Showing posts with label Rajesh Thadani. Show all posts
Showing posts with label Rajesh Thadani. Show all posts
Bhool Bhulaiyaa 2: Box-office horror ends with Kartik Aaryan’s comedy
8:29 AM
Earning Rs 56 cr over first weekend, Bhool Bhulaiyaa 2 pulls B’wood out of its dry spell; trade says audience seeking light fare after grim times
Mohar Basu, Uma Ramasubramanian (MID-DAY; May 24, 2022)
What can a few laughs and Kartik Aaryan’s charm do? If the weekend is any indication, it turns out they can turn the tide. In the past two months, Bollywood’s big-ticket films fell like a pack of cards while its south Indian counterparts — from RRR to KGF: Chapter 2 — took the box office by storm. But a good old horror comedy appears to be the answer to Bollywood’s dry spell. Aaryan, Tabu and Kiara Advani’s Bhool Bhulaiyaa 2 earned a strong Rs 56 crore over the opening weekend.
So, what did the horror comedy get right that the recent Hindi movies didn’t? Komal Nahta attributes the film’s success to its light-hearted content. “It has got great music, spooks and laughs. People want to have a good time at theatres, they want to feel happy,” he reasons.
Anees Bazmee’s directorial venture had piqued the audience’s interest with its trailer. The buzz reflected in its opening figures, with the movie registering Rs 14.11 crore on Friday, Rs 18.34 crore on Saturday before climbing to Rs 23.51 crore on Sunday.
Distributor Rajesh Thadani says, “The film had brilliant marketing. People can sense a good film, and the trailer [reflected that]. People are gravitating towards comedies.”
He is unfazed by south films giving Hindi offerings a run for their money. “It’s a phase. As long as a movie is good, it will work, regardless of the industry and genre.”
The director, relishing the love coming his way, says, “I go to the theatres and watch my films. I was overwhelmed to see the way the audience was reacting to Bhool Bhulaiyaa 2. Everybody enjoys a well-made comedy. But it’s a difficult genre to crack. Kartik is a good actor. He has performed well, and everything fell in place.”
#CoronaCrisis: With shoots stalled and theatres shut, Bollywood to suffer massive losses
7:55 AM
Rachana Dubey (BOMBAY TIMES; March 17, 2020)
With advisories issued by the state and central governments following the COVID-19 outbreak, cinema halls in major markets like Mumbai and Delhi will remain closed till March 31. While the Producers Guild of India released an official statement on Sunday, stating that shoots of Hindi films, shows and ads across the country will be suspended from March 19 to 31, the units of Jersey, Bhool Bhulaiyaa 2 and Laal Singh Chaddha were among the first in Bollywood to call off work voluntarily.Rohit Shetty’s Sooryavanshi was the first film to announce a change in its release date, the cascading effect of which will be seen on releases across the year. Angrezi Medium’s opening collections have taken a hit, too.
While it’s only been a few days since the lockdown, experts are finding it difficult to place a ball-park figure on the losses that the industry stands to suffer. Distributor Amod Mehra believes, “Theatres running Hindi films do an average business of Rs 15 crore between Monday and Thursday. The weekend numbers are higher. So, if we have three-four weeks’ shutdown, we stand to lose close to Rs 100 crore on Hindi films alone. If you add the screens allocated to cinema from other languages, the number will escalate to Rs 200-300 crore. This is just a modest number that we stand to lose in cinemas in India alone, the overseas collections will also see a huge dip. It’s difficult to gauge the exact figures as of now. Producers have to bear cancellation costs of their on-going and pre-planned shoots. The transportation business affiliated to Bollywood dancers, workers and technicians are also going to suffer because they earn daily wages. Procuring dates from actors to reschedule shoots is another ball game altogether. The crisis does not end here. The films that have all been postponed will come in clusters and fight for footfalls eventually, which will lead to more chaos.”
Nitin Datar, the head of the association for single-screen cinemas in India, points out, “Distributors and producers can release a film at a later date, but we will lose 15 days. We have to keep our business shut and won’t be able to recover the lost time, while we continue to pay salaries and overhead costs. We’re counting on films like Sooryavanshi to help us make up for the monetary losses.”Kamal Gianchandani, the head of a leading cinema chain, shares, “We are supportive of the measures implemented by the government. In the cities, where cinemas are still operational, we’re following all the measures for hygiene and safety,” he says.
Rajesh Thadani, a distributor from Mumbai, explains, “Angrezi Medium is the worst affected. We can only hope that filmmakers will act sensibly while choosing their release windows to ensure that they eat as little into each other’s businesses as possible. Hollywood films are also going to queue up. In all of this, my worry is that smaller films will have to put up a bigger fight for their little space.”
Trade expert Komal Nahta says, “It was already getting difficult to avoid clashes between big films in the year. Now, with this situation, it will get even more difficult. Sooryavanshi has moved and in effect, films like '83 will also look for another window. A chain-reaction has set in. The business will also suffer losses to the tune of Rs 300-500 crore because the weeks when the cinemas are not functioning will have to be wiped out of the calendar in terms of income.”
Amul Mohan, trade expert, sums up, “The numbers can be dizzying because the impact of lockdowns is multi-layered. There will be weeks when you might see several big films releasing across the limited number of screens that we have. In such a scenario, it may not be wise to attach numbers because that can add to the panic in the business. The numbers could be much higher than what is being quoted all over; let’s just pray that it does not escalate too much.”
VPF is an expense that hurts producers; it affects the success ratio of films in a big way, say producers
4:15 PM
After Ronnie Screwvala poured his heart out to BT about his fight against the Virtual Print Fee (VPF) charged by multiplexes for screening films, producers and distributors have begun to echo his sentiments. Here’s what some of them had to say...
Rachana Dubey (BOMBAY TIMES; March 27, 2019)
A few days ago, Ronnie Screwvala filed a case with the Competition Commission of India against four multiplex chains — PVR, Inox, Cinepolis and Carnival Cinemas — and the FICCI Multiplex Association of India, alleging undue imposition of Virtual Print Fee (VPF). In his petition, the filmmaker complained that the multiplexes make Indian film producers/distributors cough up Rs 20,000 for every film screened per screen as VPF.As a result, Inox Leisure boycotted Mard Ko Dard Nahi Hota and refused to screen it in their properties. Prior to that, the scale of Sonchiriya’s release was impacted and looking at the cost involved, the filmmaker was forced to release Love Per Square Foot digitally. In his interview to Bombay Times, Ronnie told us, “The five charges I have brought about are very serious and need a final solution, even if that means a face-off. The matter is now sub-judice and so, I cannot comment more on it. But it would be a cop-out to not take full accountability for what you think needs to change.”
We also reached out to several top bosses in Bollywood’s production and distribution stream. A few of them told us what they think:
HANSAL MEHTA, PRODUCER-DIRECTOR
The matter is sub judice, but Ronnie has taken a huge initiative. He brought this before the CCI. With them, you can even file your complaints anonymously, but Ronnie didn’t do that. Now, we have to wait and watch what happens.
DINESH VIJAN, PRODUCER
There is merit in Ronnie’s stand against the system. Our initial gesture was meant to support each other and grow better and stronger as a fraternity. We have continuously extended our support to the exhibitors, and paid our dues. However, our agreement was for a five-year term and since we have upheld our end of the deal, they should, too. We should stand together and support each other in creating a fair and ethical working environment.
JAYANTILAL GADA, PRODUCER
I thank Ronnie for taking a huge step ahead. VPF is an expense that hurts producers. It’s been waived off in so many progressive countries. It affects the success ratio of films in a big way, and has to be brought down considerably if it can’t be fully eliminated. At some point soon, it has to be eradicated for more films to reach theatres and increase the ratio of hits that we produce. In fact, if you look at the South industry, everything is controlled, including the VPF expense. The industry must support Ronnie’s move.
