Showing posts with label Suraj Pe Mangal Bhari. Show all posts
Showing posts with label Suraj Pe Mangal Bhari. Show all posts

Fenil's Bollywood Talk # 852

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DRY WEEK AHEAD AS LAST WEEK’S FILMS FLOP

A lot was expected from the Dussehra releases, namely Vicky Vidya Ka Woh Wala Video and Jigra. Sadly, both had a negative word of mouth. As predicted, Jigra opened at Rs. 4.50 crores and jumped to Rs. 6.50 crores on Saturday. But that was due to the Dussehra holiday and on Sunday, it dropped to Rs. 5.50 crores. It rang alarm bells as a Sunday drop is a very bad sign. Jigra is expected to collect around Rs. 22 crores in its first week and despite an open run, it’ll not even cross the Rs. 30 crores mark.

Vicky Vidya Ka Woh Wala Video was expected to open around Rs. 6-7 crores but it opened at just Rs. 5.50 crores. Just like Jigra, it saw a jump on Saturday (Rs. 6.75 crores) and then on dropped on Sunday (Rs. 5.75 crores). The reports were negative and surprisingly, it didn’t perform in certain mass belts though it is a mainstream comedy. The only plus for the film is that it did better than Jigra and would end up collecting around Rs. 35-37 crores.

This week was going to see the release of the classic animation film, Ramayana: The Legend Of Prince Rama. It would have got an audience but sadly, its release got postponed. The re-releases would once again take centre stage. The biggest of them is Singham followed by Khosla Ka Ghosla and Suraj Pe Mangal Bhari. The first two might get some audience. There are zero hopes from Suraj Pe Mangal Bhari. This is because there’s no recall value or popularity though it’s a lovely entertainer.

As for Hollywood, a film named The Apprentice, based on Donald Trump, was all set to be released. But its release got delayed after the makers refused to accept the Censor cuts. The biggest Hollywood film of the week is The Wild Robot. It was released in North America on October 4 and has received a humongous response. It now remains to be seen if it manages to bring some respite at the box office in India.

The other new releases from Bollywood and Hollywood are Aayushmati Geeta Matric Pass, Settlement and Goodrich. All these films will sink without a trace.

Thalaivii row: Filmmakers and exhibitors divided over the reduced gap between theatrical & OTT release

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Kangana Ranaut On Transforming Into Jayalalithaa In Thalaivi: 'Had To Take Hormone Pills'

While team Thalaivii wants the gap between the film’s digital and theatrical release for its Hindi version to be reduced to two weeks instead of four, exhibitors feel this will mean cinemagoers will not watch the film in cinemas, and instead wait for its digital release
Niharika Lal (DELHI TIMES; September 6, 2021)

Team Thalaivii and exhibitors are making an ‘appeal’ and ‘sincere requests’ to each other to negotiate the period between the film’s release in cinemas and its release on other platforms. Exhibitors believe that reducing the theatrical window further to two weeks (as opposed to the existing four weeks) means that cinegoers will not watch the film in cinemas, and would rather wait for the release on a digital platform. Whether this gap should further be reduced to two weeks or not is the core discussion around the release of Thalaivii.

WHAT IS THE DEBATE AROUND THALAIVII?
For now, Thalaivii is scheduled to be released in Hindi on an OTT platform two weeks after its release in cinemas, while its Tamil and Telugu versions are scheduled to be released on another OTT platform four weeks after its theatrical release. Multiplexes, such as PVR and INOX, are firm that if the four-week theatrical release window is not kept uniform across all languages then they will not release the film in Hindi. They will, however, release the film in Tamil and Telugu versions as the theatrical window for them is four weeks.

On Saturday, Kangana Ranaut released a video, saying, “We are theatre-made people, so our (Thalaivii) producers Vishnu Vardhan Induri and Shaailesh R Singh decided to support theatres. My producers have rejected several exclusive streaming offers, but we didn’t know that we will not get support from theatres... If multiplexes don’t screen our movie, watch it on single screens, and later on streaming platforms.”

On Saturday evening, PVR issued a statement that read, “We are thankful to the Thalaivii team for offering a four-week theatrical window for its Tamil and Telugu language versions. We are delighted to be able to play Thalaivii in Tamil and Telugu language at our cinemas, however, we are disappointed that for the Hindi language version, the Thalaivii team has decided to offer only a twoweek window. We would like to appeal to Kangana Ranaut, Vishnu Induri and Shailesh Singh to keep a uniform window of four weeks across all language versions, and therefore, allow all cinemas across the country to showcase the film on the big screen.”

Kamal Gianchandani, CEO, PVR Pictures Ltd Chief of Strategy, PVR Limited, says, “Considering the severe impact of the ongoing pandemic on our business, we have already agreed to reduce the eight-week theatrical window to four weeks, for all films releasing in the near future.”

Following PVR’s official statement, Kangana posted on Instagram, “I hope with talks, and a passion for the theatrical experience, we can come together to find a solution so that the Hindi version can also find love and appreciation on the big screen.”

WHY ARE EXHIBITORS RELUCTANT TO REDUCE THE THEATRICAL WINDOW TO TWO WEEKS?
An industry insider says, “The audience still doesn’t have full confidence in visiting a cinema hall. If we will reduce the window to two weeks, then they’ll not go to cinemas and would rather wait for two weeks. It will not just affect exhibitors, but also producers who are making films keeping the big screen in mind.” Another concern that exhibitors have raised is that if four weeks window is reduced to two weeks for one film, then cinemas will have to do it for other films, too, which means losing audience and revenue.
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WHAT IS A THEATRICAL WINDOW?

It is the period between a film’s release in cinemas and its release on other platforms. While before the pandemic, the gap between releasing a film in a cinema hall and on a streaming platform was eight weeks (two months), this has been temporarily reduced to four weeks (one month).
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‘HOLLYWOOD CAN RELEASE ON THE SAME DAY ON OTT AND IN CINEMAS AS THEY ARE A MATURE MARKET, BUT WE ARE AT A NASCENT STAGE’

In the last 15 months, multiple big star-led films from Gulabo Sitabo to Coolie No.1, were released directly on OTT platforms. However, films like Roohi and Suraj Pe Mangal Bhari that opted to release on OTT and cinemas both maintained four weeks window. However, this discussion on reducing the theatrical window to two weeks from four didn’t surface before. Some sources point out that it happened with Radhe: Your Most Wanted Bhai, however, it was not in the public domain.

