Showing posts with label Tenet. Show all posts
Showing posts with label Tenet. Show all posts
Dimple Kapadia said in her beautiful, sexy voice, ‘I’m doing Jab Khuli Kitaab, nobody else will do it’-Saurabh Shukla
4:36 PM
Director Saurabh Shukla, who felt Dimple Kapadia was too big a star to front ‘Jab Khuli Kitaab’, recalls being surprised when she said yes in three days
Priyanka Sharma (MID-DAY; March 4, 2026)
Saurabh Shukla believed he would need Lady Luck to get his desired actors for his directorial venture, Jab Khuli Kitaab. Who knows whether it was good fortune or the power of a good script, but Pankaj Kapur and Dimple Kapadia agreed to front his family comedy in days.
Revealing that he went to Kapur’s Versova office to hand the script — that revolves around an aged couple whose marriage is shaken by the unravelling of a secret — to him, Shukla recalled, “Pankaj said, ‘I will read it and tell you.’ Within a week, he said yes.”
When Kapadia’s name was suggested for the female lead, the writer and director initially shot down the idea. He thought she would be too big to front his mid-size movie. “She is such a huge star! At that time, she had done [Christopher] Nolan’s film [Tenet] and would have had no shortage of films. I would give my right arm to get her! So, we sent her the script.”
Then came the twist in the tale. “On the third day, I got a call and she said in her beautiful, sexy voice, ‘Saurabh, I’m doing this film, nobody else will do it.’ I couldn’t believe it. Later, we had a chat where she discussed every nuance of the script. In her, I saw a woman who is not only talented, but has also lived a full life.”
Dumbing down art into entertainment is a worldwide trend-Jim Sarbh
7:58 AM
Renuka Vyavahare (BOMBAY TIMES; October 3, 2023)
Jim Sarbh’s uninhibited performances speak a language of their own. Ram Madhvani’s Neerja put him on the map, and he has continued to prove his mettle in films and web shows like Padmaavat, Made in Heaven, Mrs. Chatterjee vs. Norway and Rocket Boys, to name a few. Recently, Jim was nominated for an International Emmy in the Best Performance by an Actor category for his role of nuclear physicist Dr Homi Bhabha in Rocket Boys. Excerpts from a conversation...
Cillian Murphy is expected to sweep the acting awards internationally for Oppenheimer and your portrayal of Dr Homi Bhabha in Rocket Boys has won you an International Emmy nomination. Isn’t it quite a coincidence that both these standout performances portrayed nuclear physicists?
I don’t think we ever shot it but there was a scene in the original version (of Rocket Boys) where Dr Bhabha went to see Oppenheimer. The story changed direction a little bit. I have liked Cillian for a long time. He was scary and strange in Batman Begins as the Scarecrow, and you must see him in The Wind That Shakes The Barley (2006).
As far as Rocket Boys is concerned, I am overwhelmed and excited to be nominated for an Emmy. It is an honour to be recognized amongst such talented individuals from across the world. The series salutes some of India’s scientists, artists and leaders, the pioneers of a newly birthed nation. I am so glad the makers believed in this project, and in me.
You exude this free-spirited, fiercely independent streak. How have you managed to retain that quality as an actor in an industry that often expects one to toe the line?
A film should be a creative collaboration between all the partners. Of course, you have a captain of the ship, but the best directors that I have worked with are the ones who encourage and enjoy collaborations. If you know your lines, if you are not forgetting your cues or are not changing the rhythm of the scene too much, within that frame, you have a choice as to how you want to interpret a moment. Good directors are always open to listening. Filmmaking requires expertise in general across the board. An incredible editor or a production designer can change your film and hide all potential flaws. I believe in that kind of culture.
You never hold back or hesitate to speak your mind. What would you attribute this outspokenness to?
I think it’s more of mounting frustration and eventually, the fact that I can’t stop myself from saying something. I know that the wiser choice would be to act cool or make jokes about it or pretend that it’s someone else’s problem. I just get frustrated and if I am in a bad mood on a particular day, I will eventually say something. I remember when I was doing interviews for Padmaavat, I was asked three standard questions. 1) What was it like to work with Ranveer Singh? 2) What was it like to work with Deepika Padukone? 3) Were you afraid of playing gay? These are such shallow questions. I think there is a trend worldwide of dumbing down art into content or entertainment purposes only so that no one thinks too deeply.
Has your upbringing played a huge role in bringing out your honest, true self, on screen and in reality?
My grandmom told me to speak the truth. That was most important to her, and my mom tells me to lie instead (laughs). She tells me (mimics her), “You don’t have to tell me everything no, Jim. Learn how to lie a bit.” I will send her this article.
DO YOU THINK EVERYTHING IS MADE FOR INSTANT GRATIFICATION IN A WAY?