AMOD MEHRA, INDEPENDENT DISTRIBUTOR
Ronnie was brave enough to take these cinema chains head on. The VPF cost was meant to recover the cost of transition to digital projection; it’s not anyone’s right to collect that money from distributors and producers for eternity. That’s like highway robbery. It’s become a given that all the multiplex chains, including the new ones that are starting with digital projection, will charge that VPF to producers and distributors. They arm-twist us and make sure that no one raises the issue, let alone fight it. And we are helpless as an industry because we need these cinema chains to screen films.
RAJESH THADANI, INDEPENDENT DISTRIBUTOR
As an industry, we should feel inspired by the South. They stood firmly together against the imposition of a hefty VPF amount. There is not much unity here and Ronnie is the lone warrior. I hope more producers join forces with him, because it’s not his problem alone.
ANAND PANDIT, PRODUCER (His film PM Narendra Modi releases in two weeks)
Business thrives on business and the fundamentals of demand and supply. What was started to aid a change has now become a habit. While everyone has the right to run their business and make profits, it’s important for multiplexes to understand that a big number of smaller, and great contentbacked films will not be able to release or sustain if this fee is continued.”
RAMESH TAURANI, PRODUCER
Ronnie has made a huge point in his interview with BT. VPF was meant to ensure that we all evolve together but now, it’s really hurting the producers. It’s a massive cost, which also has to be recovered for a film to be called a hit in the book of accounts. It’s a lot of pressure. Also, I agree with Ronnie’s point of view about spending excessive amount of time in a theatre watching ads in the middle or the beginning of a film. A two-and-a-half hour film takes over three hours and fifteen minutes to get over. It’s fatiguing for the audience to go through this and this needs to be looked into, immediately.
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INOX DENIES ACCUSATIONS
Here’s the statement issued by the multiplex chain:
According to certain media reports that have appeared in recent days, INOX Leisure Ltd (INOX), has reportedly been named in a complaint made to Competition Commission Of India (CCI). INOX would like to clarify that we do not possess any specific knowledge of the complaint, and this statement is based solely on what has been reported by the media.
INOX strongly denies and vehemently rejects the defamatory accusations of unfair and discriminatory practices, made in the media reports and the interviews by the said complainant. INOX emphatically denies the slanderous and malicious allegations regarding conduct which amounts to cartelization, and states that all these allegations are false, fabricated and madeup to negatively impact our image.
INOX will pursue its legal options as advised by its counsel from time to time, and will respond to all queries received from, or processes initiated by, any regulatory authority as and when asked to do so. Since the matter appears to be subjudice, as indicated by the aforesaid media reports, INOX refrains from making any specific comments at this stage, or answering any specific allegations. INOX would, however, like to reiterate that it has full faith in due legal process.
INOX is India’s second largest, and fastest growing multiplex chain. As a responsible corporate entity, it is driven by the highest standards of corporate governance and legal compliance. INOX respects and adheres to all regulatory guidelines, in letter and in spirit, in all its business practices.
Salman Khan's Tubelight to release overseas in 1,200 screens
8:05 AM
MID-DAY (June 22, 2017)
Even as Salman Khan has dismissed conversation around the chances that his upcoming film, Tubelight, will garner bigger box-office numbers than S S Rajamouli's fantasy, Baahubali 2: The Conclusion, his team is leaving no stone unturned to sell the Kabir Khan-directed project. The Indo-China war drama is set to spread its wings wide in the overseas market with a 1,200-screen release, the widest for any Khan-starrer till date. Amar Butala, COO of Salman Khan Films, confirmed the news to mid-day.
Trade analyst Taran Adarsh is not surprised. “Salman is taking big steps with each of his films. His last two releases, Bajrangi Bhaijaan (2015) and Sultan (2016), were phenomenal hits in the overseas market. Tubelight is in the same bracket.”
Earlier this month, Salman hit headlines for managing to grab a billboard at the prime New York Times Square for Tubelight, something only few in the industry manage. A trade insider says, “The overseas market welcomes Shah Rukh Khan’s films and content-driven films. After Sultan and Bajrangi Bhaijaan, Salman has established himself as a competitor in the content driven space.” The presence of the Chinese star Zhu Zhu in the film is being seen as an added advantage. Trade analyst Atul Mohan says, “With a Chinese actress in the lead, the film should get the widest release in China.”
Trade pundits estimate Tubelight to bag Rs 27-30 crore on day one in the domestic market. Distributor and exhibitor Rajesh Thadani says, “The film will make Rs 30 crore plus on day one since it has a non-holiday release, but I expect it to cross over Rs 40 crore on Eid.”
Khan’s Bajrangi Bhaijaan released in around 800 screens in the overseas market, while Sultan grabbed 1,000 screens.
Some cinemas are showing only Kaabil-Theatre owners on Rakesh Roshan's charge
8:17 AM
Theatre owners’ association president defends producer Rakesh Roshan’s charge about being duped by exhibitors
Bharati Dubey (MID-DAY; January 26, 2017)
As Hrithik Roshan-starrer Kaabil, clashed at the box office with Shah Rukh Khan’s Raees yesterday, trade pundits indicated that the latter is faring considerably better. Kaabil producer Rakesh Roshan has claimed that exhibitors have been unfair to him by not alloting 50 per cent of the screens to the film as promised.
“I’m losing Rs 150 crore straight. I don’t know where the pressure came from and why they succumbed to it. But, the 60:40 division of screens [between Kaabil and Raees] will dent my day 2 collections further. In Dubai, UK, Australia and New Zealand, they have given us 50:50 screens, but not here. I feel betrayed,” he said.
The veteran filmmaker suggests in case of a clash of Titans, exhibitors ought to take a collective decision to allot equal number of screens to both. “Producers will never be able to take a decision as each thinks his product is the best, so exhibitors have to take the lead.”
Trade folk offered varied responses to Roshan’s allegations. Distributor-exhibitor Rajesh Thadani said, “Exhibitors have merely favoured the film that will do well at their properties. Since critics have appreciated Kaabil, he needs to be patient. When the collections improve, they will get more shows.”
Exhibitor Akshaye Rathi, said, “My cinemas have allotted equal screens to both. Others should have also honoured the commitment made to Roshan.”
When told that exhibitors may have changed their mind after Raees took a good opening, Rathi said, “Every chain has its own programming and they cater as per demography. Plus, every exhibitor is here to make money. Relationships are important, but so is business.”
President of Cinema Owners and Exhibitors Association, Nitin Datar, said, “Rakesh ji must have thought he would get more shows, but in case of a clash, we all stand to lose something. It will be best if producers divide their shows, so that all of us can make money. This time, many single screens have chosen to screen only one of the two films. For instance, Chandan (Juhu) has four shows of Kaabil.”
An industry source, however, said, “Roshan is crying foul about not getting adequate shows and screens, but the truth is that the occupancy [for Kaabil] isn’t 100 per cent. Raees has taken a huge opening; its advance booking was phenomenal.”
Box office grapples with demonetisation: Exhibitors & producers speak up
8:00 AM
While multiplexes claim that they aren't heavily impacted, the demonetization drive has, in fact, affected the movie business, with BO collections taking a hit. BT takes a closer look into the matter
Rachana Dubey (BOMBAY TIMES; December 2, 2016)
It has been nearly a month
since India slipped into demonetisation mode. Businesses, across, have
been affected without an exception. Even though the box office has just
begun to recover, we know it will be a slow ride down that road. Most
November releases have fared below expectations, and footfalls, over
all, have seen a considerable dip. Naturally, single screens have felt
the pinch harder. Fearing low collections, producers are now reassessing
the release dates of their films which they'd blocked months in
advance.Rock On 2, which hit the screens on November 11, was the first big Hindi film to release immediately after the demonetisation drive. Despite a buy-one-get-one-free offer on tickets, the musical registered below par numbers. The animation flick, Chaar Sahibzaade: Rise of Banda Singh Bahadur, which released the same day, registered comparatively decent collections. That week's third release, Dongri Ka Raja, wasn't even in the running. Force 2 and Tum Bin 2 came a week later. While the former saw decent numbers during the opening weekend, the latter didn't make the grade. Fortunately, Dear Zindagi helped the business sense some relief from frightening box-office numbers. The Alia Bhatt-Shah Rukh Khan-starrer has brought in a ray of hope. All eyes are now set on Kahaani 2: Durga Rani Singh that opens today.