Now, in Hollywood, some studios are opting for simultaneous releases on OTT platforms and cinemas. Last year, Warner Bros issued a statement saying it is abandoning the windowing system and will release the film the same day in cinemas and on its streaming platform. If in Hollywood, films can be released simultaneously in cinemas and on the streaming platforms, then why not in India?

Girish Johar, producer and film business analyst, says, “The pandemic has accelerated the growth of OTT in India. The growth that would have been in five years happened in the last 14-15 months in terms of reach, content and direct release on OTT platforms. But if cinemas reduce the theatrical window, viewers will not come. The reason why OTTs are focussing on a shorter theatrical window is so that they can encash film promotions. If word of mouth of a film is bad, it affects the film’s long-term prospects. OTTs want to make all possible revenues, and that’s the reason why Hollywood is now practising simultaneous releases. But Hollywood is a mature market. In India, we are at a nascent stage. There have to be a lot of technological advancements for us to come to a par where we can have simultaneous releases.”

If I have to call and remind someone that I am there and I don’t mind auditioning, it’s okay-Fatima Sana Shaikh

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Kavita Awaasthi (HINDUSTAN TIMES; May 19, 2021)

Having been a popular child actor and later making a mark with the Aamir Khan production, Dangal (2016), Fatima Sana Shaikh admits that she has no qualms about approaching filmmakers that she wants to work with. She doesn’t shy away from sending texts or calling people in the industry and feels at times, it is necessary.

“I do that to remind people that I exist. I don’t do a lot of films, so I am not always there. Kabhi kabhi log casting mein bhool jaate hain ki yeh bhi actor hai. It is very important to hustle. Until and unless you don’t fight for your space and your positioning, no one else will. If I have to call and remind someone that I am there and I don’t mind auditioning, it’s okay. It’s not a bad quality to have. I know of many actors who have achieved a lot in their lives by doing so. I like to create opportunities for myself and just not sit at home and wonder mere paas kaam kyun nahin hai. Aapko mehnat karni padegi aur kaam mangna padega,” she says.

She is glad that she has been able to entertain people in the last six months amid a pandemic with three releases – Ludo, Suraj Pe Mangal Bhari (both 2020), and the anthology Ajeeb Daastaans. “I am glad that people are getting to see my work. Eventually, you work to entertain people. Pandemic hai, things are shut, and I can’t be more grateful that people are able to see my work that I shot before the pandemic. I feel great that we have OTT platforms that are airing films, which are not able to release in theatres. We now have a new medium to connect with the audiences.”

Glad that the reaction to her last release Ajeeb Daastans was encouraging, she shares, “Many people from the industry reached out. It’s always special when people from industry appreciate your work as it gives you validation and hope. But, also the audiences’ response matters, who are the king and if they don’t like your work, it is game over.”

Earlier this year, she shot for a film with Anil Kapoor, who she admits she admires.

“He is the life of the set and an incredible person. Always excited and passionate,” she states.

She further adds, “When I sign films, it is more about instinct. My driving force is not always a big project or that this film has this big actor, and that’s why I should do it. What drives me is a good script and good director.”

Fenil's Bollywood Talk # 664

10:03 AM

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WILL ROOHI FINALLY BRING AUDIENCES TO CINEMAS IN HORDES?

Exactly a year ago, the last major film before the Coronavirus lockdown, Angrezi Medium, was released this week. It was produced by Dinesh Vijan and it sadly had a run of just 4-5 days in cinemas. A week before the Irrfan Khan starrer release, Kaamyaab, directed by Hardik Mehta, had made it to cinemas. And as luck would have it, a year after the release of small and not-so-exciting films, the first major Hindi film to release post lockdown is here. And coincidentally, Roohi is directed by Hardik Mehta and produced by Dinesh Vijan!

Roohi stars Rajkummar Rao, Janhvi Kapoor and Varun Sharma and is a part of the horror comedy universe. The first part of this universe, Stree, was one of the biggest grossers of 2018 and also starred Rajkummar Rao, along with Shraddha Kapoor. Just like Stree, Roohi also seems to be in the same space and that’s a plus. After all, Stree was patronized not just by the youth but also by families and that’s why it became a Rs. 124.56 crore grosser. Roohi can also target the same audience and emerge a hit. Two songs of the film – 'Panghat' and 'Nadiyon Paar' – have got noticed and appreciated.

On the flipside, the trailer hasn’t really created the desired impact. The film looks fun and exciting but only to an extent. Stree’s trailer had single-handedly generated huge buzz for the film. And then the songs like ‘Milegi Milegi’ and ‘Kamariya’ had added to the hype. Here, the trailer has been found okay by most people and songs, though interesting, haven’t really caught on the way it should have. Moreover, the marketing is very low. Many aren’t aware that it’s releasing tomorrow (Thursday, March 11). Also, viewers are used to watching films on online platforms and they might mistake that Roohi is also going the OTT way. One wishes if Roohi’s producers had focused on this aspect and made it clear that it’s releasing ONLY in cinemas.

Roohi is getting a wide release. However, with limited buzz, one wonders how much it’s opening would be. Moreover, it’s releasing on Thursday to take advantage of Mahashivratri holiday. Even then, the opening would be poor, in the Rs. 1.50-2.50 crore range. The collections might pick up from Friday evening, provided the word of mouth is positive. And then Saturday and Sunday’s collections can be encouraging. If word of mouth, however, is not great, then the film might crash. Unlike pre-lockdown when collections didn’t come down rapidly for a poor film, here it can as viewers are not used to going to cinemas. Also, with the second wave supposedly at the doorstep, moviegoers would go to cinemas to watch the film only if it’s worth watching.

Nevertheless, the makers of Roohi need to be appreciated for releasing it in such a time. Also, it kickstarts the movie watching season as from now on, there’s going to be a major film releasing almost every week. The producers of Sooryavanshi are now also looking forward to the response to Roohi. Till now, Suraj Pe Mangal Bhari has been the biggest grosser post pandemic but even that film collected around Rs. 4.10 crore, with opening day figures amounting to Rs. 55 lakhs. If Roohi collects more than that on the first day and on the weekend, it’ll be heartening and make it clear that audiences are ready to come to theates in hordes, especially if exciting content is made available to them.