Nothing is provocative or makes you think too deeply anymore because if we can’t understand something in 10 seconds, it’s labelled as ‘boring’. Christopher Nolan is a master of his craft. Whether you like his films or not is a separate thing. Tenet for instance didn’t strike a chord with me emotionally as much as I thought it would, instead it was a puzzle for me to mentally unravel. I prefer to experience a film emotionally and it can leave me with questions that I can ponder about later. I remember seeing No Country For Old Men in the US with a friend. At the end of it, we were so affected that we couldn’t say a word. On the drive back home, we spoke of its elements and concluded that we really liked it. It left us perplexed.
For trailer, makers of Ajay Devgn's Maidaan get on board editors who’ve chopped first cuts of Nolan, Marvel offerings
9:13 AM
In a bid to present a promising trailer, director of Ajay-led Maidaan takes film to international team of editors who’ve chopped first cuts of Nolan, Marvel offerings
Upala KBR (MID-DAY; September 2, 2023)
If there’s anyone who understands the lasting impact of the first impression, it has got to be the film director tasked with luring the audience with an impactful trailer. As though condensing a three-hour narrative into a three-minute teaser isn’t challenging enough, a director must also make this first glimpse so irresistible that cinemagoers begin to count down to the day of the release.
Evidently, then, Ajay Devgn intended to leave no stone unturned when presenting his long-in-the-making sports film, Maidaan, the trailer of which was edited by the team that deftly chops the movies of the likes of Christopher Nolan.
A trade source tells mid-day that during his time spent in London, director Amit R Sharma took the film to the Trailer Park Group team, which created the trailers for Nolan’s Oppenheimer (2023), Tenet (2020), and Inception (2010).
“Producer Boney Kapoor has employed the best crew, equipment, and technicians for this film. This is also the team that made the trailers of Marvel’s Black Panther [2018], and Eternals [2021]. In India, trailers have usually had a defined template, and the makers wanted to break that mould, which is why this step was taken,” says the source, adding that the VFX has also been done by an international team.
That leading man Devgn found the edit exciting, emotional, and dramatic, all at once, implies that the team was assured that it would find favour among viewers. “Despite comprehending the film only via the subtitles, the American team did a phenomenal job,” says the source.
Set in 1950s India, Maidaan, which sees Devgn play the part of Syed Abdul Rahim, known as the architect of modern Indian football, will release in five languages, including Hindi, Tamil, Telugu, Malayalam and Kannada. It marks the Hindi film debut of National Award-winner Keerthy Suresh.
With less red tape, filming in India has now become a lot more simplified and streamlined, say facilitators at Cannes 2022
8:35 AM
Niharika Lal (BOMBAY TIMES; May 28, 2022)
At the India Pavilion, at Cannes Film Festival’s Marche Du Films this year, a session titled – ‘Filming In India – A world of opportunities’ – saw the panel, comprising both creators and facilitators, discuss how India has become increasingly shooting-friendly after almost a decade of efforts and how ease in permissions has been fuelling a boom in filming projects in the country – with an aim of sustaining this and turning India into one of the most coveted content production hubs, the Ministry of Information & Broadcasting also rolled out film shooting incentives at the festival recently. Excerpts from the discussion:
‘OUR PILOT PROJECT OF SINGLE-WINDOW PERMISSIONS IN MAHARASHTRA WAS A GREAT SUCCESS’
Recent years have seen several initiatives by the government to make shooting in India a smoother process. This includes the single-window permission system. During the session, Ravinder Bhakar, MD, National Film Development Corporation, said it has made the process much easier. “In the sense that if you want to shoot at an Archaeological Survey of India monument, then you don’t need to go to ASI, you can go to the Film Facilitation Office (FFO),” he explained.
The FFO has also been collaborating with states and central agencies to ensure not just timely permissions for shoots, but has also come up with a grievance redressal system. Ravinder added, “There was a need for such a system. Now, we immediately connect with the state system and around 68 such cases of filmmakers have been resolved immediately. Besides that, more than 50% states in India have come up with a film policy and we have also come up with a real-time incentives-tracking system.”
Saurabh Vijay, Secretary, Cultural Affairs, Maharashtra, said, “The Maharashtra government and our Film City Corporation took the initiative of introducing a pilot for single-window shooting which was implemented for Mumbai (in 2018-19). What we tried achieve was to have the police department, as well as other departments, streamlined. Around 2,000 applications have been successfully processed in this manner.”
He added, “Recently, the government of Maharashtra decided to extend this system across the state. It requires capacity building even at the district level, the collector’s office level. We are now in the process of onboarding them on the portal that we have created. We have rich locations in Maharashtra – from beaches to forts, which are mentioned on the portal, which also has the ASI. Recent examples of film shoots that happened here were Christopher Nolan’s Tenet (in 2019) and Shyam Benegal’s Mujib (in 2021-22). We are also inviting private players – for instance, if there is a good bungalow for shooting, we are trying to bring it all under the single-window system.”
