas at all. The paid previews were scheduled to start at 5 pm, and digital cinema providers received the content post 1 pm.
An insider says, “Content was delivered somewhere around noon yesterday, and shows were meant to start at 5 pm. The fact that shows could happen at many places at 5 pm itself is a miracle. It speaks volumes about the efforts and hustle that the distribution team and digital cinema providers put in to maximize the number of shows that could at least play.”
Another industry source added, “With just a 4-5 hour lead time between when the content was provided and the release, it had to be distributed across more than 6,000 screens in less than five hours something that can only be described as extremely challenging.”
Moviegoers across cities say that it was chaotic as they had to wait for long hours for the film to start after interval or for the refund. A manager shares, “Fans were not leaving even after being told that we were issuing refunds. Some moviegoers waited for over five hours for the post-interval screening.”
In Mumbai, most Hindi paid preview shows of Dhurandhar 2 at 5 pm on Wednesday were cancelled, and the 5.30 pm ones were delayed by 40 minutes. A source told us, “Most theatres didn’t receive content and Key Delivery Message (KDM), a security file often referred to as a digital ‘passcode’ required to play the digital movie files in theatres on time. The Hindi ones were delivered by 6 pm, after which most shows started.”
Manoj Desai, Executive Director of G7 and Maratha Mandir, said, “It’s strange that they weren’t prepared even though they had opened advanced bookings for paid previews days ago. The south centres will get to see the dubbed versions a day after the film’s worldwide release. How were they not prepared? This inconvenienced the audience a lot. The crowd was angry at our staff because the shows were cancelled, but we had nothing to do with it.”
While there were delays and cancellations, exhibitor Raj Bansal says the paid previews have earned over Rs. 42 crore.
Last-minute cancellations left us confused: Audiences
Confusion and delays were reported across several locations. Jothika M Joshi, a PhD student in Chennai, says, “The show was scheduled for 5 pm, but we waited outside the theatre for nearly 30 minutes. Even after taking our seats, there was another delay before the film began. No one offered any explanation, and we were left waiting without knowing if the film would be screened at all.”
Another moviegoer Divya Reddy says, “We reached the theatre around 5.40 pm only to be told that it was cancelled due to a ‘screening issue.’ By then, a crowd had gathered near the concession area, many having travelled long distances. What made it more confusing was that while booking, the platform carried a disclaimer that even IMAX shows would run in a regular format. Yet at the theatre, we were told only IMAX screenings would go ahead. The lack of clarity and last-minute cancellation left people confused and disappointed.”
Paid preview shows of Tamil, Kannada versions cancelled
The paid preview shows of the film in Tamil Nadu, Andhra Pradesh, and Telangana were cancelled due to the unavailability of dubbed language versions.
Exhibitor Akkshay Rathie said, “The Hindi version is out there now. Every cinema, every property, every screen that was meant to play the Hindi version is now active. The South Indian language versions will hopefully be available in 1-2 days. But as far as Hindi is concerned, every screen meant to play it is now running shows.”
– With inputs from Renuka Vyavahare and Roopa Radhakrishnan
Ranveer Singh’s Dhurandhar: The Revenge sees sky-high ticket prices, up to Rs 2600 in multiplexes
10:31 AM
Ticket prices of ‘Dhurandhar The Revenge’ premium shows at multiplexes in Mumbai and Delhi soar upwards of Rs 2K, even as single screens cap it at Rs 300
Mohar Basu (MID-DAY; March 13, 2026)
‘How much did you get your ticket for?’ That has been the question among Ranveer Singh fans as Dhurandhar The Revenge opened its advance booking on March 7. Ticket prices for paid previews and weekend shows have hit a high — in Mumbai, the prices at multiplexes start from Rs 400, going up to a whopping Rs 2600!
Industry insiders say that the demand for the film’s paid preview has pushed multiplexes to aggressively price their premium formats, especially those offering recliner seats or IMAX format. “Such shows are priced between Rs 2200 and Rs 2500 in the Inox outlets of Borivali, Malad, and Nariman Point,” said a source from Inox. Meanwhile, the Luxe show of PVR Icon in Lower Parel has taken it a notch higher to Rs 2600.
However, the strategy has been different for single-screen theatres across the country. According to exhibitors, filmmaker Aditya Dhar’s studio has requested affordable pricing.
A source from Seble Cinemas in Delhi told mid-day, “Single screens have been asked to maintain accessible pricing so the core audience isn’t alienated. Morning shows are being sold at around Rs 220, while late-night shows are capped at roughly Rs 300 depending on the theatre.”
Several single-screen owners in Mumbai confirmed that Rs 220 is the standard fare. Manoj Desai, executive director, Gaiety Galaxy and Maratha Mandir, shared, “Multiplex audiences are willing to pay more, while single screens rely on volume. This approach allows the film to capitalize on demand in big cities without alienating its core audience in smaller centres.”
Buy now or regret later
Inox sources suggest that from March 19, tickets for certain shows will be priced at Rs 3100 and Rs 3500 respectively for top Mumbai and Delhi theatres.
Trade Analyst Girish Wankhede told mid-day, “Such steep rates were expected. Given the film’s hype, the high-end tickets will be priced between Rs 3000 and Rs 3500. This will continue till the opening weekend.”
Averting a box office clash will help both Toxic and Dhurandhar 2, say exhibitors
4:30 PM
Renuka Vyavahare (BOMBAY TIMES; March 5, 2026)
Yash’s much-anticipated action drama Toxic has a new date at the box office. For weeks, conversations around a potential clash between two big films — Toxic and Dhurandhar 2 — had been intensifying. On Thursday morning, the makers of Toxic announced that the film will skip its March 19 release date and instead hit screens on June 4, citing the ongoing crisis in the Middle East.
An official statement from KVN Productions and Monster Mind Creations read: “Filmed in Kannada and English, Toxic: A Fairy Tale for Grown-ups is a film created for a global audience. We were excited to share our film with you all on March 19. However, the current uncertainty in the Middle East impacts our goal to connect with the widest possible audience. Therefore, in the interest of our partners and our audience, Toxic: A Fairy Tale for Grown-ups will now be released in cinemas across the globe in English and Indian languages on June 4, 2026 (sic).”
‘Pushing Toxic’s release date makes everyone’s life more comfortable’
While exhibitors believe there is space for multiple releases in theatres, averting a clash is often the best-case scenario for tentpole films.
“We have enough capacity for two films to co-exist. As far as exhibitors are concerned, handling the maara-mari that happens during screen sharing is part and parcel of our job, but overall, this does make everyone’s life more comfortable. I don’t think the reason to push the release of Toxic is an excuse. Yash is a big star in the Middle East, so it’s a fair decision. Dhurandhar 2 is 3 hours 55 minutes long, so now we can give it four slots easily. Since Dhurandhar never released in the Middle East, it won’t be affected anyway,” explains Kamal Gianchandani, CEO, PVR Pictures Limited, and President of the Multiplex Association of India (MAI).