Two more films would release this week, on March 12. Time To Dance stars Sooraj Pancholi and marks the debut of Katrina Kaif’s sister Isabelle Kaif. It is directed by Remo Dsouza’s assistant, Stanley DCosta. The film has been ready since almost two years and there were reports that it was shelved. The trailer is strictly okay and despite being a dance musical, it’s songs haven’t picked up. The awareness is negligible and it’ll have a tough time at the box office. The final release is Fauji Calling, starring Sharman Joshi, Bidita Bag, Mugdha Godse and Zarina Wahab. Again, there’s neither awareness nor excitement about this one and it’ll sink without a trace.

A list of top 10 grossers in Hindi post Covid-19

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Box Office India Trade Network

The box office in Hindi circuits has been a disaster since cinemas opened in October 2020. Major films have avoided the ticket counter as maskers believe the audience will not be there. The best we have seen post Coronavirus is 4 crore nett of SURAJ PE MANGAL BHARI.

This was actually the first new releases when cinemas reopened in October. SURAJ PE MANGAL BHARI has slowly crept up to the 4 crore nett mark but it took ten weeks to get there. The next best is WONDER WOMAN 1984 with 3.37 crore nett and then with around 3 crore nett it is VIJAY THE MASTER (dubbed version of Tamil film MASTER) which is a big GROSSSER in Tamil Nadu crossing the 100 crore nett mark but had no takers in Hindi circuits.

VIJAY THE MASTER fetched over 15 crore for its rights but theatrically it was a token gesture release with satellite and digital being main reasons for the price and this 15 crore is being asked for satellite only. The Hindi version had a huge release in West Bengal of over 125 cinemas but it took the whole weekend to cross just 10 lakhs nett.

The Tamil version of MASTER did pretty well for a day or two in Mumbai city and some other centres of Maharashtra but that was about it and it also collected 3 crore nett. The all formats total in Hindi circuits was 6 crore nett nett apprx which makes it more than SURAJ PE MANGAL BHARI but like that WONDER WOMAN 1984 and TENET were even more. The only other films to get over 1 crore nett in Hindi are TENET and INDOO KI JAWANI.

The top ten grossers in hindi language post Covid are as follows and most of them are still running at places due to lack of new releases but collections are very limited.
1. Suraj Pe Mangal Bhari - 4,06,00,000
2. Wonder Woman 1984 (Hindi) - 3,37,00,000
3. Vijay The Master (Hindi)  - 2,96,00,000
4. Tenet (Hindi) - 2,18,00,000
5. Indoo Ki Jawani - 1,14,00,000
6. Tom & Jerry (Hindi) - 65,00,000 (10 days)
7. Madam Chief Minister - 57,00,000
8. Shakeela - 35,00,000
9. Ramprasad Ki Tehrvi - 30,00,000
10. Chakra Ka Rakshak (Hindi) - 25,00,000

Post Coronavirus pandemic, are only big budget films suited for theatres?

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The film industry is grappling with the dilemma of whether small films will eventually stop releasing on the silver screen
Juhi Chakraborty (HINDUSTAN TIMES; February 28, 2021)

In the past couple of months since theatres reopened, several films made their way to cinemas. And most of them were small or medium budget projects. However, those films such as Suraj Pe Mangal Bhari, Indoo Ki Jawani, Madam Chief Minister and Ramprasad Ki Tehrvi, could not grab eyeballs and neither could they get the cash registers ringing. This has led to people wondering if budget films should head to OTT platforms as a rule and if theatres should be reserved only for films with a huge star cast?

“Some of the biggest films have also headed to OTT platforms, so we should stop distinguishing between ‘big’ and ‘small’ films based on their budgets,” says filmmaker Anand Pandit.

He further asserts that what we are seeing is a diversification of what was supposed to be a success formula. “Today, there is no formula. On OTT alone, last year, you saw Laxmii, Coolie No 1, Raat Akeli Hai, Ludo and Sir. And all of these films did well so who is to say which film is meant for the big screen and which isn’t?” he asks.

Filmmaker Nikkhil Advani says that they are clearly demarcating their productions on the basis of a few things. “We are making pure feature films where budgets, scale and point of consumption is suited to cinema, for theatres. We are having conversations with platforms for projects which are being commissioned, and we are also making smaller films which would premiere directly on digital and be sold to them,” he says.

Actor Bidita Bag, whose film Fauji Calling is going to make its way to theatres soon, says, “I am worried that people might not come and see the film. Big films will grab more eyeballs any day, and unke saamne yeh chhoti machli kya karegi? So, it will become difficult to release the film after March because of the big films lined up.”

Many production houses have adopted a release strategy that is decided on a case to case basis. “It’s true that post-pandemic, the release schedule of several films have been put in disarray. It is hard for small firms to manage narrow theatrical windows. In that scenario, if it makes monetary sense for a smaller film to release on an OTT platform, I do see this becoming a trend,” says Siddharth Anand Kumar, Vice President — Films & Events at Saregama India Ltd.

In conclusion, Pandit adds that we just have to accept that content has to be experimental now regard of the budget. “The conventional blockbuster may have to redefine itself though I do feel the magic of the big screen will prevail,” he says.

Big films may improve the scenario but smaller films are helping theatres to get going

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Big films may improve the scenario but smaller films are helping theatres to get going
Shreya Mukherjee (HINDUSTAN TIMES; January 11, 2021)

Soon after theatres reopened in mid-October last year, filmmakers have been testing waters to see if audiences are now stepping out and going to watch films in cinemas. Is Love Enough - Sir and Suraj Pe Mangal Bhari initiated the chain of new releases in Bollywood in November 2020, followed by Indoo Ki Jawani and Shakeela in December and Ramprasad Ki Tehrvi marked the beginning of this year. Meanwhile, Hollywood biggies — Tenet and Wonder Woman 1984 (WW’84) — too helped up the box office collections. Having covered almost the first quarter of the new beginning since cinemas reopened, industry insiders talk about the present scenario.

BOX OFFICE RESPONSE
Trade expert Komal Nahta feels the only “relief is that films are running and cinemas are functioning”. Suraj Pe Mangal Bhari also did a bit better business than other Hindi films, shares exhibitor-distributor Brijesh Tandon.

Trade expert Atul Mohan says, “The re-released films and new ones made about 5-10% business. Only Tenet, WW’84 made about 15-20%. After the difficult 2020, we must get things running with big films.”