He said that the government of Maharashtra has been working on a policy for ease of filming, and will look into concessions for film shoots at monuments.
Line producers often say that when filmmakers visit cities such as Delhi and Mumbai, they prefer to film at iconic locations, however, Ravi Kottarakara, General Secretary, Film Federation of India (FFI) and South India Film Chamber of Commerce (SIFCC), pointed out that there’s a gap between the kind of locations filmmakers want to shoot at and the kind of locations that are offered on film cell websites.
Calling the latter ‘postcard locations’, he said, “What we should do instead, is take a vast series of photos and canvas the different locations which are available. It could be a monument, it could be a road, it could even be a small gali – we should have photos of all. We should have photos of even villages and small settlements.”
Filmmaker Jayarajan Rajasekharan Nair also pointed out, “Almost all the monuments across the country have raised the location fee. For modest budget filmmakers, it is very difficult to shoot at the monuments because of such high rates. I faced similar issues while shooting at Maharashtra’s Ajanta Ellora caves. I feel a concession is necessary.”
‘THERE’S A PLETHORA OF GREAT LINE PRODUCERS AND FACILITATORS HERE’
Kilian Kerwin, Head of Production, South Asia & Latin America with Los Angeles-based company SK Global Entertainment – who was here for the shoot of the 2019 series Delhi Crime – said that many of the difficulties they faced filming in India were similar to the what they’ve faced in any other part of the world.
He said, “The first thing you do as an outsider is to partner with the right people inside. I needed help in navigating the paperwork, finding locations. There’s a plethora of great line producers, facilitators, co-producers, and location scouts in Delhi. Like in any part of the world, you find the right people, and they make it easy for you, but yes, there was some guerrilla shooting happening too.”
Recalling an incident, he said, “There were certain things that happened, in a good way. Like, when we wanted a clear street, the AD just said something in Hindi and the entire neighbourhood got out of the way for us to get our shot. That would never happen in New York or LA, people would make an obscene gesture at you and probably try to spoil your shot to be mean. I think it’s the fascination with the magic of filmmaking (in India) that people are willing to help from the ground up.”
‘NO LONGER A NIGHTMARE TO GET PERMISSION FROM THE RAILWAYS TO SHOOT’
Be it Rajesh Khanna hanging out of a jeep while serenading Sharmila Tagore travelling in a toy train in Darjeeling (Aradhana) or Shah Rukh Khan dancing to Chhaiyya Chhaiyya atop a train (Dil Se), Indian films have always featured iconic train sequences. However, for foreign productions, shooting on trains has always been an issue. Back in 2011, for example, makers of the James Bond film Skyfall tried and failed to shoot a train sequence, after they couldn’t get permission from the Indian Railways. And so, the scene was filmed in Turkey.
However, today, Bond producers would find it much easier to shoot on an Indian train, say officials. Ravinder Bhakar, MD, NFDC – who had a long stint with the Railways before joining as the Central Board of Film Certification CEO in 2020 – said during the discussion, “As far as the Railways are concerned, we go through the script, evaluate it, do the necessary formalities and a dedicated officer is there to facilitate makers. The whole matter takes only two-three days. The Railway Board also came out with an exhaustive list of prices. So, whether you want to shoot in the yard, the coach or on the platform – there are prescribed guidelines; and the process is much simpler these days. You can also approach the Film Facilitation Office (FFO) for permissions from the Ministry of Railways.”
Presenting a comparative, filmmaker Nila Madhab Panda said, “I shot something in 2011 and it was a 30 day-long nightmare to get Railways permissions. However, in 2018, I got permission from the Railways within seven hours for a shoot in Delhi. It has become that fast.”
Tenet completes 100 days today at Indian box office; still running successfully in CINEMAS!
9:47 AM
Tenet, the Hollywood biggie, directed by Christopher Nolan, and backed by Warner Bros, released on December 4, 2020 in the cinemas in India. And today, that is, March 13, 2021, it has completed 100 days at the box office. It is in its 15th week, and believe it or not, it is still running in cinemas.
Tenet released in 750 screens and collected around Rs. 1.20 crore on day 1. It managed to gradually get audiences to cinemas. Everyone expected it to hang around in cinemas for a few weeks or till the release of Wonder Woman 1984, another Warner Bros biggie, which released on December 23. However, no one realized in their wildest dreams that it’ll have a run of 100 days. It's lifetime collection till date is close to Rs. 15 crore.
A trade source is amazed as he says, “Look at the challenges the film faced. It came during the pandemic and was one of the first biggies to hit cinemas post lockdown in India. It was a delayed release with HD print being available on the day of release. Also, it’s a Christopher Nolan film and he makes confusing films. So his films are meant for niche audience. Yet, the fact that it ran for 100 days and would remain in theatres for a few more weeks is commendable.”