‘Dhurandhar 2 is one of the reasons for the change in Toxic’s release date’
Some exhibitors, however, believe the delay may have more to do with the looming box-office clash. Manoj Desai, Executive Director of G7 and Maratha Mandir, says, “As far as Toxic’s delay is concerned, the Middle East feels like an excuse. Dhurandhar 2 is one of the reasons, if not the only reason. However, I do think this is a good decision as the public won’t be divided.”
Speaking about Dhurandhar 2’s runtime, he adds, “The first film was 3 hours 34 minutes long, and now the second one is 3 hours 55 minutes. We can only have three shows a day in single screens, which itself is our loss. Our standard show timings are 12 pm, 3 pm, 6 pm and 9 pm. If a film is four hours long, with an interval, it becomes almost four and a half hours.”
‘Dhurandar 2 and Toxic will benefit by at least Rs. 75–100 crore now’
Talking about how the industry stands to gain from spacing out big-ticket releases, Akkshay Rathie, Director, Ashirwad Theatres Pvt Ltd, says, “This will benefit both films by at least Rs. 75–100 crore of net box office business, which would have eroded from their collections had they come together. This puts us in a good state because it allows every quarter to have something big — Dhurandhar 2 in March, Bhoot Bangla in April and Toxic in June. Big films spreading out over months always helps the business.”
An exhibitor on condition of anonymity revealed how screen-sharing is a major issue when two big films go head to head. “Revenue share is never an issue between the producers and the exhibitors, that all is pre-decided. Bigger issue is screen sharing. It can get ugly as both films will demand more screens and prime time. The audience is also unlikely to watch two big films in the same week as going out for a movie is not cheap, especially with big families. By averting clash with Dhurandhar, Toxic has made sure that they don’t eat into each other’s business. No one will go on record saying they were not confident about clashing with Dhurandhar so the middle east excuse. Everyone wants to save their face and wants an upper hand.”
'Business prospects for both films will be stronger'
Ashish Kanakia, CEO, Moviemax Cinemas said, "The decision has been taken by the producers in view of the current situation in the Middle East, and averted clashes are naturally in the best interest of both producers and exhibitors. Both Toxic and Dhurandhar are highly anticipated, large-scale films with strong audience interest. Two major releases arriving on the same date is not ideal in the present scenario; with Toxic now moving to 4th June, we believe the business prospects for both films will be stronger, which is ultimately a positive for the industry as a whole.”
Salman Khan's Sikandar unlikely to surpass his highest opener Tiger 3, say trade analysts
10:49 AM
Even as Sikandar earns over Rs. 10 crore in advance booking, trade analysts skeptical of its Day-One figures surpassing Salman Khan’s biggest opener Tiger 3 at Rs 43 crore
Mohar Basu (MID-DAY; March 29, 2025)
From the look of things, it will be a grand Eid for Salman Khan fans. The advance booking window for Sikandar opened on March 27, and earned over Rs 10 crore on the first day. Despite its strong advance booking figures, buzz in the trade is that Sikandar is unlikely to smash Khan’s highest opener, Tiger 3 (2023), which had raked in Rs 43 crore on its first day.
Trade analyst Taran Adarsh notes, “There are lots of factors [going in Sikandar’s favour]—it’s an Eid release, it stars Salman, and A R Murugadoss is the director. The assets may not have tracked as expected, but Sajid Nadiadwala [producer] and Salman know the pulse of the audience. Spot bookings will be the main focus. Since Tiger 3 made Rs 43 crore, Sikandar has the pressure to not settle at a final figure of Rs 25 crore [on Day One]. It has to top Tiger 3, which will be a challenge.”
Like Sikandar, Tiger 3 was not only a festival release but also a Sunday offering. One could argue that the 2023 Diwali offering had the advantage of being part of the YRF Spy Universe. In contrast, Sikandar is a standalone action drama, which may not have the same multiplex appeal. But trade circles are confident that single-screen theatres, in cities as well as in tier-2 and -3 towns, will be the film’s stronghold.
Manoj Desai, executive director of Gaiety-Galaxy, states, “Salman’s films have an unmatched pull in single screens. His fans don’t care about reviews or [box-office] comparisons; they come for the experience. They should increase the number of screens; Bhai’s film on Eid is bound to do well.”
Maharashtra assembly elections: Bollywood hopes for reforms for daily wagers, tax cut
9:46 AM
THE TIMES OF INDIA (November 16, 2024)
Mumbai: As state gears up for the Assembly elections on Nov 20, the Bollywood film industry hopes the new government will bring critical reforms for daily wage workers and policies to reduce financial burdens on the sector.
Mumbai: As state gears up for the Assembly elections on Nov 20, the Bollywood film industry hopes the new government will bring critical reforms for daily wage workers and policies to reduce financial burdens on the sector.
For stakeholders, the lack of government support for daily wagers in the industry is one of the main concerns. The issue came to the fore during the COVID-19 pandemic when everything came to a grinding halt in the Bollywood dream factory.
Birendra Nath Tiwari, president of the Federation of Western India Cine Employees (FWICE), pointed out that despite numerous appeals to political leaders for assistance, little has been done to secure job stability for daily wagers.
“They need all sorts of help from the film industry, but they (political leaders) never think about us. We have written to them numerous times to implement the PPF scheme for workers, provide them with job security,” said Tiwari.
He said the plight of daily wagers in the film industry has gone unnoticed as many continue to face economic hardships after the COVID-19 pandemic.
Actor Suresh Oberoi emphasized the importance of voting, referring to it as a “national festival”. Film producer Boney Kapoor echoed similar sentiments. “It is the right of every citizen of this country to vote and elect a leader and make the government machinery as democratic as possible,” he said.
Governance focused on development and welfare is paramount, said filmmaker Subhash Ghai. “I don’t belong to any political party; Maharashtra is my karma bhoomi. Whoever thinks about the state’s development should be our leader, irrespective of the party. It is important to vote first, and we all should do that,” he said.
The film exhibition sector is also feeling the strain, especially this year. Manoj Desai, executive director of city’s popular single-screen theatre, Gaiety Galaxy, expressed disappointment over the lack of support from the Ministry of Information and Broadcasting (I&B).
He called for tax reductions, particularly on water and property, to help relieve the financial pressure on movie theatres struggling to thrive amid rising operational costs. “The I&B ministry hasn’t done much for the exhibition sector. We haven’t got any facilities. They have imposed 18 per cent GST on us, which I feel they should reduce. Apart from this, we want them to reduce the water and property tax. We have high hopes for the elections, let’s see who wins,” said Desai.
Singham Again predicted to open at Rs. 40 crores
8:49 AM
With Singham Again and Bhool Bhulaiyaa 3 starting advance booking in select theatres, Ajay-starrer projected to have upper hand at Rs. 40 crore opening; trade says dynamics could change depending on films’ quality
Mohar Basu (MID-DAY; October 30, 2024)
There have been enough fireworks even before the two Diwali releases have hit the theatres, with the makers of Bhool Bhulaiyaa 3 filing a complaint with the Competition Commission of India (CCI), alleging that Singham Again’s makers are employing unfair practices in screen allocation. Even as the fight for screens is ongoing, the advance booking for the two movies finally opened, albeit in select theatres. So, who is emerging as the winner in this box-office clash between Ajay Devgn’s super cop and Kartik Aaryan’s ghostbuster?