“There's a 50 per
cent dip in collections in most territories as compared to what we see
usually at this time of the year. A lot of cinemas are running shows on
minimum capacity, which adds to their expense. When people can't
withdraw even modest sums, how will they spend on movie outings?
Luxuries come after necessities, right?“ rues producer Mukesh Bhatt,
head of the Film and Television Producers Guild of India (FTPGI).He adds, “What did the government plan for single screens and smaller multiplex chains that can't survive even when the times aren't as bad? An average weekend collection of Rs 40 crore has slipped by 50 per cent. Even Aamir Khan's upcoming release Dangal could take a hit, the difference might be felt.“
Clearly, not all movie patrons rush to cinemas after a long day at the bank queues. The demonetization drive, which initially didn't seem like it would affect Bollywood's basic modalities, seems to be taking a toll. Producers are now watching out for the box-office collections of December's two big-ticket movies, because the performances of these films would pave the way for releases slated from January 2017.
Mumbai-based distributor Rajesh Thadani says,
“If Dangal doesn't perform well, most producers will
be forced to reassess their dates. Not that they aren't doing it right
now. For example, Wajah Tum Ho was pushed ahead. The impact of
demonetisation is slowly wearing out, but it will take a while for the
business to stabilise and recover.“Sanjay Ghai, a Delhi-based distributor and cinema chain owner, points out, “Postponing dates will add to promotional costs and affect the producer's math. Recovery from films will slow down because a transformation like this takes long to settle in. In most centres, across the last month, weekdays have been weaker than weekends.“
Manoj Desai, the owner of single-screen theatres in Mumbai, has another issue at hand. “We don't get subsidies. While the tickets cost around Rs 100 each, people have been coming to us with Rs 2000 notes. Where will we find so much change to return? Even with low prices, we're finding it difficult to sustain,“ he sighs.
However, the picture is not entirely bleak. Hollywood film Doctor Strange registered good numbers, building on its young, multiplex-going target audience, familiar with the online ticketing infrastructure. Indore-based distributor Aditya Chowksey says, “Some Hindi releases had rank bad content. Even a regional film like Ventilator (which released on November 4) did far better business than the Bollywood fare. Doctor Strange held its own; Ae Dil Hai Mushkil continued its run, too. Good content has had takers even in bad times. Yes, the figures have seen an overall slump, but that's not entirely due to demonetisation.“
Kamal Gianchandani of a national multiplex chain says that he was surprised to find that his revenue hadn't been impacted as badly as he feared. “The use of plastic money has doubled up at chains like ours. People don't use cash even at food counters and parking lots. We were lesser affected because our patrons used digital wallets. But to say that a film tanked because of the economic drive alone is a bit much. If that was the case, international and regional films wouldn't have done well, right? It's time to look within and figure out why and where we are losing money,“ he sums up.
Industry debates: Should Bollywood films already shot with Pakistani actors be curbed?
8:09 AM
BOMBAY TIMES (October 16, 2016)
Box office may soon see a 'hit', albeit differently. In a turn of events, the Cinema Owners and
Exhibitors Association of India (COEAI), which covers several
single screen theatres in the country, declared after its meeting on
Friday that films featuring Pakistani artistes and technicians will not
release in single screens, starting with Karan Johar's Ae Dil Hai
Mushkil (ADHM), followed by Dear Zindagi and Raees, among others. Parts of Karnataka and the states of Maharashtra, Gujarat and Goa will witness the immediate implications of this decision on
Diwali.
Karan's festive release, featuring Ranbir Kapoor, Aishwarya Rai Bachchan, Anushka Sharma and Fawad Khan, has just been passed by the CBFC with only three cuts and a U/A certificate. But looks like patrons might not find it in most of the single screens.
The multiplexes haven't made up their mind yet, and none was forthcoming to speak on the issue, officially. However, a source from a Mumbai multiplex chain, on the condition of anonymity, told BT, “It's a Karan Johar film, so it has an urban appeal and is predominantly meant for the multiplex audience. The single screens have Shivaay. All multiplexes hold meetings on Tuesdays, to discuss the forthcoming Friday's release, so a decision will be taken only three days prior to release. I don't see why multiplexes will not screen this film. No one would like to lose out on business, especially during Diwali. Political parties creating a ruckus is not new, we will need the police to cooperate.“
An industry insider added, “Given the sentiments of our countrymen, we can decide on what can be done in the future, but we cannot expect filmmakers to replace talent with less than 20 days left for release. The film was not made after the Uri attacks. And, if the Censor Board has cleared it, how can it not release on October 28? The government of India has not objected to it and there's no question of a ban. Why won't someone check the credibility of the body (COEAI), which has decided to not screen the film in single screens? Everyone is trying to gain publicity over this controversy.“
It's to be seen eventually how many single screens leave out Karan's film over the big Diwali weekend. The decision made by the COEAI has, in the meantime, divided the industry's opinion. We sought a few:
MAHESH BHATT, FILMMAKER:
The mother of all questions is: Is India going to be run by the rule of law, or by the mood swings and whims of a handful of people? The producers' body and theatre owners' association need to show compassion and behave justly with Karan Johar. This is wilful blindness. How can we not see that these movies were shot when the relationship of the Prime Minister of India and his Pakistani counterpart were at its very best?
RAJESH THADANI, DISTRIBUTOR:
I think only the business in these four states will get affected. The number of screens supporting the decision hasn't come out yet. There is always a possibility of a settlement where no one suffers.
MNS LEADER AMEYA KHOPKAR:
My stand is final. I will not allow the film to release under any circumstances. I understand the argument of making Indian filmmakers and artistes suffer, but this is not the first time I have raised a red flag on this issue. I have been fighting for the cause for 11 years now. I have written letters to several producers on numerous occasions. Is there a dearth of talent in India? Casting Pakistani artistes is a mere ploy to garner more publicity, as these filmmakers know that we will protest against the decision. If they have waited for so long to release the film, they can push the date further and replace Fawad with an Indian actor. I don't see it as a major issue, as he hardly has a 10-minute role in the film.
SUNIL BANSAL, DISTRIBU TOR-EXHIBITOR:
The association should have a liberal attitude and not penalise films that are ready for release. After all, our fellow Indian's money is at stake. Movies that are ready for release and those that have been shot should not be harmed. If they want to ban actors, they should take this stand for films that are yet to begin.
BALKRISHNA SHROFF, DIRECTOR, SHRINGAR FILMS PVT LTD
The Government of India has not banned any Pakistani artiste from working in India. The CBFC, which is also a government body, has not taken any such stand either. This uproar is more about public sentiments. I received 47 calls yesterday from single-screen owners, saying they want to release the film. I feel just because the issue revolves around Bollywood, it has garnered a lot of attention.
HARSH JAIN, DISTRIBUTOR-EXHIBITOR, MUMBAI:
This theatre owners' association primarily covers single screens in Mumbai, Nashik and Pune. They don't have any legal right to ban any film. At most, they can ask their members to not release a film as a precautionary measure. No sensible exhibitor will ban any film, it will only hit his revenue. I'm completely against this ban. I believe art and politics should not be mixed. Even if you want to ban any actor, the release of films already-completed should not be jeopardised. Lastly, the Government says that they don't have any problem with any Pakistani artiste coming and working in India. Political parties have their own agendas, nothing more.