In this 15th week, Tenet is running across many cities in India. It has maximum shows in Delhi-NCR (8) followed by Jaipur (6 shows; 3 in dubbed Hindi version). In the Rajasthan city of Kota, it has 3 shows, 2 of which are in Hindi. In Chandigarh, Ahmedabad and Surat, it has 2 shows. Even in Kolkata, it has managed to secure 3 shows, 1 of which is in Hindi. Chennai has 1 show while the small town of Sri Ganganagar in Rajasthan is also playing one show of Tenet, in the Hindi version!
Finally, in Mumbai, it sadly has just 1 show, in Inox Megaplex, Inorbit Mall, Malad. Surprisingly, till Wednesday March 10, it was running successfully in PVR Juhu. But the programming team removed the film to accommodate the new releases – Roohi and Mera Fauji Calling. When this writer enquired, the team of the film were ignorant of the fact that Tenet completes 100 days in cinemas.
Amit Dadhich, an ardent movie buff says, “So many shows of Tenet are there across the country but I don’t understand why it’s not given enough shows in Mumbai, especially in this iconic week. Sadly, cinemas are not even aware of its 100 days completion. Theatres should never forget that this was an important movie for them as it was the first major Hollywood release post lockdown. People flocked in huge numbers, as per their convenience though, and gradually. And in some properties, it did really well. To remove it from one such theatre is a disappointing move.”
Amit Dadhich is also pleasantly surprised with it’s 100 day run as he states, “In the pre-Covid times, Tenet would have never run for 100 days. Moreover, it was available on the internet soon after its release in India. Yet, it managed to run in so many theatres for such a long time and managed to get a good turnout. It speaks volumes of the charm of the big screen.”
He signs off by saying, “I hope it continues for another 10 days before the release of Godzilla vs. Kong.” The monster flick, also by Warner Bros, releases in India on March 24, 2021.
Meanwhile, Wonder Woman 1984 will also cross the 100-day mark, on April 2.
The cities where Tenet is running in this week is as follows:
Delhi NCR – 8 shows
Mumbai – 1 show
Chennai – 1 show
Chandigarh – 2 shows
Ahmedabad – 2 shows (both shows 1 multiplex, in Time Cinema)
Kolkata – 3 shows (1 in Hindi)
Jaipur – 6 shows (3 in Hindi)
Kota – 3 shows (2 in Hindi)
Sri Ganganagar – 1 show (in Hindi)
Surat – 2 shows (both shows 1 multiplex, in Time Cinema)
TOTAL: 29 shows
A list of top 10 grossers in Hindi post Covid-19
8:42 AM
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
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
Big films may improve the scenario but smaller films are helping theatres to get going
8:13 AM
Big films may improve the scenario but smaller films are helping theatres to get going
Shreya Mukherjee (HINDUSTAN TIMES; January 11, 2021)
Soon after theatres reopened in mid-October last year, filmmakers have been testing waters to see if audiences are now stepping out and going to watch films in cinemas. Is Love Enough - Sir and Suraj Pe Mangal Bhari initiated the chain of new releases in Bollywood in November 2020, followed by Indoo Ki Jawani and Shakeela in December and Ramprasad Ki Tehrvi marked the beginning of this year. Meanwhile, Hollywood biggies — Tenet and Wonder Woman 1984 (WW’84) — too helped up the box office collections. Having covered almost the first quarter of the new beginning since cinemas reopened, industry insiders talk about the present scenario.
BOX OFFICE RESPONSE
Trade expert Komal Nahta feels the only “relief is that films are running and cinemas are functioning”. Suraj Pe Mangal Bhari also did a bit better business than other Hindi films, shares exhibitor-distributor Brijesh Tandon.
Trade expert Atul Mohan says, “The re-released films and new ones made about 5-10% business. Only Tenet, WW’84 made about 15-20%. After the difficult 2020, we must get things running with big films.”
ALL EYES ON BIG FILMS
With big-budget films expected to release March onward, and Shibasish Sarkar, CEO, Reliance Entertainment group, announcing that either Sooryavanshi or ’83 will release during Holi, has given many hope. “Many theatres are still shut, 50% occupancy cap is a concern. Turn-around time given the sanitisation procedure has reduced the number of shows. Now, only big films can change the game,” shares distributor-exhibitor Akshaye Rathi.
Raj Kumar Mehrotra, general manager, Delite Cinemas, shares Madam Chief Minister starring Richa Chadha releasing this month might bring business. “Till now, we had 15-20% occupancy, which went up to 30-35 % during Tenet, WW’84. Once big films come, it’ll go over 70%,” he says.
VACCINATION will help
“Vaccination will improve collective sentiments and provide courage. With all precautions, theatres are ready. Now, audience should extend support,” shares Rathi.
Highlighting how reworking of ticket pricing is a determining factor to increase footfalls, Mohan adds, “Pandemic has hit the economy hard, leading to job losses. If ticket pricing is on the lower side, it might draw more people to the theatres.”