ALL EYES ON BIG FILMS
With big-budget films expected to release March onward, and Shibasish Sarkar, CEO, Reliance Entertainment group, announcing that either Sooryavanshi or ’83 will release during Holi, has given many hope. “Many theatres are still shut, 50% occupancy cap is a concern. Turn-around time given the sanitisation procedure has reduced the number of shows. Now, only big films can change the game,” shares distributor-exhibitor Akshaye Rathi.

Raj Kumar Mehrotra, general manager, Delite Cinemas, shares Madam Chief Minister starring Richa Chadha releasing this month might bring business. “Till now, we had 15-20% occupancy, which went up to 30-35 % during Tenet, WW’84. Once big films come, it’ll go over 70%,” he says.

VACCINATION will help
“Vaccination will improve collective sentiments and provide courage. With all precautions, theatres are ready. Now, audience should extend support,” shares Rathi.

Highlighting how reworking of ticket pricing is a determining factor to increase footfalls, Mohan adds, “Pandemic has hit the economy hard, leading to job losses. If ticket pricing is on the lower side, it might draw more people to the theatres.”

A LOOK AT THE BOX OFFICE BUSINESS SO FAR (All approx figures)

Tenet: ₹15 crore

Wonder Woman 1984: ₹12.5 crore

Suraj Pe Mangal Bhari: ₹2.5 crore

Indoo Ki Jawani: ₹60 lakh

Shakeela: ₹30 lakh

Ramprasad Ki Tehrvi: ₹25 lakh

Gal Gadot's Wonder Woman 1984 all set to arrive to save the world, and theatres

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Gal Gadot reprises her role of Amazonian warrior Diana in the film
Unlike its dual release in the US, Europe, Wonder Woman 1984 poised for a big-screen run in India; exhibitors pin hopes on film for the revival of business
Mohar Basu, Uma Ramasubramanian (MID-DAY; December 17, 2020)

In a recent interview, director Patty Jenkins said that a year ago, she would have "flipped out" had someone told her that her labour of love, Wonder Woman 1984, would have a direct-to-web release. However, she has now thrown her might behind the idea as the Gal Gadot-fronted superhero movie gears up for a simultaneous release in theatres and on HBO Max in the US and Europe. The December 25 offering comes as a ray of hope in the Indian market as it is poised only for a theatrical run.

Exhibitor Akshaye Rathi says the film may give a boost to the business that hasn't witnessed a tentpole movie post the pandemic. "Not all screens are equipped to play such Hollywood films. The studio has allowed its release only in DCI-compliant [Digital Cinema Initiatives] projections. That said, Wonder Woman 1984 will open in almost 1,000 screens. This can be the big-screen spectacle that will draw the audience," says Rathi.

G7 multiplex, the popular theatre in Bandra, was known to maintain a studied distance from Hollywood outings, instead revelling in its Hindi counterparts. But now, Manoj Desai, executive director, G7, has pinned his hopes on the superhero movie. "We don't have too many options, so we are releasing Wonder Woman. We hope it does wonders at the box office. So far, we have only seen 15 to 20 per cent occupancy." Rajender Singh Jyala, chief programming officer, INOX Leisure, chimes in, "We are assigning maximum screens to the movie."

Warner Bros' recent decision to release its 2021 line-up of movies simultaneously on HBO Max has sparked off a debate in the US, with Christopher Nolan being one of its most vociferous critics. Ask trade analyst Taran Adarsh if the model may soon be adopted in India, and he explains, "I don't think the model will work here. The exhibition sector is already bleeding. A dual release will be a nail in the coffin."

He adds that the Chris Pine and Kristen Wiig starrer is coming at a crucial juncture for cinema owners in India. "Despite Kiara's [Advani] presence, Indoo Ki Jawani didn't make too much noise at ticket counters. Suraj Pe Mangal Bhari sank at the box office. Now, everybody is hoping that it will be a good Christmas for the industry."

Christopher Nolan brings back the audience with Tenet, wonders expected from Gal Gadot's Wonder Woman 1984

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Makers of Sooryavanshi and ’83 should fix release dates by first week of Jan
Himesh Mankad (MUMBAI MIRROR; December 8, 2020)

After eight months of no show, Diljit Dosanjh, Fatima Sana Shaikh, Manoj Bajpayee’s quirky romcom, Suraj Pe Mangal Bhari, finally arrived in the theatres during the Diwali weekend. Even though the collections were below par, exhibitors lauded the makers for being the first to brave a theatrical release in India in the midst of an ongoing pandemic.

Three weeks later, on December 4, Christopher Nolan’s long-awaited espionage thriller, Tenet, featuring our own Dimple Kapadia, finally opened in 750 screens across the country, primarily in multiplexes. The Indian release was delayed by over three months because theaters here were shut. The film recorded encouraging footfalls over the weekend despite a delayed release and the resulting piracy, along with the fact that the rogue virus has restricted occupancy to 50 per cent. P V Sunil of the Carnival chain of cinemas, is delighted with the box office response. “The IMAX screen in Wadala recorded 65 per cent occupancy through the weekend; that’s a positive sign,” he exults.

Trade analyst Komal Nahta points out that Nolan films can be quite confounding in their plots and consequently target the high-end audience in big cities. Tenet is successfully tapping this niche market. “It is doing well in premium multiplexes and IMAX screens. It didn’t make an impression in small centers and single screens, and that was expected,” he reasons.

He predicts that the next Hollywood biggie, Gal Gadot’s Wonder Woman 1984, which is releasing in India during the Christmas weekend, will collect at least four times more than Tenet. “It’s a commercial superhero film, which has a big market in India,” he asserts.

However, he believes that we are still at least 45 days away from a big Hindi film release. “India is the primary market for Bollywood while for the West, it’s just a secondary one. Hopefully, Hindi cinema will be back on big screen by January-end,” he says.

Shibasish Sarkar of Reliance Entertainment, who has two big ticket films lined up for release, the Akshay Kumar-fronted Sooryavanshi and Ranveer Singh’s sports drama ’83, is ebullient after seeing housefull shows of Tenet in certain pockets of Mumbai. “If the most premium audience has come out to see a film which is three months old and got mixed reviews, I’m sure collections will increase every week. Wonder Woman whose buzz is huge and positive, will get more bullish numbers, and that’s a positive sign. Even if Wonder Woman 1984 does the business of the last film from the franchise, it would be an achievement”.