Bhool Bhulaiyaa 3, which began ticket sales on Monday, had garnered about Rs 12.83 lakh in advance collections by Tuesday afternoon. With Singham Again’s advance booking starting only on Tuesday morning, it had earned Rs 11.72 lakh by afternoon. Director Rohit Shetty’s cop actioner—with an all-star cast of Devgn, Kareena Kapoor Khan, Akshay Kumar, Ranveer Singh, Deepika Padukone, Arjun Kapoor and Tiger Shroff—however, has a slight edge over the horror comedy as it is poised to capture a larger screen share.
Trade analyst Girish Wankhede says that PVR-Inox being the distributor of Singham Again has given it a strong start. “PVR-Inox wants to allocate around 60 per cent of screen time to Singham Again. That means if a screen has five shows, three would go to Singham Again and two to Bhool Bhulaiyaa. This tussle delayed advance bookings, and in such cases, audiences tend to gravitate towards the bigger release. Anil Thadani, who is distributing Bhool Bhulaiyaa 3, is insisting that the screen sharing be made equal. It is currently divided at a 55-45 ratio. Still, both films should do well, as Diwali’s holiday spirit boosts spending power. We are expecting a Rs. 40-crore opening for Singham Again, and Rs 25-30 crore for the horror comedy. But if the latter is a better film, the dynamics could change.”
Manoj Desai, executive director, Gaiety-Galaxy, says the clash has harmed exhibitors as they have been barred from opening advance bookings until the screen allocation is finalized. At present, Singham Again’s bookings have been opened at only a few PVR properties, and Bhool Bhulaiyaa’s at certain single-screens.
“This is Diwali time, and we aren’t allowed to start advance bookings because they can’t sort out their differences. This is damaging to us,” rues Desai.
Trade analyst Taran Adarsh backs Desai, noting that the films are only two days away from release. “Pune exhibitors are telling me that the advance bookings haven’t started for their city. The lion’s share of theatres remain undecided on which film they are screening or which film gets more screens. Diwali is a lucrative time for the industry. These movies have to work, but both parties are prioritizing personal egos. Eating each other’s business will only damage the industry.”
Is Bollywood in panic mode after the failure of big-budget films?
8:39 AM
Astronomical star fees, lack of promotion or wrong timing of release – industry experts discuss what’s led to the recent box office disasters
Vinay MR Mishra (BOMBAY TIMES; May 8, 2024)
The dismal performance of the two big Eid releases has left the industry stunned once again. Akshay Kumar and Tiger Shroff-led Bade Miyan Chote Miyan (BMCM) and Ajay Devgn’s Maidaan were released on Eid. Maidaan’s budget was approximately Rs. 250 crore, while BMCM was mounted at Rs. 350 crore. So far, Maidaan’s collections stand at Rs. 48.85 crore and BMCM Rs. 64 crore (India nett).
Reportedly, G7, a popular theatre chain in Mumbai, was temporarily shut down for renovation due to poor footfalls. Even the medium-budget movies that were released post-Eid, Do Aur Do Pyaar and Love Sex Aur Dhokha 2, didn’t leave an impact at the box office.
In the first quarter of 2024, the total collection of all Hindi movies released was approximately Rs. 700 crore, with only the Hrithik Roshan-Deepika Padukone-led Fighter (Rs. 212 crore India nett) being the tentpole film that was released between January and March.
Distributor Anil Thadani says, “Everything was correct with BMCM, but we are yet to figure out what went wrong. We don’t know what will work. We are living in an unknown territory.”
According to industry experts, while the film business is largely unpredictable, there are certain measures that can be taken to help the current crisis.
Pump up promotions in the right direction
The industry is witnessing another trend of minimal promotions with the hope of maximum impact. It worked for Shah Rukh Khan during Pathaan and Jawan as the films went on to become huge successes. However, when other films adopted that policy, it didn’t quite work out.
“Publicity is very important for movies. Otherwise, your films won’t run. These days stars don’t do any promotions, they only stick to social media. Back in the days, people would do so many newspaper interviews,” says Manoj Desai, Executive director of G7 (Gaiety-Galaxy) and Maratha Mandir. For Crew, its promotional songs drew the audience’s interest, which other films could not achieve.
Trade analyst Komal Nahta adds, “Actors don’t do interviews, they don’t make appearances, they don’t go to the malls, and they have even stopped promoting their films on television. Many people watch television, and if they don’t see ads, the audience is not even aware that a film is releasing.”
Film exhibitor Akshaye Rathi shares, “More than lack of promotional activities, it’s the direction of the promotional activities that matters. We should not just make the audience aware, but also have them excited and compel them to buy tickets. For that, the vanilla template for marketing and PR that’s being followed needs to be reworked.”
Pick the right release window
“The critics and audiences praised Maidaan for its superior content. Despite its quality production and storyline, Maidaan encountered significant challenges in its marketing efforts. There was minimal ground-level marketing, and the film’s release was postponed multiple times, which is what probably diminished audience’s interest and anticipation. These marketing missteps contributed significantly to its disappointing box office returns,” says Amit Sharma, MD, Miraj Entertainment.
Taran adds, “Maidaan shouldn’t have been an Eid release. People want to watch a masala movie on such occasions and not something serious.”
‘Failure of BMCM and Maidaan has affected the trade badly’
Film trade analyst Komal Nahta explains, “The underperformance of both these films has been a shocker. The budgets were so high that their failure meant a major setback for the industry. Exhibitors are in panic mode.”
Renegotiate stars’ fees
According to a media report, Akshay Kumar charged Rs. 80 crores, while Tiger Shroff commanded a fee of Rs. 40-45 crores for Ali Abbas Zafar’s directorial BMCM. Komal Nahta says, “If the budget is going to be Rs. 350 crores, out of which Rs. 150 or 200 crores are paid to the actors, it is nonsense. People are eventually going to see the content. Yes, stars do add value, but if the content is not up to the mark and the films are costly, they will only take the movie down.”
Akshaye Rathi suggests a better pay model. He explains, “Given the uncertainty that the box office has thrown at all of us, irrespective of who the star is, what the size and scale and production values are, I think purely for the sake of sustainability and survival, stars need to work on a revenue sharing model.”
Taran Adarsh, adds, "The fees of actors and paraphernalia around them should be curtailed. Actors should do revenue sharing in today’s times. Tab maalum hoga how much pull the actor has, aur doodh ka doodh aur paani ka paani hoga."