A LOOK AT THE BOX OFFICE BUSINESS SO FAR (All approx figures)
Tenet: ₹15 crore
Wonder Woman 1984: ₹12.5 crore
Suraj Pe Mangal Bhari: ₹2.5 crore
Indoo Ki Jawani: ₹60 lakh
Shakeela: ₹30 lakh
Ramprasad Ki Tehrvi: ₹25 lakh
Box office position at present: South is clearly ahead
8:48 AM
Box Office India Trade Network
It is pretty clear that Nizam/Andhra and Tamil Nadu are ahead of
other places in terms of a returning audience. Both these circuits are
giving double their normal contribution for a Hollywood film at present
while the rest of circuits are doing less. The other circuit doing better is
West Bengal as that had a early start with good footfalls during Puja in
October.
Tamil Nadu is the first state to allow 100% occupancy which is great news. But it's also surprising as it was expected that the Centre would make the decision to allow full occupancy and then the state would decide if the pandemic issue in their state allows full occupancy.
The hope will be that all goes well when Tamil films release on Pongal as this will mean more states allowing full occupancy. What will not be needed is a rise in infection rate in Tamil Nadu after allowing 100% occupancy as that will put plans back across India. Europe saw big rises in infections after sporting events in February but that was as crowds of 50,000 plus gathered and obviously it is not likely that this much crowd will gather together at cinemas.
The ratio of WONDER WOMAN 1984 with the ratio of Hollywood films in 2019 in brackets is as follows. Odisha and Kerala have seen cinemas opening in January 2021 but there are no collections of WONDER WOMAN 1984 as yet while Rajasthan remains shut. The circuits performing better than normal are in bold.
Mumbai - 21% (29%)
Delhi / UP - 17.5% (19%)
East Punjab - 5.75% (7%)
Rajasthan - Shut (3%)
CP Berar - 1.75% (3%)
CI - 1% (2.5%)
Nizam / Andhra - 16% (8%)
Mysore / Karnataka - 10% (10%)
Tamil Nadu - 18% (9%)
Kerala - Shut (2.5%)
West Bengal - 7.5% (4%)
Bihar - 0.75% (1%)
Assam - 0.75% (1%)
Odisha - Shut (1%)
Delhi / UP - 17.5% (19%)
East Punjab - 5.75% (7%)
Rajasthan - Shut (3%)
CP Berar - 1.75% (3%)
CI - 1% (2.5%)
Nizam / Andhra - 16% (8%)
Mysore / Karnataka - 10% (10%)
Tamil Nadu - 18% (9%)
Kerala - Shut (2.5%)
West Bengal - 7.5% (4%)
Bihar - 0.75% (1%)
Assam - 0.75% (1%)
Odisha - Shut (1%)
We are looking at bringing Sooryavanshi or '83 in the third week of March, during Holi-Shibasish Sarkar
8:25 AM
After waiting for 10 months, makers of Sooryavanshi and 83 eye March 2021 release; to take a call basis box-office result of Vijay's Tamil biggie, Master
Uma Ramasubramanian (MID-DAY; January 7, 2021)
With the new year, come new plans. As we turned the calendar to 2021, the makers of Sooryavanshi and '83 have begun charting the way forward for the two Bollywood biggies, which have been waiting in the wings for a theatrical outing for the past 10 months. The makers are planning to release one of the event movies over the Holi weekend.
Shibasish Sarkar, chief executive officer, Reliance Entertainment group, which has bankrolled the films, says, "The situation in the country is improving as is the economy, so the mood is largely positive. A section of people headed to theatres to watch Tenet and Wonder Woman 1984. That was an encouraging sign. So, now, we are looking at bringing one of the films in the third week of March, during Holi. We have yet to decide on the film though." He is hopeful that with the vaccine roll-out around the corner, the situation will further improve. "These are event films that would have made Rs 300 crore under normal circumstances, so we can't play around with them. We need to be certain of the situation."
Come March, it will be exactly a year to the Akshay Kumar-starrer that was originally planned as a Gudi Padwa 2020 offering. "We were supposed to release Sooryavanshi on March 24, and '83 in April. If we follow the same sequence, Sooryavanshi should come first. That said, we are discussing the nitty-gritty."
Sarkar reveals that Vijay's Tamil release, Master, will serve as a precursor to help them gauge the market. Following the star's meeting with Chief Minister Edappadi K Palaniswami in December, the Tamil Nadu government permitted 100 per cent occupancy in theatres — a move that has been widely criticised by the frontline workers as well as public. On Wednesday, the Centre directed Tamil Nadu government to revoke its order, stating that it diluted the guidelines issued by the Union Ministry of Home Affairs. "We are waiting for the January 13 release. There are four to five big releases in Tamil and Telugu cinema. There is a huge amount of confidence in the makers and the audience," reasons Sarkar.