Prod him on the status of Rohit Shetty’s cop thriller and Kabir Khan’s World Cup movie and he assures that both films will get big screen releases and not open on OTT platforms. “We will sit with our directors after the release of Wonder Woman and hopefully by the first week of January, we will have a date in place. Both films should release between January and March,” he signs off.

A big screen deal: Will smaller films rock?

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Prashant Singh (HINDUSTAN TIMES; December 6, 2020)

After being shut for over eight months due to the pandemic, film theatres finally reopened in October, after a go-ahead from the government. Last month, Maharashtra, too, gave the green light to movie theatres. But there’s yet to be a thunderous response from the film industry vis-a-vis coming out with biggies.

While films such as Sooryavanshi and '83 have moved to 2021, Diwali saw Suraj Pe Mangal Bhari hitting theatres. Now, Christopher Nolan’s Tenet is in theatres and Kiara Advani’s Indoo Ki Jawani is set to do the same. Wonder Woman 1984 will release in Indian theatres this month. Though the film exhibition sector is happy with the “positive signs”, but they admit that a tent-pole Hindi film is much needed. “Every film is important because the idea is to offer variety to our audiences. Having said that, in order to re-start movie consumption culture in a big way, we need a major Hindi film at the earliest,” says exhibitor-distribitor Akshaye Rathi.

While rumours are that Bunty Aur Babli 2 may release in theatres on Christmas, and Coolie No 1 could hit an OTT platform and single screens simultaneously, there’s no clarity yet. “It’s great that theatres are slowly getting back to some sort of normalcy... I think anyone, in our country where stars are loved so much, would be more interested in watching a big movie with top names,” says filmmaker Anees Bazmee.

The response to Tenet has cheered up exhibitors and distributors. “There’s no doubt that we need big, spectacle Hindi films to draw audiences in big numbers. And it’s great to see a fantastic response in terms of advance booking and otherwise for Tenet... It’s a positive sign that people are ready to come in, provided there is quality on offer,” says trade analyst Taran Adarsh. For Rathi, it’s all about getting people used to the magic of the big screen. “We need to do inculcate the habit of watching movies on the big screen before biggies start to come in, January onwards,” he says.

Give makers the liberty to self censor on OTT-Manoj Bajpayee

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Kavita Awaasthi (HINDUSTAN TIMES; December 5, 2020)

As the world attempts to go back to the pre-Coronavirus pace of life, actor Manoj Bajpayee has been working non-stop in back-to-back projects, and loving it. “I’m happy to be shooting, wrapping up my commitments. We are following guidelines on the sets and being immensely careful,” he shares.

Last month, his film Suraj Pe Mangal Bhari was the first project to release in theatres after they reopened after being shut down for months. And Bajpayee considers it a success. “The response has been great... I am happy that we chose to go ahead [with a theatrical release]. It was a risk that paid off,” he says.

The two-time National Award winner is hopeful that other filmmakers will follow suit and go for theatrical releases. Other than movies, the Padma Shri recipient has been busy with web shows as well. Ask him if the constant stream of new content on OTT platforms is overloading the space and he replies, “People are consuming everything as they are at home. If they don’t like something, they immediately switch it off.”

Reacting to the subject of censoring OTT content, Bajpayee says, “It’ll be sad if that happens. It’ll curtail the wings of filmmakers. At times, people do go overboard, but if it is a story requirement, then it’s okay. I think makers should get the liberty to self-censor as restrictions would hurt everyone.” 

Mention his recent win at Asian Academy Creative Awards for The Family Man and Bajpayee is all humility. The 51-year-old, who earlier won Asia Pacific Screen Awards for Aligarh (2016) and Bhosle, says, “Nomination itself is a big thing, even if you don’t win. My work getting appreciated globally means my audience base is increasing, and that’s what matters to a performer. No bigger award than people loving your work.”

Fenil's Bollywood Talk # 649

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DROUGHT OF NEW CONTENT DESPITE OPENING OF CINEMAS
 
Last week, we had discussed that despite the underperformance of Suraj Pe Mangal Bhari, the first big release in Covid-19 era, the industry should take the risk and release more films. After all, if a film like this can collect around Rs. 2.40-2.50 crore despite little buzz and the fear of catching the virus, then a bigger film can do better. Moreover, the success of regional films like Bihar, West Bengal, Karnataka, Tamil Nadu etc has proved that audiences are ready to come to cinemas if an exciting film comes along.
 
Sadly, Bollywood saw the box office performance of Suraj Pe Mangal Bhari in a different way. It got spooked and felt that this is not the time to release films. There are also murmurs of the second season of lockdown. It is highly unlikely and yet, the industry feels that theatres and all economic activity can shut again. Hence, it has decided to not release its mid-sized and big films. This means Bunty Aur Babli 2, speculated to arrive in cinemas on Christmas, won’t happen. The only significant Hindi film which has been scheduled to release as of now is Indoo Ki Jawani, starring Kiara Advani and Aditya Seal. It releases on December 11. This is a wrong move as this would mean some theatres might shut again. In fact, it’s already been happening.
 
Meanwhile, tomorrow sees the release of a B-grade film called Vinashkaal. It stars Rakhi Sawant and is directed by her brother Rakesh Sawant. Ajaz Khan also features in this film. The trailer is horrible and tacky. Even among B and C centres, it won’t get acceptance. 2 more such films might also arrive in cinemas.
 
Hollywood had three releases last week - Trolls World Tour, The Broken Hearts Gallery and The War With Grandpa. Tomorrow, Reliance Entertainment will release the Hollywood scare fest Come Play. It is produced by Steven Spielberg’s Amblin Partners and Reliance is a partner in this company. It got a theatrical release in the USA on October 30 but got mixed response. It’s been a while since a horror film came in cinemas and hence, a section of audiences might be interested to see it.
 
The other release is Peninsula. It is a Korean film and a sequel to the successful 2016 zombie flick Train To Busan. Train To Busan had also been released in India but came too late and bombed. However, it was seen by a lot of people digitally and has a fan following in India. Zee Studios has taken the onus of releasing Peninsula. The film will release not just in the original Korean language but also in dubbed English and Hindi versions. Though Peninsula didn’t get unanimous positive word of mouth, the popularity of the first part might tempt audiences to see it. Sadly, there is hardly any awareness of this film’s release in India.