VANDAN SHAH, OWNER OF RUPAM CINEMA, AHMEDABAD:
“We have only heard that COEAI is planning to ban the release of Ae Dil Hai Mushkil in single screen theatres, but we haven't received any word, officially. We are holding a meeting on Monday and the matter will become clearer after that. As of now, we are not making any announcement.“
SA RA GOVINDU, PRESIDENT, KARNATAKA FILM CHAMBER OF COMMERCE:
We agree with the ban, and will give full support to ensure that it is implemented in Karnataka. We Indians must stand united on this.
JAYESH BONDRE, OWNER, NANDI FILM THEATRE, GOA:
Karan Johar is a big name in the movie industry, and his film not being screened is going to be a big loss for us. However, I think the issue will be resolved by next week. We acquire our movies through satellite distribution based in Mumbai. If they don't screen movies, it won't be possible for us to do so either.“
HERE'S WHAT FILMMAKERS, DISTRIBUTORS AND EXHIBITORS HAVE TO SAY
NITIN DATAR, PRESIDENT, COEAI:
It was a unanimous decision made by the association after looking at the public sentiments and the current tension between India and Pakistan. We had to call for a meeting urgently and take a decision. All single screens that are part of the association have agreed, but I can't say how many will execute it. After the IMPPA ban, a lot of filmmakers had said that artistes and filmmakers should not be punished as the filmmakers will bear the loss. But as far as I understand, no filmmaker bears a loss, because he/she sells numerous kinds of rights which fetch them a decent sum. Box-office collection is not the only way to recover costs. On the other hand, if we release Ae Dil Hai Mushkil and our theatres are attacked, no one will help us recover our losses - ticket sales are all that we make our money from. The multiplex owners haven't made up their mind yet, but we have.
ASHOKE PANDIT, VICE PRESIDENT, IMPPA:
We didn't want to stall the release of Karan's film or impact its release in any manner. But our ban was to stop filmmakers from involving Pakistani talent in future. We made ample effort to talk to MNS and convince them to not stop the film, but not once did Karan talk to us or support us in any manner. He is paying the price for his silence. He didn't condemn the Pakistani artistes when they didn't comment on the Uri attacks, he should have. It will make a huge dent in his business if the single screens stick to their decision. It's a cluster that he cannot ignore.
MUKESH BHATT, FILMMAKER & THE PRESIDENT OF THE FILM AND TELEVISION PRODUCERS GUILD OF INDIA:
All kinds of people exist in this industry, and everyone has a different opinion. The industry is paying the price for no fault of theirs. Not releasing a film made by an Indian filmmaker is only harming an Indian. I raise a fundamental question: Does Karan Johar not have the right to earn his livelihood? And since when did associations start banning films that government bodies like the CBFC have not objected to?
VIPUL SHAH, FILMMAKER:
These films started when Indo-Pak peace process was underway. I agree that we should be careful if we are starting a film with a Pakistani artiste, but how is it reasonable to stall a film produced by an Indian, who has invested crores of rupees on something that began when the peace process was on? If anyone starts a film today with a Pakistani artiste, the position can be different. The association should not punish Indian filmmakers like this.
OUR VIEW
It is up to the government to take a decision on whether they want to issue work permits to Pakistani actors in the future. And if you must put a ban on these actors working in India, then shouldn't it apply to films that are planned post the rule comes into effect? How does it help targeting films that have already been shot with Pakistani actors? MNS leader Amey Khopkar has said that he does not see replacing an actor who has a fleeting role in the film, a 'major issue'. That's exactly the point...by stalling the release of a film because of a brief presence of a Pakistani actor, aren't we impacting the work and careers of a multitude of Indians, who have laboured over this film for months, maybe even years? How fair is that?
With inputs from Rachana Dubey Sharma, Hiren Kotwani, Renuka Vyavahare, Neha Maheswri Bhagat, Sunayana Suresh, Mihir Bhanage, Dean Lobo, Anagha pathak, Vinita Chaturvedi, Rishabh Deb, Kimberly Colaco & Abhimanyu Mishra
Decoding the hyped Kabali first day collections
9:24 AM
Trade analysts decode the South film’s exaggerated opening day figures...
Upala KBR (DNA; July 27, 2016)
A day after the release of Rajinikant starrer Kabali, there were reports of the film having made Rs 100 crores on day one. According to The Economic Times, Rajinikanth’s Kabali reportedly collected a record Rs 250 crore on its first day. An industry source says these figures are grossly inflated.
A statement was circulated by the producers claiming that the film has earned Rs 250 crore, which includes Rs 100 crore from Tamil Nadu and Rs 150 crore from outside India’. The B-O figures (approx) are: All India (four languages) overseas = Rs 89.4 crore. But everyone seems to have bought the lies. Often, the producers send out inflated figures and the media carries it without checking the facts. Also, the figures are being compared to those of Aamir Khan and Salman Khan-starrers, which isn’t fair because in Tamil Nadu, films are tax-free, so tickets are cheaper, because of which audiences go to see the film in large numbers. After Hrs spoke to a few trade analysts about the first day figures of Kabali. Here’s what the experts had to say...
Producers release hyped B-O figures for psychological reasons...— Atul Mohan
The South market trade is very different from the North. In all the languages it has made Rs 45 crore (approx) on the first day. Overseas, it has made $3 million dollars (the fourth highest ever). Will the film sustain? Only Rajinikanth can answer that. While the reviews have been bad, it’s still better than his last two releases. Kabali is more like his earlier films like Pasha which he used to do 30 years back — typical Rajinikanth style. The film may or may not sustain because of its emotional content. I don’t see it falling. It had already made huge money on endorsements and digitals — Rs 125 crore. The film’s budget is Rs 85 crore (approx). Producers release hyped B-O figures for psychological reasons. It impacts the audience minds and they feel if the B-O figures are so good, the film must be good, too, and go to watch it. Thus, these figures can influence the paying audience.
One doesn’t know where these inflated figures of Rs 250 crore has come from. — Amod Mehra
It has made Rs 46 crore in India, out of which Rs 21 crore has come from Chennai. Kabali has made Rs 54 crore worldwide. In Malayalam, the film has done close to Rs 2 crore (approx) in and in the Hindi version, it has not done well. Looking at the trend, Fox Star Studios will lose money. One doesn’t know where these inflated figures of Rs 250 crore have come from. Who’s going to check the box-office figures in India? That is why producers give out such inflated numbers. The film has no chance of sustaining as it’s a very bad, amateurishly-made film, all to do with Malaysia. Rajinikanth may be God for the South and overseas but in the North, he’s just another other actor.
Rs 46 crore on day one - Amul Mohan
The box office collections of Kabali were Rs 46 crore in India (approx) which was the highest day of any film ever and beat Baahubali. It has also registered the highest weekend as it had made Rs 109 crore till now. Kabali has made a huge killing in the South, especially in Tamil Nadu where it is tax free. There are different figures floating around ranging from Rs 100-250 crore because the film has done well overseas, especially in USA where it made 2 million dollars on the first day. But these figures are over-hyped with some Rajinikanth fans also coming into play. But having said that though the word-of-mouth hasn’t been good the film is still doing tremendous business and that’s because of the star power of Rajinikanth. The reviews haven’t been good so now we will know whether it will sustain or not. I don’t know why producers hype the BO figures, but the trend is becoming lesser now as there’s more transparency because of the fans of rival stars who give out accurate figures.
They are trying to fool the public and themselves with such hyped figures - Komal Nahta
The figure shared by the production of Rs 250 crore on day one is not the collections. It comprises all the money they made on the film —they sold the film in different territories — they totalled everything including satellite recovery. The film won’t sustain in Hindi though the Tamil version may for a couple of weeks. People have not rejected Kabali like his past two films including Lingaa and Kochadaiiyan. In Hindi Kabali made Rs 4.25 crore on the first day. I don’t think hyping box office collections will help the film’s collections in any way. It’s an ego trip the filmmakers are on. Will anybody ever go to see a film that’s bad, but claim to have made Rs 100 crore. They are trying to fool the public and themselves with such hyped figures.