Fenil's Bollywood Talk # 654
9:48 AM
DISASTROUS 2020 ENDS ON A HOPEFUL NOTE
There have been several years in the past which have been disappointing and where we have seen few hits and more number of flops. But 2020 stands out. Previously, the bad years would at least see some business. In this year, from March 18 to October 14, theatrical business was zero as all theatres were shut due to the Coronavirus pandemic. Even when cinemas opened gradually from October 15, the business didn’t pick up. Most producers of big and mid-sized films refused to release their films. The perception was that since the pandemic hasn’t subsided, the viewers might not turn up to cinemas in big numbers out of fear of catching the virus. Hence, very selected films have been released like Suraj Pe Mangal Bhari, Indoo Ki Jawani, Shakeela, Vinashkaal etc. These films failed to even cross the Rs. 6 crore mark individually. The problem was not with the films’ content per se. These movies had very low buzz and excitement was hardly there. Trade experts said repeatedly that we should not judge the scenario based on the box office outcomes of these films as these movies would have not worked even in normal times. However, their statement fell on deaf ears.
Thankfully, a few films managed to do well. The Hollywood flick Tenet, released on December 4, in India. It was released 3 months after it’s release elsewhere in the world. The reports were mixed and moreover, a good print was leaked on the internet. Anyway, this was a niche film as it’s very complex. Yet, there was some excitement to see it on the big screen as it’s directed by Christopher Nolan, who enjoys a fan following. It managed to collect around Rs. 11 crore which is a great figure for this film, considering these challenges.
Then, last week, the much-awaited flick Wonder Woman 1984 released extensively in original English and dubbed versions. We had predicted last week that it’ll collect Rs. 30-40 lakhs in paid previews and Rs. 90 lakhs-1 crore on Thursday. However, the film exceeded expectations as it collected Rs. 75 lakhs in previews on Wednesday and Rs. 1.50 crore on Thurday, which was Christmas eve. We had mentioned that we are unsure if it'll be able to collect as much as the first part did in its opening weekend, which was Rs. 8 crore. But this film managed to reach that mark. Today, the collections would increase a bit as it’s December 31. At this rate, Wonder Woman 1984 is all set to break Tenet’s lifetime record in just 8 days. Tomorrow is again a holiday due to January 1. Hence, the second weekend collections can also be encouraging. It now remains to be seen if Wonder Woman 1984 will be able to cross Wonder Woman’s lifetime collections of Rs. 23 crore.
What’s important to note that in North America and a few other markets, Wonder Woman 1984 had a simultaneous release in cinemas as well as on HBO Max, an online platform. Hence, a good quality HD print of the film was out since last Friday. Yet, the business of the film is quite good, probably as it’s a grand film and is best enjoyed in cinemas. It once again reaffirms that audiences are ready to come to cinemas if they feel excited for it.
However, a film that did even better than Wonder Woman 1984 is the Telugu film Solo Brathuke So Better. This romantic comedy is directed by debutant guy named Subbu and stars Sai Dharam Tej and Nabha Natesh. It was released alongside Wonder Woman 1984, on December 25, and had a very good first day, collecting a huge Rs. 3.75 crore. From the first day, the social media was filled with videos and pictures of theatres running housefull (with 50% occupancy of course). Also, it was heartening to see all the major artists of Telugu film industry coming out in support of this film and urging viewers to watch it in cinemas. In 4 days, it has managed to collect Rs. 10.25 crore and is expected to recover it’s costs in the first week itself.
Besides these, a few other films in Kannada, Tamil and Bengal industry also drew audiences. Meanwhile, the new strain of Coronavirus has not really caused havoc, as feared. The daily number of cases is at a 6-month low and is expected to further fall in the new year. The vaccine rollout will also start in a few weeks and by June, the priority 30-crore population is expected to get inoculated. Even before that happens, the cases will become negligible as herd immunity gets achieved and the winter season ends in the next 45-50 days. And thankfully, the exciting flick, Master, starring Tamil superstar Vijay, has already been scheduled to release during Pongal, on January 13. Interestingly, it’ll have a wide release in dubbed languages too. If it emerges as a huge hit, it’s bound to result in a steady flow of releases in Bollywood from February!
There have been several years in the past which have been disappointing and where we have seen few hits and more number of flops. But 2020 stands out. Previously, the bad years would at least see some business. In this year, from March 18 to October 14, theatrical business was zero as all theatres were shut due to the Coronavirus pandemic. Even when cinemas opened gradually from October 15, the business didn’t pick up. Most producers of big and mid-sized films refused to release their films. The perception was that since the pandemic hasn’t subsided, the viewers might not turn up to cinemas in big numbers out of fear of catching the virus. Hence, very selected films have been released like Suraj Pe Mangal Bhari, Indoo Ki Jawani, Shakeela, Vinashkaal etc. These films failed to even cross the Rs. 6 crore mark individually. The problem was not with the films’ content per se. These movies had very low buzz and excitement was hardly there. Trade experts said repeatedly that we should not judge the scenario based on the box office outcomes of these films as these movies would have not worked even in normal times. However, their statement fell on deaf ears.