Catch-22 for cinemas as rise in Coronavirus cases hand severe blow to exhibitors

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Indoo Ki Jawani; (right) A Still from Tenet
Low footfall in theatres has meant no blockbusters, and without big releases, the crowds will not be back; add high costs and the spectre of a second lockdown, it is a deadly cocktail for theatres
Uma Ramasubramanian, Mohar Basu (MID-DAY; November 24, 2020)

The significant spike in Coronavirus cases in many parts of the country — combined with fears of a second round of lockdown in major cities — has come as a severe blow to exhibitors, who are already reeling from months of lockdown.

Gurmeet Singh Seble, member of Delhi Single Screens Association, predicts that a second cinema shutdown may well be on the cards. Noting that most single screens across the capital have not reopened, he says, "Single screens will remain shut unless a big money-spinner is lined up for release. Producers have yet to announce big-ticket movies. We don't wish to keep theatres running when people are not showing up."

Closer home in Mumbai, the scene is not starkly different. Manoj Desai, executive director, G7 multiplex, rues that the business has been abysmal since they lifted the curtain on November 15. "The public is afraid to step out. Since we have reopened the theatres, we have to pay for the electricity and the maintenance. In such a situation, when patrons don't turn up, the losses keep mounting. We have only 10 to 15 people per show. There are strong chances of a second shutdown. Ajit Pawar, Maharashtra's Deputy Chief Minister, has stated that he will arrive at a decision in a few days. So, we have to wait and watch till then." Desai has lined up a meeting with his business partners today to chart the way forward.

The lack of new releases has added to the exhibitors' misery. After the Diwali offering Suraj Pe Mangal Bhari, Christopher Nolan's Tenet is slated to hit screens on December 4 and Kiara Advani's Indoo Ki Jawani, on December 11. However, Bollywood biggies have shied away from the marquee, resulting in a dry spell at the ticket counters. "We don't play Hollywood movies at Gaiety. However, given the current situation, we'll have no option but to run Tenet," says Desai.

Trade analyst Atul Mohan weighs in, saying, "Regardless of whether a lockdown is imposed or not, cinemas have started shutting down. Most multiplexes have closed down two to three screens, keeping only one or two of them operational." Mohan adds that a second round of shutdown will be catastrophic for the exhibition and distribution sector.

Theatres in Mumbai opened their doors on November 15 with Suraj Pe Mangal Bhari

First pandemic, now piracy is eating into the business of struggling cinemas

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Posters announcing the film's screening at a local theatre
With Akshay's Laxmii being played illegally in video parlours in MP and Bihar, trade analysts gauge how it is eating into the business of struggling cinemas
Mohar Basu, Uma Ramasubramanian (MID-DAY; November 20, 2020)

On November 9, Akshay Kumar's Laxmii dropped on Disney+ Hotstar. Only a day later, a video parlour in Madhya Pradesh screened the horror-comedy to an audience of 70-odd people — the first of many shows to come. Trade circles have been abuzz with rumours that pirated versions of the movie have been playing at several single-screen theatres and video parlours in smaller towns of Madhya Pradesh, Chhattisgarh, Bihar and Uttar Pradesh.

The development was highlighted by trade analyst Komal Nahta, who explained that these cinemas usually buy screening rights from distributors. However, when the monies don't work out, they often resort to screening films illegally and pocket the collections. "[Exhibitors] in metros won't dare to do it, but cinema owners in smaller towns — say, in Madhya Pradesh — are screening the film. I won't name the cinemas, but it has come to a point where people have resorted to piracy for survival," explains Nahta, adding that the theatre shutdown was a severe blow for exhibitors across the country.

Quiz him on why the movie halls are not running Suraj Pe Mangal Bhari that has had an official big-screen release, and he says, "You need a superstar to bring back the audience. We should follow what Hollywood is practising — release the film in cinemas and OTT simultaneously. That's the only way to curb piracy for now."

Trade insiders reveal that these outlets have been running an average of two shows a day, with tickets priced at one-fifth of that of a single screen's. Gurmeet Singh Seble, member of the Single Screen Association of India, says, "These are not licensed cinemas, but small video parlours that show movies on projectors. There are neither chairs nor a big screen." He adds that they eat into the business of single screens that are struggling to stay afloat. "In Delhi, owners couldn't reopen their single screens because the operation costs are high, and there were no films to draw the audience. We wanted to run Laxmii. But the Multiplex Association of India refused to release the film because it was dropping online."

mid-day reached out to Disney+ Hotstar, which did not respond till press time. Insiders suggest that the suits at the streaming giant are not pursuing legal action against the cinemas in question. Producers Kumar, Shabina Khan and Tusshar Kapoor remained unavailable for comment.

A still from Laxmii

2021's 1st quarter will see '83 and Sooryavanshi hitting theatres; trade insiders say big films are ‘need of the hour’

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Finally, the first quarter of 2021 will see ’83 and Sooryavanshi hitting theatres; trade insiders say big films are ‘need of the hour’
Prashant Singh (HINDUSTAN TIMES; November 20, 2020)

Unlike previous years, this Diwali didn’t see any fireworks at the box office, with almost every Hindi film going towards OTT platforms due to the Covid-19 induced lockdown. Although Diljit Dosanjh-Manoj Bajpayee starrer Suraj Pe Mangal Bhari (SPMB) broke the shackles to hit theatres in the Diwali weekend, movie experts, while applauding the makers for prioritising the big screen, admit that the “response to SPMB hasn’t been very great.”

Get, set, go!
Even as the film exhibition sector yearns for big projects to move the film trade wheels again, we have learnt that Akshay Kumar-Katrina Kaif starrer Sooryavanshi and ’83 featuring Ranveer Singh and Deepika Padukone will finally have a date with the big screen in the first quarter of 2021. “We would have no other option but to release both the films between January and March, as the financial year closes by the end of the first quarter. It’s too early to say anything but we should be fine with about two week-gap between the films,” says Shibashish Sarkar, group CEO, Reliance Entertainment that has backed both the films.

Calling such films “the need of the hour”, industry insiders/experts, on their part, are enthused with the news. “Audiences did turn up to watch SPMB, but to attract people again to the theatres in hordes, you need a big film. And so, the news that ’83 and Sooryavanshi will release in the first quarter [of 2021] will be like music to exhibitors-theatre owners’ ears,” says trade expert Taran Adarsh.