Cinema halls cancel shows as movies flop
8:24 AM
Some multiplexes seen temporarily shutting screens as some big-budget films fail to click
Rajesh Naidu (THE ECONOMIC TIMES; May 7, 2024)
ET Intelligence Group : Lack of curiosity-inducing line-up of films and poor performance of already-released big-budget movies such as ‘Bade Miyan Chote Miyan’ and ‘Maidaan’ have compelled multiplexes and single-screen theatres to cut down on the number of shows or shut some screens temporarily.
According to various estimates of trade analysts, two to three screens in a multiplex containing five screens, or a single-screen theatre containing 5 to 6 auditoriums have been temporarily shut due to poor business and large expenses associated with running them.
“Shows are being cancelled. I think theatres which contain five to six auditoriums are running only two to three auditoriums,” said Manoj Desai, producer and executive director of Mumbai-based G7 multiplex and the iconic Maratha Mandir movie hall.
“It is not just about the general elections, the heat wave or competition from streaming platforms. Filmmakers are making bad films. And viewers are not interested in them.”
He added: “Earlier, when Hindi films did not work, there was a supply of South Indian films dubbed in Hindi which provided some business to theatres. But this time we do not even have southern films dubbed in Hindi.”
According to trade analysts, Bade Miyan Chote Miyan has been made on a budget of Rs. 350 crore. It has collected Rs. 48.50 crore in the past three weeks. Maidaan, which had a budget of Rs. 250 crore, has collected Rs. 40 crore in the same period.
“Single-screen theatres and multiplexes are grappling with very little collections. There are theatres which have meagre footfalls of 170-250 people,” said independent film distributor and trade analyst Shaaminder Malik.
“Single-screen theatres in Agra, Bareilly, Kanpur and Lucknow have reduced their ticket prices to Rs. 30-Rs. 70. Even then, there is no improvement in footfalls.”
Apart from reducing ticket prices and providing fixed-ticket coupons for a certain number of films, to lure audiences to multiplexes, exhibitors are also running advertisement-free shows (this saves at least 30 minutes for the audience) at premium properties.
Malik said: “Today, word-of-mouth communication among viewers and potential viewers of films is more effective than ever. One cannot dump bad films and expect people to come to theatres, especially at a time when they have more interesting avenues to entertain themselves. The success of Godzilla x Kong: The New Empire is a proof that audience wants to come to theatres and watch good films.”
Shah Rukh Khan's Dunki and Prabhas' Salaar get mixed response, say experts
8:13 AM
With SRK’s Dunki and Hindi version of Prabhas’ Salaar registering average opening at Rs 28 cr and Rs 15 cr respectively, trade says audience’s mixed response will curtail their run
Priyanka Sharma (MID-DAY; December 23, 2023)
It was an eventful run-up to what was being touted as the clash of the year. Fans picked their side, there were long-running negotiations over screen division. And yet, as the big day arrived, Shah Rukh Khan’s Dunki and Prabhas’ Salaar: Part 1—Ceasefire found themselves sharing a common aspect—a mixed audience response. Khan’s final release of 2023, coming after two blockbusters in Pathaan and Jawan, scored a Rs 28 crore opening. The average opening isn’t worrisome as it hit the marquee on a non-holiday.
What is worrisome, however, is that Rajkumar Hirani’s directorial venture hasn’t impressed the audiences as much as his past gems did. Rajasthan-based exhibitor Raj Bansal says, “The audience was expecting a much better film from Shah Rukh and Rajkumar Hirani. It has fallen short of their expectations.”
The same appears to be the case with the Hindi dubbed version of Prashanth Neel’s action fare that has earned approximately Rs. 15 crores on its opening day. Bansal says the audience is criticizing the dark colour grading of the Prabhas and Prithviraj Sukumaran-starrer.
“Both the films have got mixed response. We had thought that they would run till Fighter arrives in cinemas, but a long run doesn’t seem possible now.” However, team Salaar can celebrate as the film, originally released in Telugu, is enjoying a strong run in the south territories.
Manoj Desai, executive director of G7 Cinemas and Maratha Mandir, says that because of the power tussle between the two movies’ teams, bookings began late at the single screens, causing a loss to exhibitors. “Producers need to understand that had they opened the advance bookings earlier, there would have been more [ticket sales]. We got permission to open Dunki only after 8 pm on Thursday. Right now, we are getting equal bookings for both films,” he says.
Dunki’s opening seems to have been affected by lack of showcasing in single screens. Bansal says the dramedy has to perform incredibly well over the weekend to ensure a hit verdict. “The collections have to be higher than the opening. I don’t buy the theory that Dunki opened [on the lower side] because it was a drama. A well-made Dunki would have done over Rs 500-crore business.”
Salaar takes south by storm
Prabhas and director Prashanth Neel have much to celebrate. Their action fare, originally released in Telugu, is projected to have amassed about Rs 100 crore in the south territories on its opening day. With this, Salaar becomes Prabhas’ biggest post-pandemic opener, after the disappointments of Adipurush and Radhe Shyam.
New technology and fewer films meant less work for Nitin Desai's studio
8:53 AM
Bella Jaisinghani (THE TIMES OF INDIA; August 3, 2023)
Mumbai: Nitin Desai's sprawling N D Studios outside Mumbai where movies like Sanjay Leela Bhansali's 'Devdas', Ashutosh Gowariker's 'Jodhaa Akbar' and several Salman Khan starrers were filmed, was hit hard by two factors: subsidies offered in other states which began to draw film-makers away, and the emergence of OTT streaming services which banked on content shot on real locations rather than sets.
Heads of film trade associations like CINTAA and FWICE say film studios are seeing mixed fortunes at present. Birendra Nath Tiwari, president of FWICE (Federation of Western India Cine Employees) said, "I am shocked to hear of my good friend's death. Desai had invited me to his daughter's wedding recently, but I was unable to go. I learnt about his financial problems today. He had 150-200 employees to care for, how does one pay salaries, electricity bills and utility charges if studios are not occupied. Film studios by and large are falling on hard times. Moviegoers have declined, so fewer films are being made."
Tiwari added, "N D Studios is located in faraway Karjat, so units are required to travel the distance, and stay there till they complete their work. Instead filmmakers prefer to travel out of Maharashtra to other states like Uttarakhand, J&K, MP and Chhattisgarh which offer vast subsidies up to Rs 2.5 crore. OTT units shoot outdoors so they do not hire studios."
Amit Behl, general secretary of CINTAA (Cine & TV Artistes Association) knew Desai for almost 30 years since the time the technician designed the sets for the serial 'Aa rohan' (1994-95). Behl said, "I stayed in ND Studio when 'Jhansi Ki Rani' was filmed there in 2011, and then during 'Asoka' in 2015-16. Its infrastructure had progressed greatly by then. I never saw it empty. TV serials, ads were shot there regularly." Behl said OTT, however, was not a source of revenue for studios “since these 6-8 episode shows are shot on location.”
“Most studios therefore depend on the television industry which is still booming. ND Studio was a favourite of certain production houses but these later built their own studios in Umbergaon and Amgaon,” added Behl. “And many film units began to opt for other states which offer subsidies. But studios that innovate and offer good services and amenities are still faring well."