Thankfully, a few films managed to do well. The Hollywood flick Tenet, released on December 4, in India. It was released 3 months after it’s release elsewhere in the world. The reports were mixed and moreover, a good print was leaked on the internet. Anyway, this was a niche film as it’s very complex. Yet, there was some excitement to see it on the big screen as it’s directed by Christopher Nolan, who enjoys a fan following. It managed to collect around Rs. 11 crore which is a great figure for this film, considering these challenges.
Then, last week, the much-awaited flick Wonder Woman 1984 released extensively in original English and dubbed versions. We had predicted last week that it’ll collect Rs. 30-40 lakhs in paid previews and Rs. 90 lakhs-1 crore on Thursday. However, the film exceeded expectations as it collected Rs. 75 lakhs in previews on Wednesday and Rs. 1.50 crore on Thurday, which was Christmas eve. We had mentioned that we are unsure if it'll be able to collect as much as the first part did in its opening weekend, which was Rs. 8 crore. But this film managed to reach that mark. Today, the collections would increase a bit as it’s December 31. At this rate, Wonder Woman 1984 is all set to break Tenet’s lifetime record in just 8 days. Tomorrow is again a holiday due to January 1. Hence, the second weekend collections can also be encouraging. It now remains to be seen if Wonder Woman 1984 will be able to cross Wonder Woman’s lifetime collections of Rs. 23 crore.
What’s important to note that in North America and a few other markets, Wonder Woman 1984 had a simultaneous release in cinemas as well as on HBO Max, an online platform. Hence, a good quality HD print of the film was out since last Friday. Yet, the business of the film is quite good, probably as it’s a grand film and is best enjoyed in cinemas. It once again reaffirms that audiences are ready to come to cinemas if they feel excited for it.
However, a film that did even better than Wonder Woman 1984 is the Telugu film Solo Brathuke So Better. This romantic comedy is directed by debutant guy named Subbu and stars Sai Dharam Tej and Nabha Natesh. It was released alongside Wonder Woman 1984, on December 25, and had a very good first day, collecting a huge Rs. 3.75 crore. From the first day, the social media was filled with videos and pictures of theatres running housefull (with 50% occupancy of course). Also, it was heartening to see all the major artists of Telugu film industry coming out in support of this film and urging viewers to watch it in cinemas. In 4 days, it has managed to collect Rs. 10.25 crore and is expected to recover it’s costs in the first week itself.
Besides these, a few other films in Kannada, Tamil and Bengal industry also drew audiences. Meanwhile, the new strain of Coronavirus has not really caused havoc, as feared. The daily number of cases is at a 6-month low and is expected to further fall in the new year. The vaccine rollout will also start in a few weeks and by June, the priority 30-crore population is expected to get inoculated. Even before that happens, the cases will become negligible as herd immunity gets achieved and the winter season ends in the next 45-50 days. And thankfully, the exciting flick, Master, starring Tamil superstar Vijay, has already been scheduled to release during Pongal, on January 13. Interestingly, it’ll have a wide release in dubbed languages too. If it emerges as a huge hit, it’s bound to result in a steady flow of releases in Bollywood from February!
Will Wonder Woman 1984 have a bigger opening than Tenet and Wonder Woman's 1st part?
8:41 AM
Box Office India Trade Network
WONDER WOMAN 1984 will open in India later today and although the film
has not done wherever it has been released so far the hope is that it
takes the box office in India a notch higher in these pandemic times.
The film has an extended weekend though the previews starting post 5 pm
today (Wednesday) will be hit by night curfew in Maharashtra which means
shows have to be wrapped up by 10 pm. This will lead to only one show on
most of the screens and hence will have very limited business in Maharashtra for paid previews.
The first target is to be better the numbers of TENET which has been the
best performer since cinemas opened in October. The advance is better
than TENET but its also a near five day holiday weekend while TENET was a
normal three day weekend. Also, majority of the business is coming in
advance at present and the on-the-day audience is actually less or at
least that was the case when TENET releases. Hopefully the figures on
Thursday for WONDER WOMAN 1984 are higher than what TENET did on day one
(1.15 crore nett).
WONDER WOMAN in 2017 did 2.20 crore nett on day one in English only and
though technically WONDER WOMAN 1984 should beat this number as its been
dubbed and a far wider release, but the flip side is the pandemic to
consider. Also there will be a pirated HD print available online from
the 25th December as it releases on HBO Max in USA. Still if the on-the-day audience is in significant higher numbers than TENET, then maybe the
opening day numbers of WONDER WOMAN (2017) can be challenged on Friday
and that will mean an improving box office in India.