The Rs 250 crore figure is far-fetched and insane - Rajesh Thadani (distributor)
In all the languages the film has made Rs 48 crore net. The Rs 250 crore is far-fetched and insane. You are making a fool of yourself to inflate to such an extent. It’s possible to attain the Rs 100-crore mark though. I don’t think the film will sustain. It’s not Sultan, which maintained it’s first four days and then collections were steady. For Kabali the reviews are bad so there may be a drop this week. The Rajini fever is bound to ebb. The overall figure over the weekend didn’t rise much from the first day. Everyone floats these hyped numbers today. Nobody knows where they come from. Maybe it’s the aura of Rajnikanth or maybe it’s his fans.
Multiplexes in Maharashtra now must screen Marathi films at 6pm
8:19 AM
THE TIMES OF INDIA (April 8, 2015)
All multiplexes in Mumbai
and other parts of Maharashtra will have to screen Marathi films during
prime time from 6pm to 9pm, culture minister Vinod Tawde said in the
state assembly on Tuesday, drawing sharp reactions from Bollywood
which called the move undemocratic.
The BJP-Sena government is “in the process of enacting a law“ in this regard, Tawde said during his reply to a discussion on culture. In his reply, he made a series of announcements on promoting Marathi culture, including a plan to replace Bombay with Mumbai in 199 state legislations. The peak evening slots would help promote regional cinema, he said.
“When Ashok Chavan was chief minister, he had given concessions to multiplexes and it was then agreed to reserve morning time (shows) for Marathi cinemas. I have now changed that to prime time,“ Tawde told TOI.
In 2010, the then DF government had made it mandatory for all multiplexes to ensure 124 screenings for Marathi movies in a year. However, most multiplexes hold the screenings during odd hours and not during prime time.
Tawde said he had not changed the number of shows the multiplexes would have to organize. Mukesh Bhatt, filmmaker and president of The Film & TV Producers Guild, criticized the state's move. “Marathi films get subsidy and are exempt from entertainment tax.We have no problem with that. My question is, how can you pass such a diktat without consulting all the stakeholders?“ he asked.
While actor Riteish Deshmukh called the decision “welcome news“ and filmmaker Onir said regional cinema needed state support, actor Rishi Kapoor tweeted, “You can't thrust anything on anyone zabardasti.“ Censor Board member Ashoke Pandit said, “Any kind of force is not good for democracy.“
Tawde urged Bollywood to back the move. “We are doing our best for the film industry, and if at the same time we are doing something good for regional language films, Bollywood should support it,“ he told the Times Now news channel.
The minister also said it will be mandatory for all multiplexes and single theatres to show a 1 to-1.30 minute audio-visual on Dadasaheb Phalke before the start of a movie. The audio-visual will be in the language in which the film is being screened.
`Bombay' to `Mumbai'
Tawde made a slew of announcements on culture in the assembly. He said the government will move an amendment to replace Bombay with Mumbai in all state Acts. He said there were 199 state Acts with 'Bombay' in their name. “It is necessary to change the name, and we have already started the process,“ he said.Raigad festival: The state will observe a week-long 'Raigad Mahotsav' to celebrate the memory of Chhatrapati Shivaji, Tawde said. He said the government will look at ways on partnering with the ASI to maintain the fort.
School of drama
The state will set up a Maharashtra School of Drama on the lines of the National School of Drama at Film City, Goregaon, and another one at Kolhapur.
'Lives of state heroes':
From May 1, the police band will play every Sunday at a strategic location in every district, he said. This will be followed by an audio-visual presentation on the lives of the winners of various awards from the state.
Laxman memorial
The state government will set up a memorial to the late cartoonist R K Laxman at the Sir JJ School of Art, culture minister Vinod Tawde said. It will showcase his cartoons along with those of other well-known Indian and international cartoonists. Tawde also promised to maintain and preserve Rudyard Kipling's bungalow and paintings in the Art school premises.
------------------
The state government's diktat, to reserve a screen in the 6pm-9 pm slot for Marathi films in multiplexes, has divided the industry
Ankur Pathak (MUMBAI MIRROR; April 8, 2015)
The Devendra Fadnavis-led Maharashtra government will soon enact a law that will make it compulsory for every multiplex in the state to reserve one screen for Marathi movies during the 6 pm to 9 pm slot. This was announced by Culture Minister, Vinod Tawde, in the Assembly yesterday in his reply to a debate on preservation of historical forts, Marathi language and culture.
While Twitter was quick to mock the recent diktat laid down by the BJP government, the Marathi film industry hailed the move, with actor-producer Ritesh Deshmukh saying, "Cinema in every language should survive. I strongly believe every type of cinema should be protected, rather cultivated better. It's not a fight between Hindi and Marathi cinema. We live in one country."
National Award-winning Marathi filmmaker, Ravi Jadhav, of Natrang and Balak Palak fame, also applauded the move. "On an average, at least two Marathi films release every week but they are lost in morning shows. With prime-time visibility guaranteed, Marathi filmmakers will be motivated to make better cinema. Our films have always been family friendly and now we're finally getting our due," he exulted.
In sharp contrast, eminent lawyer Harish Salve told Mirror, "This amounts to violating the right to freedom of speech as it forces one to screen a movie whether they want to or not. The State has the power to grant license but that power cannot be used for purposes like promoting regionalism. Its a different thing to give economic support like providing land at concessional rates, but this, I reiterate, equals to violating freedom of speech."
Producer Mukesh Bhatt whose Mr X is coming up for release on April 17 is equally critical of the "autocratic move". "Did the government consult the multiplex owners who are running a private business before deciding to enact this law? You can't just wake up one day and tell me how to go about doing business," he raged, quickly adding that he isn't against Marathi cinema. "We're all here to help each other out but such decisions should be made after taking stakeholders into confidence."
Kamal Gianchandani, CEO of PVR Pictures, the largest multiplex chain in the country, was waiting for the official order to get more clarity on the issue. When asked if the lowturnout for Marathi films would dent their revenue, he demurred, "It's too speculative to say that at the moment."
However, filmmaker Anurag Kashyap hailed it, saying "Fine, even good for Marathi films". Producer Ramesh Taurani endorsed his views saying Marathi cinema offers really good content. "Now, they will have a strong platform to showcase their talent."
Exhibitor-distributor Vinay Choksi pointed out that according to a previous rule, single screen theatres in Bombay city have to reserve 44 shows in a year for Marathi films, 11 shows in each slot. The number increases beyond Thane. "Now, they have come up with a new law for multiplexes. But the fact is that the audience for Marathi films is more in the 12 noon and 3 pm slots," he pointed out. "The 6 pm to 9pm is a weaker slot and I don't see it making any appreciable difference."
-------------------------
Sonali Joshi Pitale & Bharati Dubey (MID-DAY; April 8, 2015)
Bollywood is up in arms over not being made party to the upcoming law making it mandatory for multiplexes to screen Marathi films between 6 pm and 9 pm; Culture Minister Vinod Tawde announced it on Tuesday
Maharashtra government courted controversy yet again, when it revealed yesterday that it is set to enact a law making it mandatory for multiplexes in the state to screen Marathi movies in prime time slots.
Culture Minister Vinod Tawde made the disclosure in the state Assembly yesterday. Replying to a debate on preservation of historical forts, Marathi language and culture, Tawde said, "We are in the process of enacting a law to make it mandatory for multiplexes to screen Marathi films during prime time."
"Though there was a stipulation earlier that multiplexes should screen a specific number of Marathi films, it was not mandated that there be a prime time slot for them. I feel the Marathi films screening during prime time will allow an entire family to enjoy the movie together," he said, adding, "I think you (multiplex owners) owe it to the state where you do business and earn profit."