Senior producer and exhibitor Manoj Desai, who is executive director of Gaiety-Galaxy G-7 Multiplex in Bandra, offered insight into how new technologies are rendering existing infrastructure redundant. He said, "I am distressed to hear of Nitin Desai's suicide. He was a very good friend. He owned two or three editing studios. But now, editing can be done right at the time of shooting. There is no need to do dubbing, no need to visit an editing studio. One simply records on a collar mic and edits it on the spot. And the task is done."
Tareekh pe tareekh: Bollywood plays musical chairs
8:22 AM
As some big-ticket films shuffle their release dates, experts feel more “shifts” are in the offing
Rishabh Suri (HINDUSTAN TIMES; July 6, 2023)
From films managing to lure audiences back to cinemas to new ticket pricing strategies, the year has been eventful for the Hindi film industry. With everything falling in place, makers are not taking any chances, even with release dates. In the past two months, several films have pushed their releases — be it for a “great end product” or due to the domino effect of one big-ticket project getting postponed .
Take, for instance, the Ranbir Kapoor and Rashmika Mandanna-starrer Animal, whose release was recently pushed from August 11 to December 1. Murad Khetani, co-producer, tells us, “We want to give a great end product to the audience and don’t want to take away from our director’s eventual vision.”
However, Fukrey 3 and Meghna Gulzar’s Sam Bahadur are also slated to release on the same date. And Ronnie Screwvala, producer of the latter, is in no mood to push it. “Our date was already announced. It’s the content that works today, not just the Friday opening,” he shares.
Experts help us decode the constant reshuffling and its long-term impact on other films, too.
MORE SHIFTS IN THE OFFING?
Trade analyst Taran Adarsh predicts more shifts in releases due to Animal getting postponed: “Whenever a big film gets pushed, like Adipurush from January to June, and now Jawan, other releases in the month get automatically shifted.”
Khetani adds that filmmakers’ pursuit for a certain standard of product has also impacted these decisions. “Makers have to get the film ready with a certain standard in terms of VFX, sound or post-production. Hence, a lot of dates have been moved,” he explains.
THEATRES REACT
A multiplex representative, without wishing to be named, shares his optimism: “It means audiences get to enjoy a wider range of movies over a longer period of time.”
But Manoj Desai, executive director, G7 Multiplex and Maratha Mandir cinema, feels otherwise: “We don’t have other films to screen when something gets postponed.”
Jawan
Original Date: June 2
New Date: September 7
Animal
Original Date: august 11
New Date: December 1
Fukrey 3
Original Date: November 24
New Date: December 1
Dream Girl 2
Original Date: July 7
New Date: august 25
Yodha
Original Date: July 7
New Date: December 15
As Satyaprem Ki Katha collects Rs. 38 cr, trade cheers the rise of mid-budget films
8:29 AM
Satyaprem Ki Katha busts myth that only actioners work at the BO as it earns Rs 38 crores over the opening weekend; trade cheers the rise of mid-budget films
Mohar Basu (MID-DAY; July 4, 2023)
What’s the secret to box-office success in Bollywood? Only a tentpole action film, industry insiders would say until a few weeks ago. But the performance of Satyaprem Ki Katha tells us otherwise. In only four days, Kartik Aaryan and Kiara Advani’s romantic drama has made over Rs 38 crores. This comes close on the heels of Vicky Kaushal and Sara Ali Khan’s Zara Hatke Zara Bachke, which released on June 2 and has made over Rs 84 crores. It’s safe to say that the myth about only action films drawing audiences to theatres has been busted.
Manoj Desai, executive director of G7 Cinemas and Maratha Mandir, says that romance has been the box-office flavour in June. “The genre of romance is working at the movies. Satyaprem Ki Katha’s occupancy is between 70 and 80 per cent,” he says, adding that the underwhelming run of Adipurush in mid-June left the audiences wanting more.
“People expected Adipurush to do well, but it didn’t. There is a desire to watch a movie on the big screen. In some ways, this film is making up for the deficit.”
Trade analyst Taran Adarsh says it is folly to believe that a certain genre has an advantage over others. “If a movie is good, it will work. Zara Hatke... and Satyaprem... have been well-received, and are enjoying footfall despite the downpour in Mumbai.”
He, however, credits the makers of Zara Hatke Zara Bachke for taking the leap of faith. “The consensus was that the film should have premièred on OTT, but the makers took a risk, and look how well it did! There is action-movie fatigue. In digital entertainment, [we have] crime, suspense and murder mysteries in surplus. People now want song-and-dance, joy and mostly romance.”
This bodes well for Rocky Aur Rani Kii Prem Kahaani, which promises to be a classic Karan Johar affair, complete with songs, drama and extravagance. While exhibitor Akshaye Rathi admits that an epic romance musical like Rocky Aur Rani... is missing from the market, he is enthusiastic about the mid-budget films.
“There can only be two to three blockbusters a year. For instance, Shah Rukh Khan can give us Pathaan and Dunki once in a few years because these films are time-consuming and expensive to make. For the industry’s ecosystem, it’s not healthy if mid-level films don’t make money. This problem has been rectified by [the success of] Zara Hatke Zara Bachke and Satyaprem Ki Katha.”
Animal vs Gadar 2 vs OMG 2: Is three-way clash a good idea? Industry experts share their views
8:51 AM
Sugandha Rawal (HINDUSTAN TIMES; June 13, 2023)
Films clashing at the box office is no big deal, and there have been ample instances in the past where both movie releases have worked well even without overshadowing the other. And pre-Independence Day weekend this year already seems to be quite exciting, with three big films — Gadar 2, OMG 2 and Animal — locking horns on August 11. However, trade analysts and experts wonder if this is an ideal scenario, especially after the pandemic when there’s already such a backlog of films to be cleared.
“This three-way clash is only overkill,” says film exhibitor Akshaye Rathi with disappointment, adding, “The August 15 weekend is a lucrative date for a lot of people, but since we are just emerging from the damages inflicted upon the industry during the pandemic, it’s important that we space out the releases in a way that every week we have enough content.”
Rathi also points out that besides these Hindi releases, there might be other language movies coming out, too, including one project starring Rajinikanth. More experts feel the same:
LAXMAN UTEKAR, DIRECTOR
We need to space out to give everyone a chance at recovery. And people also don’t have such a budget to watch more than one film in a weekend, considering the prices of the tickets.
MANOJ DESAI, EXECUTIVE DIRECTOR OF G7 MULTIPLEX AND MARATHA MANDIR CINEMA
After the pandemic, people prefer to go out of town during such weekends. So, they (makers) need to change their mindset while planning the release calendar. They (makers) need to focus on revving the business and move accordingly.
BUT AUDIENCES ARE GETTING MORE OPTIONS!
“This has been the strength of the film industry. It is not clashing with the audience getting more options. We have screens to accommodate. It is good, not bad, for us. And when it comes to a film working, it is not about paying capacity but good content. If a film is good, it will work,” says Devang Sampat, CEO, Cinepolis.