Need of the hour
As per an estimate, almost 40-45% of the country’s film screens are yet to start operating again, with one of the major reasons being absence of fresh content starring top names. For exhibitor-distributor Akshaye Rathi, SPMB has given a heart-warming start. “It released in just about 800 screens, with 50% occupancy, and limited number of shows. Given the circumstances, it has actually done quite well,” says Rathi, admitting that exhibitors-distributors “would want a top star driven film to come out right now and steady the boat in a way”.

“And it’s a fact that films such as ’83 and Sooryavanshi can give a huge fillip to the film exhibition sector. But I feel before that some small budget or mid-range films can be released to make audiences ready, or get them into the habit to watch movies,” he adds. Talking of other upcoming movies, while rumours suggest that Bunty Aur Babli 2 may come out on Christmas, other films that are in the ready stages include Mumbai Saga, Sandeep Aur Pinky Faraar, Indoo Ki Jawani and Jayeshbhai Jordaar etc.

At the same time, Rathi feels that the survival of the entire ecosystem will be imperative for every stakeholder. Adarsh also maintains that entertainment consumption will take time but big movies can “help expedite that process”.

Fenil's Bollywood Talk # 648

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THE SILVER LINING IN SURAJ PE MANGAL BHARI BOX OFFICE PERFORMANCE

This Sunday, November 15, the first big Hindi film of the season, Suraj Pe Mangal Bhari, finally released in cinemas. Starring Manoj Bajpayee, Diljit Dosanjh and Fatima Sana Shaikh, the period comedy flick seemed interesting from the promos. As reviews poured in, it became clear that it’s a clean family entertainer. It is also released during the Diwali festival when families usually throng to watch cinemas. Suraj Pe Mangal Bhari, hence, seemed like an apt flick. It was not a big-budgeted film, after all. Also, it’s produced by Zee Studios who own not just Zee5 OTT platform but also Zee TV channels. Hence, they had the option to cash in on the film through these sources, and not just theatres.

Because of the fear over going to cinemas in this pandemic, no one expected a record opening. Also, the buzz for Suraj Pe Mangal Bhari was limited. The opening was expected to be in the Rs. 75 lakhs-1 crore range. And that’s what happened. The film opened at Rs. 75 lakhs. The next day was the day of New Year and Bhaidooj. Ideally, the film should have held at Rs. 75 lakhs range or the earnings should have increased. Sadly, it fell down at Rs. 55 lakhs. The two-day collections stand at Rs. 1.30 crore. The first week collections, comprising five days, is expected to be in the Rs. 2.25-2.50 crore range and the lifetime around Rs. 5 crore.

These might seem very poor collections. However, one needs to see things in the correct perspective. Suraj Pe Mangal Bhari had so many challenges. Firstly, all theatres are operating at 50% occupancy. Secondly, the Covid fear looms large with a chunk of moviegoers scared to go to cinemas. Thirdly, theatres in some states like Rajasthan, Orissa etc are still shut. Yet, for Suraj Pe Mangal Bhari to collect Rs. 75 lakhs on day 1 is an achievement. So many so-called experts had predicted that the film would open at 0% occupancy. However, that hasn’t happened.

Interestingly, Suraj Pe Mangal Bhari is directed by Abhishek Sharma. His last film, The Zoya Factor, released in the pre-pandemic times. And yet it had a dismal opening of Rs. 64 lakhs! Suraj Pe Mangal Bhari meanwhile opened better than the Sonam Kapoor-starrer despite the challenges. Not just that, one of Diljit Dosanjh’s last films, Arjun Patiala, which also released last year, opened at Rs. 1.19 crore. The real value of Suraj Pe Mangal Bhari’s opening is better as the film would have had an opening of Rs. 2-3 crore if it had released in normal times.

Ideally, the industry should be overjoyed that a small film with limited buzz will reach the Rs. 5 crore mark. Imagine if a film with more buzz and more exciting star cast release, then it can easily reach till the Rs. 35 crore or even Rs. 40 crore mark. Bunty Aur Babli 2 is one such film, starring Saif Ali Khan, Rani Mukerji, Siddhant Chaturvedi and Sharwari Wagh. It’s producer Aditya Chopra is thinking of releasing it on Christmas. As per reports, the producers are unsure. Here’s hoping that they look at the performance of Suraj Pe Mangal Bhari in the correct manner and release their much awaited film as soon as possible.

Image: Aamir Khan enjoys a big-screen experience after seven months

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BOMBAY TIMES (November 19, 2020)

Cinema halls in Mumbai have opened their doors for movie lovers after over seven months, and Suraj Pe Mangal Bhari is among the first films that released in theatres on November 15. On Tuesday, Bollywood superstar Aamir Khan, along with his daughter Ira, turned up at a theatre to watch the movie on the big screen. The actor, who showed his support for the theatrical screening and viewing of films with adequate safety measures in place, took to social media and wrote, “On my way to see Suraj Pe Mangal Bhari in a Cinema Hall. Really looking forward to the big screen experience, after so long (sic)!”

Aamir interacted with the media briefly post the film’s screening and praised the cast of the film, including Manoj Bajpayee, Diljit Dosanjh, Fatima Sana Shaikh and Annu Kapoor. When Manoj got to know of Aamir’s visit to the cinema hall, he thanked him for the gesture. “Thank you @aamir_khan for supporting #SurajPeMangalBhari and opening of the cinema halls (sic),” he tweeted.

Like Aamir, Hollywood actor Tom Cruise, too, had watched Christopher Nolan’s film Tenet in a theatre when the film released in August. He had shared a video on social media that showed him travelling to the cinema hall. “Here we are, back to the movies,” he was heard saying as he looked at a massive poster of the Hollywood film.

With Aamir leading the way in Bollywood, let’s hope that it encourages more filmmakers to release their films on the big screen and draws the audiences back to the theatres, where they love watching their favourite movies. 