‘Dictatorial’
The diktat has come in for heavy criticism from filmmakers and distributors. Mukesh Bhatt, president, Film and Television Producers Guild of India, and a film producer himself, labelled the move as dictatorial. "They don’t even consider us worthy of being consulted before taking a decision. We also want the Marathi film industry to grow. If the government had told us about it, we would’ve given them better ideas about how to implement it. Are we really living in a democracy?" he said.
The BJP-Sena government is “in the process of enacting a law“ in this regard, Tawde said during his reply to a discussion on culture. In his reply, he made a series of announcements on promoting Marathi culture, including a plan to replace Bombay with Mumbai in 199 state legislations. The peak evening slots would help promote regional cinema, he said.
“When Ashok Chavan was chief minister, he had given concessions to multiplexes and it was then agreed to reserve morning time (shows) for Marathi cinemas. I have now changed that to prime time,“ Tawde told TOI.
In 2010, the then DF government had made it mandatory for all multiplexes to ensure 124 screenings for Marathi movies in a year. However, most multiplexes hold the screenings during odd hours and not during prime time.
Tawde said he had not changed the number of shows the multiplexes would have to organize. Mukesh Bhatt, filmmaker and president of The Film & TV Producers Guild, criticized the state's move. “Marathi films get subsidy and are exempt from entertainment tax.We have no problem with that. My question is, how can you pass such a diktat without consulting all the stakeholders?“ he asked.
While actor Riteish Deshmukh called the decision “welcome news“ and filmmaker Onir said regional cinema needed state support, actor Rishi Kapoor tweeted, “You can't thrust anything on anyone zabardasti.“ Censor Board member Ashoke Pandit said, “Any kind of force is not good for democracy.“
Tawde urged Bollywood to back the move. “We are doing our best for the film industry, and if at the same time we are doing something good for regional language films, Bollywood should support it,“ he told the Times Now news channel.
The minister also said it will be mandatory for all multiplexes and single theatres to show a 1 to-1.30 minute audio-visual on Dadasaheb Phalke before the start of a movie. The audio-visual will be in the language in which the film is being screened.
`Bombay' to `Mumbai'
Tawde made a slew of announcements on culture in the assembly. He said the government will move an amendment to replace Bombay with Mumbai in all state Acts. He said there were 199 state Acts with 'Bombay' in their name. “It is necessary to change the name, and we have already started the process,“ he said.Raigad festival: The state will observe a week-long 'Raigad Mahotsav' to celebrate the memory of Chhatrapati Shivaji, Tawde said. He said the government will look at ways on partnering with the ASI to maintain the fort.
School of drama
The state will set up a Maharashtra School of Drama on the lines of the National School of Drama at Film City, Goregaon, and another one at Kolhapur.
'Lives of state heroes':
From May 1, the police band will play every Sunday at a strategic location in every district, he said. This will be followed by an audio-visual presentation on the lives of the winners of various awards from the state.
Laxman memorial
The state government will set up a memorial to the late cartoonist R K Laxman at the Sir JJ School of Art, culture minister Vinod Tawde said. It will showcase his cartoons along with those of other well-known Indian and international cartoonists. Tawde also promised to maintain and preserve Rudyard Kipling's bungalow and paintings in the Art school premises.
------------------
The state government's diktat, to reserve a screen in the 6pm-9 pm slot for Marathi films in multiplexes, has divided the industry
Ankur Pathak (MUMBAI MIRROR; April 8, 2015)
The Devendra Fadnavis-led Maharashtra government will soon enact a law that will make it compulsory for every multiplex in the state to reserve one screen for Marathi movies during the 6 pm to 9 pm slot. This was announced by Culture Minister, Vinod Tawde, in the Assembly yesterday in his reply to a debate on preservation of historical forts, Marathi language and culture.
While Twitter was quick to mock the recent diktat laid down by the BJP government, the Marathi film industry hailed the move, with actor-producer Ritesh Deshmukh saying, "Cinema in every language should survive. I strongly believe every type of cinema should be protected, rather cultivated better. It's not a fight between Hindi and Marathi cinema. We live in one country."
National Award-winning Marathi filmmaker, Ravi Jadhav, of Natrang and Balak Palak fame, also applauded the move. "On an average, at least two Marathi films release every week but they are lost in morning shows. With prime-time visibility guaranteed, Marathi filmmakers will be motivated to make better cinema. Our films have always been family friendly and now we're finally getting our due," he exulted.
In sharp contrast, eminent lawyer Harish Salve told Mirror, "This amounts to violating the right to freedom of speech as it forces one to screen a movie whether they want to or not. The State has the power to grant license but that power cannot be used for purposes like promoting regionalism. Its a different thing to give economic support like providing land at concessional rates, but this, I reiterate, equals to violating freedom of speech."
Producer Mukesh Bhatt whose Mr X is coming up for release on April 17 is equally critical of the "autocratic move". "Did the government consult the multiplex owners who are running a private business before deciding to enact this law? You can't just wake up one day and tell me how to go about doing business," he raged, quickly adding that he isn't against Marathi cinema. "We're all here to help each other out but such decisions should be made after taking stakeholders into confidence."
Kamal Gianchandani, CEO of PVR Pictures, the largest multiplex chain in the country, was waiting for the official order to get more clarity on the issue. When asked if the lowturnout for Marathi films would dent their revenue, he demurred, "It's too speculative to say that at the moment."
However, filmmaker Anurag Kashyap hailed it, saying "Fine, even good for Marathi films". Producer Ramesh Taurani endorsed his views saying Marathi cinema offers really good content. "Now, they will have a strong platform to showcase their talent."
Exhibitor-distributor Vinay Choksi pointed out that according to a previous rule, single screen theatres in Bombay city have to reserve 44 shows in a year for Marathi films, 11 shows in each slot. The number increases beyond Thane. "Now, they have come up with a new law for multiplexes. But the fact is that the audience for Marathi films is more in the 12 noon and 3 pm slots," he pointed out. "The 6 pm to 9pm is a weaker slot and I don't see it making any appreciable difference."
-------------------------
Sonali Joshi Pitale & Bharati Dubey (MID-DAY; April 8, 2015)
Bollywood is up in arms over not being made party to the upcoming law making it mandatory for multiplexes to screen Marathi films between 6 pm and 9 pm; Culture Minister Vinod Tawde announced it on Tuesday
Maharashtra government courted controversy yet again, when it revealed yesterday that it is set to enact a law making it mandatory for multiplexes in the state to screen Marathi movies in prime time slots.
Culture Minister Vinod Tawde made the disclosure in the state Assembly yesterday. Replying to a debate on preservation of historical forts, Marathi language and culture, Tawde said, "We are in the process of enacting a law to make it mandatory for multiplexes to screen Marathi films during prime time."
"Though there was a stipulation earlier that multiplexes should screen a specific number of Marathi films, it was not mandated that there be a prime time slot for them. I feel the Marathi films screening during prime time will allow an entire family to enjoy the movie together," he said, adding, "I think you (multiplex owners) owe it to the state where you do business and earn profit."
‘Dictatorial’
The diktat has come in for heavy criticism from filmmakers and distributors. Mukesh Bhatt, president, Film and Television Producers Guild of India, and a film producer himself, labelled the move as dictatorial. "They don’t even consider us worthy of being consulted before taking a decision. We also want the Marathi film industry to grow. If the government had told us about it, we would’ve given them better ideas about how to implement it. Are we really living in a democracy?" he said.
When told there are states where local language films are given preference, Bhatt countered, "Then make more theatres for us.. Do you know that out of the 10,000 theatres in the country, 6,000 are in south India? Here in Maharashtra, theatres are shutting instead." His brother, filmmaker Mahesh Bhatt hailed the move and said it would keep the cultural identity, but added that the exhibition sector should be made party to the endeavour and one couldn’t legally force down the ruling.