GIRISH JOHAR, PRODUCER AND TRADE EXPERT
We had summer months May and June, with no big release. Now, three films will come out together. It is not a good sign. Someone who probably could have made a bit more (money), will lose out because of the competition.
TARAN ADARSH, TRADE EXPERT
It’s not a healthy trend. Everyone has budget constraints. In fact, exhibitors and distributors will also be fighting among themselves to get enough screen and the shows. Everyone has a right to think of the release date, but they also need to look at the bigger picture at the moment.
Kisi Ka Bhai Kisi Ki Jaan: Impressive weekend numbers but trade rues that it doesn’t rival Salman Khan’s earlier Eid openers
9:04 AM
Even as Kisi Ka Bhai Kisi Ki Jaan enjoys fifth-highest opening weekend after the pandemic, trade rues that it doesn’t rival Salman’s earlier Eid openers
Hiren Kotwani (MID-DAY; April 25, 2023)
An Eid without a Salman Khan film is a dull affair for his fans, as evidenced in the past few years. Although Radhe: Your Most Wanted Bhai had a hybrid release in 2021, Bharat (2019) was the superstar’s last big Eid offering in the true sense. Which is why there was heightened anticipation around Kisi Ka Bhai Kisi Ki Jaan (KKBKKJ). For those expecting Farhad Samji’s directorial venture to surpass the numbers of Khan’s previous festival releases, it was a disappointment as the film’s three-day collection read about Rs. 67 crores.
Trade analyst Atul Mohan notes that the first-day figure of Rs. 15.81 crores — a far cry from his highest Eid opener, Bharat at Rs. 42.30 crores — was not surprising. “Friday was the last day of Ramzan, so it was known that a huge section of the audience wouldn’t be watching the film. But after that, there was a massive jump. The mass centres contributed significantly to the three-day collection. In spite of unfavourable reviews, the film has earned about Rs. 67 crores. That is proof of Salman’s craze,” he says.
Manoj Desai, executive director of G7 multiplex and Maratha Mandir, is happy that his theatres registered 100 per cent occupancy during the weekend. Yet, he asserts that it’s a wait-and-watch game. “I’m hopeful for the week ahead. But the public isn’t exactly raving about the movie. So, it is too early to say where it is headed,” he states.
Also starring Venkatesh, Pooja Hegde, Bhumika Chawla and an ensemble cast, KKBKKJ has been designed as a typical Khan entertainer, complete with whistle-worthy dialogues, catchy songs, and action.
But trade expert-distributor Amod Mehra believes the content is its undoing. He explains, “Salman should understand that what he was doing 15 years ago, cannot be done today. He should do films in keeping with his age, and not try to be the [quintessential] hero. Saturday and Sunday’s numbers were face-saving, not [record-breaking].”
On an upside, the action drama boasts of the fifth-highest opening day collections in the post-pandemic market after Pathaan, Brahmastra (2022), Sooryavanshi (2021) and Tu Jhoothi Main Makkaar, says distributor-exhibitor Sunny Khanna. But he has a word of caution.
Pointing out that Monday is usually the acid test for any movie, Khanna adds, “I don’t see more than Rs. 6 crores [coming in]. The content hasn’t been appreciated, so the drop after the weekend will be huge. It is only due to Salman’s fan-following that KKBKKJ saw such numbers in the first three days.”
Shah Rukh Khan's Pathaan is the only clean hit in 2023's first quarter
8:17 AM
With Bollywood wrapping up its first quarter, Shah Rukh’s Pathaan remains sole bright spot, Tu Jhoothi doesn’t break even; trade says business down by 30 per cent
Hiren Kotwani (MID-DAY; April 4, 2023)
Can you imagine a better way to start the year than with a blockbuster? In late January, Shah Rukh Khan arrived in cinemas with Pathaan, ready to decimate the box office. The spy thriller, which saw the superstar returning to the big screen after a four-year hiatus, went on to reportedly collect over Rs 500 crores, becoming the biggest hit of Hindi cinema. With it, the film industry and trade circuit felt that the debacle of 2022 was behind them. Three months into the year, however, it’s a different story.
Veteran trade analyst Amod Mehra notes that the Khan-starrer is the only bright spot in the first quarter. “Its success was encouraging, and made everyone feel like things would change. But subsequent films crashed. So, it is back to square one,” says Mehra.
February saw two big Hindi releases, Kartik Aaryan’s Shehzada, and Akshay Kumar-Emraan Hashmi’s Selfiee. The former came with high expectations — it was Aaryan’s first theatrical release since last year’s surprise hit Bhool Bhulaiyaa 2. Additionally, it was the remake of Allu Arjun’s Telugu movie, Ala Vaikunthapurramuloo (2020).
Producer and film business expert Girish Johar attributes the failure of Shehzada and Selfiee to sub-par content. “Shehzada was a copy-paste remake with no new elements. Selfiee was completely dated, despite having big names and being backed by a big banner [Dharma Productions]. People rejected it from the word go. The Q1 business was down by 30 per cent compared to the pre-pandemic times,” says Johar. While Shehzada’s lifetime domestic collections read Rs 30 crores, Selfiee reportedly ended its run at Rs 14 crores.
Ranbir Kapoor and Shraddha Kapoor’s March release, Tu Jhoothi Main Makkaar, had better luck at the cinemas. Despite having made approximately Rs 120 crore, Luv Ranjan’s rom-com isn’t considered a hit due to its high cost. Johar, instead, dubs Rani Mukerji’s Mrs Chatterjee vs Norway “a winner” as the small-budget film is heading towards collections of Rs 25 crores.
Ajay Devgn, who delivered a blockbuster in Drishyam 2 (2022), rounded off this year’s first quarter with Bholaa, which collected Rs 44.28 crore (nett) over its four-day weekend. However, Telugu star Nani’s Dasara, which released across India on the same day, has accumulated a cool Rs 55 crore across all languages.
Johar says the two can’t be compared. “Dasara is a reasonably budgeted film, while Bholaa, which released in 2D, 3D, and IMAX has a much higher landing cost. Plus, Bholaa, being an adaptation of Tamil film Kaithi (2019), hasn’t got the audience in south India flocking to the theatres.”
Looking ahead
In the coming months, Manoj Desai, executive director of Maratha Mandir and G7 cineplex, will be banking on Salman Khan’s Eid offering Kisi Ka Bhai Kisi Ki Jaan, Ajay Devgn’s Maidaan, and Shah Rukh Khan’s Jawan that arrives in June. He says, “The public wants entertainment. They don’t want to go to theatres and get bored. A good film will always work.”
Drishyam 2, Pathaan: Who said the era of superstars is over?
8:33 AM
Industry experts are of the opinion that superstars of the ’90s can never be written off
Rishabh Suri (HINDUSTAN TIMES; January 29, 2023)
“Lekin hamari jagah lega kaun? Humein hi karna padega bhai, bachhon pe nahin chhod sakte!” This banter between actors Shah Rukh Khan and Salman Khan in the post-credits scene of the record-breaking movie Pathaan has made fans go gaga. But, what may seem like an innocent conversation between two seasoned spies, Pathaan and Tiger, may actually be hinting at the larger picture — the future of Bollywood and the era of superstardom.