Around 30 people in the first show for Suraj Pe Mangal Bhari, says mid-day reader Vijay Shah

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Shah is attended to by the staff, in masks and gloves, at the theatre's refreshment counter
As Mumbai cinemas reopen after eight months, mid-day reader Vijay Shah gives a first-hand account of watching Suraj Pe Mangal Bhari at Gaiety
Uma Ramasubramanian (MID-DAY; November 16, 2020)

Watching a film at Gaiety has been my weekly ritual since 1972 when I was a school boy. So, one can imagine how hard the theatre shutdown was on a cinephile like me. As the Bandra theatre opened its doors on Sunday, I went to catch the first day, first show of Suraj Pe Mangal Bhari. Before the pandemic, if you headed to Gaiety on a Sunday, you were bound to see the 'Housefull' signboard hanging well before a show would commence. Yet, today, there were around 25 to 30 people in the first show.

The implementation of safety norms began right at the entrance of the theatre — our temperature was checked before we were allowed inside. Elevators were shut to avoid crowding; we took the stairs while maintaining one-arm distance. We had to use hand sanitiser before stepping inside the auditorium, where alternate seating was employed as per the state government's guidelines. One could feel the mood in the auditorium lift as soon as the opening credits rolled on the screen; there were a few stray hoots and claps. While we had to mandatorily wear masks during the show, a staff member made rounds to check whether the rules were being followed.

Any Gaiety regular will tell you how people flock to the refreshment counter during the intermission to have the samosas that have become as iconic as the theatre itself. However, in the new normal, we had to stand at the designated spots while the canteen staff — wearing masks, face shields and gloves — handed our food to us. Since the new rule bars the audience from carrying their food inside, we had to stay put in our spots in the refreshment area and have our meal before heading back for the second half.

After the show ended, the staff began sanitising the auditorium as we exited the area. It was surreal to see only few people at the theatre. Once the Khans and Kumars are back on the screen, I hope the audiences will enthusiastically return to the cinemas.

The theatre sees low footfall on the first day;

Vijay Shah

It's a bleak Diwali as Suraj Pe Mangal Bhari opens at around 10% occupancy

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Housefull 4 had earned Rs 19 cr, Suraj Pe Mangal Bhari and Thugs of Hindostan Rs 50.75 cr on Day 1
With Suraj Pe Mangal Bhari registering 10 per cent occupancy, trade analysts gauge losses incurred by industry this Diwali
Mohar Basu (MID-DAY; November 16, 2020)

After the eight-month shutdown, it was time for the first day, first show across cinemas in Mumbai. On Sunday, theatres lifted the curtain with the Diwali release, Suraj Pe Mangal Bhari. As per early estimates, the Manoj Bajpayee, Diljit Dosanjh and Fatima Sana Shaikh-starrer recorded an average occupancy of 10 per cent. The permissible occupancy has been set at 50 per cent by the state government.

The stark difference can be noticed when compared to the box-office figures of last year's Diwali releases, Housefull 4, Saand Ki Aankh and Made In China. The three films had amassed Rs 62.47 crore over the opening weekend, with the Akshay Kumar comedy leading from the front. Trade analyst Taran Adarsh says, "We can't expect numbers to pour in overnight. The industry was shut for such a long time. It's almost like being in the ICU; this is the healing phase before the industry starts running again. Moreover, one must consider that when survival is under threat, entertainment won't be high on people's priority list."

Depending on the film's merit and its star power, the average opening day figure of a Diwali offering reads between Rs 20 crore to Rs 50 crore. Aamir Khan's Thugs Of Hindostan (2018) had registered Rs 50.75 crore on day one, recording the highest opening figure in Hindi cinema before sinking at the box-office. Besides the unusual circumstances, Suraj Pe Mangal Bhari has opened in fewer screens despite being the solo player this weekend. "There is hardly much occupancy for the film. The footfall will continue to be low unless a big film like Sooryavanshi or '83 hits screens. Most producers are avoiding a staggered release and waiting for the world market to open which is a tough situation amidst renewed lockdowns in Europe," reasons Adarsh.

Both films are pushed to 2021 and will be releasing anytime before March, as per the trade buzz.

Distributor Akshaye Rathi says filmmakers will have to take a leap of faith and line up big releases to lure audiences. "In Tamil Nadu, 850 screens have opened, and even at 50 per cent seating, three-fourth of auditoriums are full. We don't know what the forthcoming releases are. Some interesting movies have to be lined up to compel the audience to step out. Producers will have to line up films like Mumbai Saga and Bunty Aur Babli 2 that can bring people to the theatres."

(Crisp) Movie Review: SURAJ PE MANGAL BHARI by FENIL SETA

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Suraj Pe Mangal Bhari (releasing in THEATRES on Sunday November 15) is a fun film that meets expectations though doesn’t exceed them. I had feared that the trailer had revealed a lot of story but thankfully, that’s not the case. Writers Shokhi Banerjee, Rohan Shankar and director Abhishek Sharma (of Parmanu and Tere Bin Laden fame) deserve brownie points for keeping the mood light throughout. Not even once does the film get heavy. The celebration of middle-class lifestyle of the bygone era reminds one of Hrishikesh Mukherjee and Basu Chatterjee’s films. Also, the depiction of Marathi culture is impressive. The characters are also quirky and well fleshed out. On the flipside, the film drops after a great beginning and picks up around 20 minutes before interval. A few developments are difficult to digest and are too unconvincing. The humour quotient is limited. The climax saves the day. Talking of performances, Manoj Bajpayee is excellent and his entry itself is quite funny. He has played characters with comic touch before in Gangs Of Wasseypur, The Family Man etc but mostly, he's known for his serious image. Here, he plays a very wacky guy and it’s surely one of his most memorable performances. Diljit Dosanjh is first-rate and his comic timing is spot on, as always. Fatima Sana Shaikh’s expressions in a few scenes were a bit off, but she manages to deliver an overall fine performance. Supriya Pilgaonkar contributes to the humour. Annu Kapoor is superb and one wishes he had a longer role. Manuj Sharma is apt as Diljit’s sidekick. Neha Pendse looks beautiful and plays a crucial part with panache. Vijay Raaz is the funniest character of the film. Some of his actions don’t make sense actually. One wishes he had better to do in the film. Surely, a character that deserves a spin-off! Karishma Tanna is sizzling in the item song 'Basanti', also the best song of the lot. All in all, Suraj Pe Mangal Bhari is an ideal family entertainer to watch this Diwali in cinemas. Zee Studios has taken a huge risk by deciding to release this film in theatres. Here’s hoping audiences come out in healthy numbers so that this well-intentioned venture emerges as a success, despite social distancing limitations!

My rating - *** out of 5!

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