Rajesh Thadani, a distributor, felt this idea has been borrowed from Gujarat. "In Gujarat, the government gives Rs 15 per ticket as incentive to cinema halls when people watch a Gujarati film. This government is trying to implement the same here. This step will definitely affect Hindi films because 6 pm shows drive maximum audience to theatres," he said.
He further added, "The rule for showing Marathi films was always there, but the timing was late night. It seems the Marathi film lobby has put pressure on the government to make it mandatory (to screen them at prime time)." One voice, however, saw a silver lining. Anand Vishal, operations head, Fun Cinemas, believes this move will only augment business.
He said, "There is a need for good content and a consumer will watch it irrespective of language. Besides, there is enough room for Marathi and Hindi films. But they (filmmakers) will have to work towards providing good, marketable Marathi films to be screened during prime time," he told mid-day. Anand foresaw friction only during the release of big-ticket Hindi films.
Marathi industry says
The Marathi filmmaking industry welcomed the move. Ravi Jadhav, who directed the National Award-winning Natarang, felt this widened the choice for the audience. He said, "We would never get prime-time shows. Even with odd timings for our shows, we did very well.
This (move) is victory for the audience, as they can now choose between Hindi and Marathi films. Good cinema will always stand out. It will be fair competition now." Nikhil Sane, business head, Marathi film division, Essel Vision, which produced recent commercial successes like Timepass, Kaaksparsh, added, "Marathi films have done phenomenally well at the box office and got critical appreciation too.
We are the only state that faces immense competition from Hindi and English films, unlike south and Bengali film industries. I think this was a necessary step. Once multiplexes realise this is helping them to generate revenue, I’m sure they will have more prime time slots for Marathi films." Riteish Deshmukh, who has produced films like Balak Paalak and Lai Bhari, termed it as a move to strengthen Marathi cinema.
"This will help Marathi filmmakers make better and bigger films. I don’t know why the (Hindi) film industry is overreacting. There seven to eight screens in a multiplex and only one screen will be allotted to Marathi films; the prime time slot ensures the films are sustainable. Hindi films are always going to be the big brother. Marathi films have a budget of just Rs 2.5 crore or so. They will definitely not compete with a Rs 50-crore Hindi film."
- Inputs from Agencies
Short film on Dadasaheb Phalke
The government is also preparing a short film on Dadasaheb Phalke, the father of Indian cinema, for screening in theatres, Tawde said, adding that it will be shown after the national anthem. Screening this film on Phalke, too, will be made compulsory in the theatres, he said. This will enable people to know that a Marathi-speaking person laid the foundation stone for Indian cinema, Tawde added.
In favour
Ravi Jadhav, National Award-winning director
This is victory for the audience, as they can now choose between Hindi and Marathi films.
Riteish Deshmukh, Actor and Producer
There is good content in Marathi film industry today and audience will definitely come for a 6 pm film. There won’t be any audience for a 12 noon show.
Shreyas Talpade, Actor and Producer
As a producer who made a successful Marathi film, I welcome this move.
Rishi Kapoor, Actor
Ritesh Deshmukh’s film in Marathi was a super hit. So were others. So welcome all. We are all equal here in cinema. May the best win!
Onir, Filmmaker
Appreciate the move by the govt of Maharashtra to support Marathi Cinema. Regional cinema all over the country needs state support.
Against
Mukesh Bhatt, Producer
We want Marathi industry to grow but the government should’ve kept us in the loop before imposing this on us.
Mahesh Bhatt, Filmmaker
Do not make this into an us versus them situation. Marathi filmmakers are our brothers. We would do all we can to see them prosper.
Vikas Mohan, senior VP, Indian Film and Television Producers Council
How can they impose this rule? If the state intends to help the Marathi industry it should increase their subsidy.
Vivek Rangachari, Producer
I believe this is a commendable move, but forcing may not be the right way. There are other ways to promote Marathi films.
Rajesh Thadani, a distributor, felt this idea has been borrowed from Gujarat. "In Gujarat, the government gives Rs 15 per ticket as incentive to cinema halls when people watch a Gujarati film. This government is trying to implement the same here. This step will definitely affect Hindi films because 6 pm shows drive maximum audience to theatres," he said.
He further added, "The rule for showing Marathi films was always there, but the timing was late night. It seems the Marathi film lobby has put pressure on the government to make it mandatory (to screen them at prime time)." One voice, however, saw a silver lining. Anand Vishal, operations head, Fun Cinemas, believes this move will only augment business.
He said, "There is a need for good content and a consumer will watch it irrespective of language. Besides, there is enough room for Marathi and Hindi films. But they (filmmakers) will have to work towards providing good, marketable Marathi films to be screened during prime time," he told mid-day. Anand foresaw friction only during the release of big-ticket Hindi films.
Marathi industry says
The Marathi filmmaking industry welcomed the move. Ravi Jadhav, who directed the National Award-winning Natarang, felt this widened the choice for the audience. He said, "We would never get prime-time shows. Even with odd timings for our shows, we did very well.
This (move) is victory for the audience, as they can now choose between Hindi and Marathi films. Good cinema will always stand out. It will be fair competition now." Nikhil Sane, business head, Marathi film division, Essel Vision, which produced recent commercial successes like Timepass, Kaaksparsh, added, "Marathi films have done phenomenally well at the box office and got critical appreciation too.
We are the only state that faces immense competition from Hindi and English films, unlike south and Bengali film industries. I think this was a necessary step. Once multiplexes realise this is helping them to generate revenue, I’m sure they will have more prime time slots for Marathi films." Riteish Deshmukh, who has produced films like Balak Paalak and Lai Bhari, termed it as a move to strengthen Marathi cinema.
"This will help Marathi filmmakers make better and bigger films. I don’t know why the (Hindi) film industry is overreacting. There seven to eight screens in a multiplex and only one screen will be allotted to Marathi films; the prime time slot ensures the films are sustainable. Hindi films are always going to be the big brother. Marathi films have a budget of just Rs 2.5 crore or so. They will definitely not compete with a Rs 50-crore Hindi film."
- Inputs from Agencies
Short film on Dadasaheb Phalke
The government is also preparing a short film on Dadasaheb Phalke, the father of Indian cinema, for screening in theatres, Tawde said, adding that it will be shown after the national anthem. Screening this film on Phalke, too, will be made compulsory in the theatres, he said. This will enable people to know that a Marathi-speaking person laid the foundation stone for Indian cinema, Tawde added.
In favour
Ravi Jadhav, National Award-winning director
This is victory for the audience, as they can now choose between Hindi and Marathi films.
Riteish Deshmukh, Actor and Producer
There is good content in Marathi film industry today and audience will definitely come for a 6 pm film. There won’t be any audience for a 12 noon show.
Shreyas Talpade, Actor and Producer
As a producer who made a successful Marathi film, I welcome this move.
Rishi Kapoor, Actor
Ritesh Deshmukh’s film in Marathi was a super hit. So were others. So welcome all. We are all equal here in cinema. May the best win!
Onir, Filmmaker
Appreciate the move by the govt of Maharashtra to support Marathi Cinema. Regional cinema all over the country needs state support.
Against
Mukesh Bhatt, Producer
We want Marathi industry to grow but the government should’ve kept us in the loop before imposing this on us.
Mahesh Bhatt, Filmmaker
Do not make this into an us versus them situation. Marathi filmmakers are our brothers. We would do all we can to see them prosper.
Vikas Mohan, senior VP, Indian Film and Television Producers Council
How can they impose this rule? If the state intends to help the Marathi industry it should increase their subsidy.
Vivek Rangachari, Producer
I believe this is a commendable move, but forcing may not be the right way. There are other ways to promote Marathi films.
Detective Byomkesh Bakshy postponed to April to avoid clash with Ind VS Pak match?
