Natasha Coutinho (MUMBAI MIRROR; December 7, 2016)


Prime Minister Narendra Modi’s demonetization drive has single screens running empty. Producers and distributors are limiting the number of prints they are releasing in these theatres in an effort to keep losses down to the minimum. Some films they are holding back in the week of release and only parting with the prints after they have finished their multiplex run by which time interest in them has died down.

Jayantilal Gada, the producer of the recently-released Kahaani 2: Durga Rani Singh admits that he curtailed the release of his thriller and gave prints to only 1-2 per cent of the single screens. “And despite this, we have taken a hit of Rs 10 crore in our profits since we have to bear some of the expenses for every theatre we release our film in and today it’s not possible to recover this money. We targeted the multiplex audience as they pay with plastic. In fact, if the promotions hadn’t begun we might have held the film back,” informs Gada, optimistic of recovering his cost from satellite and music rights and the overseas market.

Nitin Datar, President of the Cinema Owners and Exhibitors Association of India, grouses that it’s an “unfair move”, noting that while Kahaani 2 may have been appreciated more in multiplexes it should’ve released everywhere simultaneously to beat piracy.

“Dear Zindagi too wasn’t screened in many single screens in the first and even second week. We can’t force makers to give us their films but if audience turns their back, it will take us months to bring them back and eventually even producers and distributors will lose money. Even in areas where there are no multiplexes, they are opting for a limited release,” he asserts, adding that he has advised members to update technology so people can pay by card. Santosh Bhatia, exhibitor for Premiere Gold Cinema, Dongri, notes that they charge just Rs 100 as compared to a Rs 300 multiplex ticket yet makers are preferring the latter because they have no change to pay them.

Manoj Desai, executive director of G-7 and Maratha Mandir cinemas admitted that his audience has reduced by around 45 percent but is confident that had Force 2 been released under normal circumstances, it would have packed in full houses in the single screens.

Trade analyst Komal Nahta opines that you can neither blame producers for safeguarding their interests nor single screen owners for protesting the treatment meted out to them. “You can’t force filmmakers who are anyway making more multiplex-centric films. After demonetization, entertainment is the last priority for the single screen audience because everyone is busy exchanging notes, visiting chartered accountants or queueing up at ATMs. Single screens have as good as shut down because even if they re-release an old film they have no collections to speak of. At the moment every producer is petrified about the shortage of currency notes,” he says.


Producer Bhushan Kumar has pushed the release of his next, Wajah Tum Ho from December 2 to December 16. Earlier, Saansein had delayed its release from November 11 to 25. Wajah Tum Ho director Vishal Pandya admits the delay was because of the cash crunch in smaller centres. “We have worked on the film for a year and it would appeal to single screens who’d bring in the revenue. This way we also get more time for promotion,” he reasons.

Upala KBR (DNA; September 2, 2016)

Single-screen theatre owners have taken the decision not to sign agreements with studios promising that they will only showcase one film, when two films clash at the box-office. Single-screen exhibitors contract with UTV Motion Pictures for Mohenjo Daro cost them dearly as Rustom turned out to be the winner at the box-office. Single-screens will now pick up films, solely on merit. As per a new agreement signed recently, both Ajay Devgn’s Shivaay and Karan Johar’s Ae Dil Hai Mushkil will get equal number of screens.

Trade analyst Atul Mohan says, “It’s best to take up films on merit. That way, if one film is weak, the theatre owner can be compensated through the other film’s collections. That’s the lesson learnt after the Rustom vs Mohenjo Daro clash. It’s known that the maximum BO revenue and returns still come from single-screens and so, studios adopt arm-twisting tactics to get single-screen owners to sign restrictive agreements, but they can’t do this with multiplex owners. Single-screens are standalones and do not have a national presence like multiplex chains do.”

There won’t be any bargaining or arm-twisting for the Diwali clash between ADHM vs Shivaay. Exhibitor Santosh Bhatia says, “Decision ho gaya Monday ko that the shows will be equally divided across the single screens and the agreement hs been signed. Now, Shivaay and ADHM will have equal number of shows.”

The executive director of Gaiety, Galaxy and Maratha Mandir, Manoj Desai agrees, “Having deals with corporate and studios create problems, but now we won’t have to face that. Unfortunately, we don’t have unity among us single screen theatres or we could have had better deals for us.”

Balakrishnan Shroff, who is distributing ADHM for Fox Star, says, “Distributing films on merit doesn’t make sense as the content is known only after films are released. For Diwali, we have taken a conscious decision not to trouble the single theatre owners and share the shows with Shivaay. Of course, it depends from film to film. Taking more screens doesn’t add anything to the collections, but could create negative publicity instead. We should apply our brains rather than worry about numbers.”