The answer, in some ways, lies in what Pathaan has done. Apart from breaking records and setting some, the major reason cited everywhere is that people thronged theatres to witness their King of Romance, Shah Rukh, turn into an action hero. Compare this to the chatter about how his career was deemed to be over up until now.
STARS ENHANCE CONTENT
Ever since a few films starring these biggies didn’t work, people started saying their time is over. Content became the hot word, especially with OTT coming in.
However, Abhishek Pathak, who co-produced and directed Ajay Devgn’s hit, Drishyam 2 (2022) says, “Content and superstars together can fly so high. Obviously, content will only take you so far. Eventually, the star makes everything work. No one could have imagined Pathaan or Drishyam 2 without them (Shah Rukh and Ajay). Stars will never go away.”
SO, IS THE STAR POWER DEBATE INVALID NOW?
“Superstars of the 90s can never be written off. Unfortunately, people are quick to write their obituaries after a film flops. They are a part of every star’s life. Ditto for SRK. Look how he bounced back. I can say that his name alone can sell tickets,” says trade analyst Taran Adarsh.
Aamir Khan’s last film, Laal Singh Chaddha (2022), may not have worked, but his previous hits such as Dangal (2016) and 3 Idiots (2009) are proof of his fan base. According to filmmaker R Balki, SRK’s example is an exception. “A star like SRK is very rare. When he goes away for four years, people want to see him. I don’t know the broad classification of superstars, this is the case of one person here,” he says.
CAN NEW GEN REPLICATE THIS SUCCESS?
Adarsh says there are very few who have it in them, such as actor Ranbir Kapoor, but it will take them time. Whereas, trade expert Atul Mohan points out how some actors start calling themselves “superstars” after one or two hits.
WHO IS A SUPERSTAR?
The definition of a superstar isn’t just limited to box-office numbers; it has to do with impact they create on the audience. Manoj Desai, executive director, G7 multiplex and Maratha Mandir cinema, says, “Public ke dil mein jagah honi chahiye. Jo aam aadmi pe beet rahi hai, agar usse woh star connect kar paaye, toh log kehte hain, ‘Arre yeh toh meri kahaani hai’.”
R Balki, who has worked with the likes of Amitabh Bachchan, Akshay Kumar and Shah Rukh Khan, among others, says, “It is a person whom you are willing to pay money to watch; it is that simple!”
Cinema halls can disallow outside food & beverages, says Supreme Court
3:05 PM
Amit Anand Choudhary (THE TIMES OF INDIA; January 4, 2023)
New Delhi: The Supreme Court on Tuesday held that theatre owners can bar movie-goers from bringing food and beverages from outside, saying as it’s their private properties they are entitled to take commercial decisions and impose terms and conditions to regulate entry which are not contrary to public interest, safety and welfare, reports Amit Anand Choudhary.
“The cinema hall is not a gym where you need healthy food. It is a place of entertainment. A cinema hall is private property. It is for the owner to decide subject to statutory rules,” said a bench of Chief Justice D Y Chandrachud and Justice P S Narasimha. It, however, said theatre owners have to provide hygienic and safe drinking water free and parents would be allowed to take nutritious food for their infants.
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New Delhi: The SC on Tuesday set aside a 2018 J&K high court order that people be allowed to bring their own food and drinks inside the theatre. It said moviegoers are not forced to purchase eatables and drinks from inside the hall and it was up to them to do so. The issue has been pending in various HCs, including Delhi and Bombay, and the SC order settled the issue once and for all and would be applicable to other states also.
The top court said that owners are entitled to keep the theaters clean and to prevent littering by prohibiting eatables from outside and the viewer had to abide by the rules fixed by management after entering inside the theatre.
“A cinema hall is a private property. What goes in is for the owner of the property to decide subject to statutory rules. So saying that arms are not allowed or no discrimination on the basis of caste or gender can be there is fine. But how can the high court say that they can bring any food inside cinema halls. Suppose someone starts getting jalebis. Owner would not want anyone wiping their hands on the seats. It’s his right. He may not want tandoori chicken to be bought in. No one is forcing them to buy popcorn. But the owner has a right,” the bench observed.
Finding fault with the HC order, the bench said that the HC exceeded its jurisdiction by passing the order on a PIL which adversely affected the rights of theatre owners. “We are clearly of the view that the high court transgressed the limits in the exercise of its jurisdiction under Article 226 of the Constitution by ordering and directing the state to ensure that there should be no prohibition on a moviegoer from bringing eatables and beverages from outside within the precinct of a cinema hall,” the bench said.
The Court was hearing a batch of appeals filed by theatre owners challenging a 2018 verdict of the HC. Senior Advocate K V Viswanathan, appearing for theatre owners of J&K, submitted that cinema halls are not a public property and admission to such halls was reserved by cinema hall owners and HC erred in passing the order which affected business of theatre owners.
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Cinemas must provide free drinking water & allow home food for infants, the apex court says'
BOMBAY TIMES (January 5, 2023)
Water, yes. Food for infants, yes. But eatables from home? Not at all. The Supreme Court on Tuesday passed an order that cinema owners are within their rights to stop patrons from bringing outside food into theatres. The apex court was hearing a batch of appeals filed by cinema hall owners and the Multiplex Association of India challenging a 2018 verdict of the Jammu and Kashmir High Court, which had removed the ban on people carrying their own food and water in theatres.
Chief Justice of India D Y Chandrachud and Justice P S Narasimha made it clear that since cinemas were private property, the owners could set terms and conditions for entry. Hall owners have welcomed the decision, and have vowed to provide free drinking water and permit home food for infants, as per the court’s directive.
CJI: NO ONE IS FORCING YOU TO BUY POPCORN
“Suppose someone starts getting jalebis inside the cinema hall… If the viewer wipes his sticky fingers on the seats, then who will pay for the cleaning?”
“People can also bring tandoori chicken. Then there will be complaints of bones left in the hall. No one is forcing them to buy popcorn.”
“Suppose they sell nimbu paani for ₹20, you can’t say I’ll go buy my nimbu from outside and squeeze it in a flask and make it inside the theatre.”
“We reiterate that cinemas (must) provide hygienic drinking water without any charge.”
“When an infant accompanies a parent, cinema owners shall not object to reasonable food carried for the infant.”
WE ARE RELIEVED AND PLEASED: THEATRE OWNERS
The entire cinema exhibition sector is relieved and very pleased with the Supreme Court decision. It validates what MAI’s (Multiplex Association of India) stand has been all along in this matter. We have to maintain the property, and allowing people to bring in food can lead to damage to the property. We don’t sell food with gravy, only finger food. The practice of not permitting outside food has been validated by the state governments for reasons, including security and hygiene issues.