7:48 AM
Bharati Dubey (MID-DAY; December 8, 2014)
It is an ironical coincidence that Sushant Singh Rajput starts shooting for his biopic on Mahendra Singh Dhoni, but it is cricket that has pushed the release date of his own film Detective Byomkesh Bakshy to another date. The film was initially slated to release on February 13 but now pushed to April 10.
According to an informer, the decision was taken after the announcement of dates for the Cricket World Cup 2015 was made. “The weekend match is between India and Pakistan which is bound to affect the collection of the film as February 15 is a Sunday and if India and Pakistan plays on that day, footfall is expected to drop.” Directed by Dibakar Banerjee, the film is a contemporary interpretation of war-torn Calcutta during the 1940s. The eponymous film looks at the first adventure of an immensely popular character, sleuth Byomkesh Bakshi.
Exhibitor Rajesh Thadani says that the decision to push the release date is entirely commerical. He says, “Sunday’s business contribution to the business of any film is about 40 per cent of the total weekend collection. Besides, cinema business has always got affected because of cricket especially after the one day format gained popularity and if it is a India Pakistan game, then watching a movie at that time would be the audiences’ last priority.”
Anand Vishal of Fun Cinemas adds, “ Shifting of the date makes sense since Sunday provides nearly half of the revenue.”
Cricket expert Hemant Kenkre points out, “An India-Pakistan match will definitely affect the business of a film — as it’s always a point of discussion one day before and after the game — it’s bound to have a ripple effect on the business of a film releasing around that time. Besides, World Cup Cricket is one of the most marketed event so anything that attracts mass audience will definitely get affected.”
Notwithstanding their critical acclaim, small films struggle to find space
8:04 AM
Shakti Shetty (MID-DAY; April 3, 2014)
In comparison to the first quarter of last year, 2014’ s first quarter has witnessed a sharp decline in profits at the box office.
According to trade pundits, the loss ranges between Rs 175 crore to Rs 200 crore. Around 40 films released during this period and the biggest release, Jai Ho, raked in more than Rs 100 crore. But given Salman Khan’s star power, this film was expected to do better.
On the other hand, Vikas Bahl’s relatively humble project, Queen, cost Rs 12 crore to make and has already collected Rs 50 crore across the spectrum.
Between these two ends lies a bunch of small-budget films that saw a release but didn’t make any waves at the BO. Some of them earned accolades but that was about as far as it went; profits remained an illusion to their filmmakers. Like in every other industry, money ranks high on Bollywood’s priority list.
Everything boils down to the same old question: did the small film breakeven, let alone make a considerable profit? Take for instance, Rajat Kapoor’s Ankhon Dekhi. The film won critical acclaim with several publications raving about it. To add to it, social media was buzzing with praises for the film’s simple-yet-touching narrative. However, when the BO collection report trickled in, it was clear that the Rs 4 crore film had a long way to go.
Star power
Kapoor points out that it all about how the industry functions. “The problem lies in the whole set up of our industry. Bollywood is star-driven where nothing sells until and unless it has a known face endorsing it,” he says. The filmmaker rues the lack of shows for small films, particularly time slots at multiplexes. “ My film bagged barely one or two shows in a day, while Ragini MMS 2 was allotted a dozen,” says Kapoor.
It’s all about profit
Now this might seem unfair but in the world of commerce, it’s about supply meeting demand. Mumbai-based exhibitor Rajesh Thadani addresses the harsh reality of the economics involved. “Profit is a rare phenomenon with small films because even if they were made with a shoestring budget, a huge amount of money is spent on publicity,” he says.
It may be pointed out here that from the multiplexes’ point of view, ticket and food counter sales reign supreme. Bigger films often ensure higher footfalls, and this in turn makes them slot more shows for such films.
Besides, audiences for small-budget films often belong to the ‘classes’ and not the masses. With multiplexes’ high ticket pricing for all films, masses prefer watching a potboiler to a film with a message.
Trade analyst Komal Nahta puts the onus on distributors. “You can’t release a low-budget film the way a Ram Leela or a Jai Ho is released. Special films need a structured plan not only in terms of dates, but also the number of shows they are targetting. Besides, why would someone who doesn’t care for world cinema spend Rs 200 on a non-star film when he can watch his favourite star for the same amount of money?” he asks.
Kamal Gianchandani, president of PVR Pictures, seconds Nahta’s views by emphasising on the need to have ‘platform’ releases for smaller films. “ The one-size-fits-all mantra doesn’t work for movies that don’t have a huge star cast. In such cases, exhibitors look at their own interests and allot fewer shows to such films, at least in the beginning,” he argues.
More time to get noticedIn the first week of December last year, Sanjay Tripathy’s film, Club 60, hit the big screen. The film, which dealt with the subject of old age, won good reviews but it initially didn’t do well at the BO. Nevertheless, it completed 100 days at the marquee last week. Made with just Rs 4 crore, this film thrived only due to positive word-of-mouth. “We love to declare a film a flop not because it’s a flop but because we are impatient. The Lunchbox or Queen wouldn’t have been worked if their makers didn’t believe in them,” says Tripathy.
Public takes the final call
Director Hansal Mehta, who had to struggle to ensure a release for his acclaimed film, Shahid, has an interesting take on the issue. “It just tells you about the terrible audience we have. We can’t always blame the filmmakers for churning out bad films.Audiences too are killing well-made small-budget films by not watching them at cinema halls. It’s in their hands,” shrugs Mehta.
Multiplex announce big price hike for biggies to compensate for losses?
8:31 AM
Mehul S Thakkar (MUMBAI MIRROR; December 20, 2013)
The festive season, a slew of hyped releases and recent box office casualties; these are the reasons cited by multiplexes for the announced rise in ticket prices. With the hike, you may end up shelling out upto Rs 900 to watch a film this weekend.
The current quarter has been a disappointing one for the film industry, with big films like
Besharam, Boss, Bullett Raja, Singh Saab The Great and Gori Tere Pyaar Mein failing to hit the bull’s eye. And with these poorly received films, multiplexes registered minimal footfall during the past few months.
But the theatres are hoping that releases like Dhoom 3 and Jai Ho, will turn the tide and they have planned to rake in the moolah through escalated ticket prices.
A top official from a leading multiplex reveals, “Big films have bigger expectations but films like Gori Tere Pyaar Mein failed miserably. We have had a lot of losses but its part of the game. Jai Ho again will be a game changer.”
Nationally the average ticket price will go up by 10-12 per cent, and in some markets like Mumbai, the rise can be as high as 60 per cent.
Cities like Coimbatore, Hyderabad, Delhi, Chandigarh, have controlled markets where the law doesn’t permit a steep price. However, Mumbai is a free market and therefore the difference in the ticket price of a big release and one without any big names is high.
And sources say that tickets of films like Mahabharat 3D, Sholay 3D and Dedh Ishqiya will not cost the ‘premium’ price.
Anand Vishal, head of operations at Fun Republic explains the move saying, “Wouldn’t you have to pay extra if you want to fly last minute? Today, when you have a good season, prices will go up, like in the airline or the hospitality industry. And the last three months have not been good for the film industry. In fact, even Krrish 3 did better in single screens than in multiplexes.”
However, Kamal Gianchandani, president of PVR, says that the bad performance of the last quarter is not the main reason for the hike. He says, “I think that November was good with Krrish 3 and Goliyon Ki Raasleela Ram-leela. Ups and downs are part of this business. Bigger films are always priced higher. It’s an accepted practise and the same was done during the release of Chennai Express.”
As for the eyewatering Rs 900 that IMAX properties will charge for select shows, he explains, “We only have two properties in Mumbai and the technology is expensive. That’s why the price is high.”
Leading distributor Rajesh Thadani weighs in saying “At the end of the day, the content has to be good. With the hike in price, multiplexes can balance out their balance sheet.”
But are people willing to shell out the premium money? Thadani believes, “Those who can, will shell out the money, others will have to watch it later .”
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