– Kamal Gianchandani, President, Multiplex Association of India
HOW THE MATTER REACHED THE SUPREME COURT
The original petitioners were two practising lawyers who complained that nutritious food is not served inside the theatres in Jammu and Kashmir. They further argued that moviegoers were forced to purchase food inside the theatre at exorbitant rates.
The Jammu and Kashmir High Court passed an order in July 2018, permitting moviegoers to bring outside food inside cinemas This order had been challenged in various high courts, including Delhi and Mumbai, and the SC order now puts the matter to rest
- With inputs from Onkar Kulkarni and Yvonne Jacob
‘IT’S NOT A COMPULSION FOR MOVIEGOERS TO BUY FOOD FROM US; IT’S A CHOICE’
As a business owner, it’s a fundamental right to be able to sell food or beverages on my property. It is not a compulsion for moviegoers to buy food from us; it’s a choice. Outside food items are not allowed on private properties and it’s the same with multiplexes. We are not a social club or a government entity; we are a business. Why shouldn’t we be allowed to make our revenue? From a safety standpoint, one can bring in alcohol or explosives in the name of beverages or food. So, there are many reasons why we support this rule.
— Gaurav Chaphalkar, partner, City Pride Multiplexes
‘PEOPLE ARGUE AT THE MAIN GATE OVER BRINGING IN HOME COOKED FOOD’
During the pandemic, we had stopped people from bringing in outside food. But arguments would break out, and we decided to call off the ban. People argue at the main gate that they only eat home-cooked food. Since we allow it, a lot of time and energy goes into cleaning the theatre at night, as people leave half-eaten food inside. With the SC order, we will figure out new guidelines.
– Manoj Desai, Executive Director, G7 Multiplex and Maratha Mandir Cinema
Don’t mind paying if the food is good: Moviegoers
SHIVANI SURVE, actress: It is true that the F&B prices at multiplexes are high and a family may have to shell out a huge amount. Having said that, we should understand that it’s a business and, ultimately, it’s the multiplex owners’ prerogative whether or not they want to allow outside food in the theatres.
SHASHI ATULL, an interior design student: I wouldn’t mind spending on food and beverage as long as I feel I’ve got my money’s worth. On many occasions, I’ve got stale popcorn or flat soda. Add quality food and drinks to the overall entertainment experience, and I don’t think there would be a reason to complain.
PRIYA NAIR, a marketing professional: I have seen people creating a mess while consuming food in theatres. If people are allowed to bring outside food, I can only imagine how challenging it would be to maintain hygiene standards.
I’ll continue to slash ticket prices if that results in more people coming to theatres-Manoj Desai
8:15 AM
Syeda Eba Fatima (HINDUSTAN TIMES; November 18, 2022)
Manoj Desai, executive director of G7 multiplex and Maratha Mandir Cinema, recently announced that he will be slashing the ticket prices of both their single-screen theatres, as the management is fed up with the poor performance of Bollywood films in recent times.
Speaking to us, Desai reveals that following this announcement, he got calls from several multiplex owners who complained about the decision. “I know multiplexes won’t cut their ticket rates. In fact, they’re not liking this step taken by us. I won’t take names, but I got a few calls from people saying things like, ‘Aap prices kam kar lete ho to humein nuksaan hota hai’. But, it doesn’t affect me. I’ll continue to slash ticket prices if that results in more people coming to theatres. It’s better than having vacant seats in the cinema hall,” he says.
Desai believes in bringing people from all walks of life to the theatre: “Multiplexes are for rich people who want to spend thousands on tickets and food. Jis public ko paise ki padi nahin hai, wo wahan jaakar enjoy karlein. However, for families where 4-5 log ho, unka toh poora salary chala jayega ek film dekhne mein. I want Gaiety Galaxy and Maratha Mandir to be the places where people continue to come for experiences.”
After suffering huge losses during the pandemic, he was pressured by distributors to raise the prices in the last four months, but poor film performance has added to the misery. “We are suffering because movies are failing. Hum pehle bhi rate nahin badhaate, but distributors ne dadagiri chaalu kari,” says Desai.
He informs that the prices of Gaiety and Maratha Mandir will be reduced from ₹140 and ₹170 to ₹130 and ₹150 as of November 21. The changes will be implemented in all other G7 theatres beginning today.
Though he is optimistic that the decision, taken by him and managing director Arun Nahar, will result in increased attendance, he is disappointed that Bollywood is not producing any good films: “It’s only the South films that are working. Kantara still has shows with 100% occupancy.”
Trade analysts say Ram Setu and Thank God may not be able to cross Rs 100-crore mark
8:36 AM
With big-ticket films Ram Setu and Thank God opening to moderate footfall, trade analysts say the Diwali releases may not be able to cross Rs 100-crore mark
Mohar Basu (MID-DAY; October 28, 2022)
Diwali releases are synonymous with starry offerings that generate tremendous hype and heavy footfall, thus bringing in much box-office cheer. Even in the difficult year that was 2021, Rohit Shetty and Akshay Kumar’s Diwali offering Sooryavanshi brought hope to Bollywood. This year, all eyes have been on Kumar’s Ram Setu and Ajay Devgn-Sidharth Malhotra’s Thank God in the hope that the two festival releases may bring a wave of success in an otherwise underwhelming year for Hindi cinema.
The two-day collection of Ram Setu, which opened in about 2,900 screens, stands at Rs 26.65 crores, after it earned Rs 15.25 crores on Tuesday, following it up with Rs 11.40 crores on Wednesday. As per early projections, Abhishek Sharma’s directorial venture may earn close to Rs 10 crores on its third day. The film, also starring Jacqueline Fernandez and Nushrratt Bharuccha, may well see an uptick in the figures over the coming weekend.
Malhotra’s comedy Thank God started off relatively slower across 2,500 screens, with an opening of Rs 8.10 crores, before going on to add another Rs 6 crores to its tally on Wednesday.
Manoj Desai, executive director, G7 cinemas, says that while both movies are steadily making money at the box office, the figures aren’t on par with big-ticket festival offerings. “Ram Setu and Thank God are [almost] on equal footing right now. Neither of them is having house-full shows, which is why I feel [each of] their lifetime numbers won’t cross the Rs 100-crore mark. The problem is that the advance booking for single screens started only on Monday evening [while multiplexes opened last week]. People forget that single screens are major contributors [to the collections of] such films. Both movies recorded 70 per cent occupancy on the holidays,” he states, before adding that on Thursday, the occupancy could have dropped to 40-50 per cent.
The surprise winner this week was the Kannada film, Kantara, which continued the trend of south films dominating the box office. The thriller, which hit the marquee on September 30, has of late found a new audience in Hindi cine-goers, thanks to its strong word of mouth. Trade analyst Ramesh Bala says, “The Hindi version has earned Rs 30 crores. They are increasing the screen count on Friday. In Karnataka alone, Kantara has made Rs. 125 crores. The film may make an additional Rs 100 crore, if it sustains for three weeks in other languages.”
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