Nothing beats the magic of theatre-Iqbal Khan
8:09 AM
Kavita Awaasthi (MUMBAI MIRROR; December 19, 2020)
“Almost everything has opened up and people are doing everything now. They are eating in restaurants, even street food, going to parks, jogging, gyming, visiting markets, toh theatres ne kya kiya hai?” questions Iqbal Khan, who went to see a film in a theatre recently.
The actor shares that he had a great experience as the theatre owners had taken good care of santisation and social distancing protocols. “Theatre has 50% occupancy and one can have a safest and enjoyable experience. They sanitise after every show and don’t allow food in the theatre but one can eat in the food court. Interval is extended, so one has enough time. I heard the Hollywood film Tenet’s tickets were sold out for many shows,” says the actor, whose web show, Crackdown, this year, was well-received and he recently shot for another show in Mussoorie.
Ask him if big-budget and star-driven films will bring more people to theatres and he says, “I am a supporter of good films. They will get people in. The joy of watching a film on the big screen in theatres is unparalleled. I saw the trailer of Sooryavanshi and I felt that this is a film I would want to watch in the theatres. We have seen a number of films release on OTT this year, and that is great, but nothing beats the magic of theatre. You see, while the creative freedom makers get on OTT and the content-driven stuff created for the platform is awesome, cinema is a visual medium and one can only experience that in theatres. Yes, OTT is huge but that won’t diminish the appeal of theatres,” he says.
Fenil's Bollywood Talk # 652
9:50 AM
INDOO KI JAWANI BOMBS BUT TENET’S BOX OFFICE PERFORMANCE GIVES HOPE!
Last week’s release, Indoo Ki Jawani, has failed and how. Starring Kiara Advani, it was the second A-grade Hindi film to release in cinemas in this season. The hype was minimal and not many knew it’s even released. Last month, Suraj Pe Mangal Bhari took an opening of Rs. 75 lakhs. Indoo Ki Jawani was expected to open in the same range. But it’s opening of around Rs. 20 lakhs sent shockwaves. The response was bad and hence, there was hardly any growth. It collected around Rs. 60 lakhs in 3 days and it might not even cross the Rs. 1 crore mark.
On the other hand, the Hollywood flick Tenet has managed to put up impressive numbers. It’s advance booking was excellent. But the weird part was that very few tickets were sold in current. Normally, ticket sales increase as the release nears. Here, nothing of that sort happened. Yet, it managed to collect Rs. 4.20 crore in the first weekend and Rs. 1.30 crore in the weekdays. The week 1 collections were thus Rs. 5.50 crore. Surprisingly, it picked up significantly in Weekend 2, collecting Rs. 2.75 crore. The 10-day business of the film now stands at Rs. 8.25 crore. It’s earnings have fallen in the weekdays but looking at the performance in the days gone by, it’ll pick up once again in the coming weekend. At this rate, Tenet will surely cross the Rs. 10 or 11 crore mark.
Tenet had a lot of obstacles. It was released 3 months after it’s release in the rest of the world. It’s high-definition pirated print was circulating on the internet. Also, it’s directed by Christopher Nolan, who makes confusing films. And this flick had received negative response from a large section of viewers. Yet, the scale of the film and Nolan’s fan following ensured that the film managed to do well in India. It reiterates once again that if exciting films release, it’ll do well in cinemas.
Now all eyes are on Wonder Woman 1984. It has far more appeal and excitement among Indian audiences and is sure to do triple of what Tenet managed to collect. The film releases next week, from December 23 evening onwards.
Tenet has really infused life back into me-Dimple Kapadia
8:05 AM
Dimple Kapadia says working in Christopher Nolan’s Tenet acted as an ‘adrenaline shot’ and she is ready to work more now
Juhi Chakraborty (HINDUSTAN TIMES; December 16, 2020)
With a Christopher Nolan film under her belt now, veteran actor Dimple Kapadia is raring to go. The actor who has been working in the film industry for close to 50 years now, says it is a new start for her.
“I have been here and I have always been here. If work comes along, yes I am looking forward to work more. This film (Tenet) has really infused life back into me. I really needed that adrenaline shot... You know... like ‘come on, get up’. That is what it has done for me and yes, I am looking forward to what all I am going to do in the future,” shares the 63-year-old.
Does she believe that now post a Nolan film in her resume, people in Bollywood will see her in a new light?
“I don’t know. I have been here in the industry for 50 years. I don’t think they would look at me differently. I have been here too long,” says the actor, who landed her first acting assignment at the age of 16 and her first film, Bobby, released in 1973.
Talking about her experience of working with Nolan, the actor says it was a dream even to get a chance to work with the acclaimed director. “Are you kidding me? It is every actor’s dream. I consider myself extremely fortunate,” she quickly responds.
While she could not believe that she actually got a call for a Nolan film initially, Kapadia says she wasn’t immediately convinced about the film because she was wary of auditioning. “They said I had to do an audition and I don’t do an audition. And then my children and grandchildren told me to go for it. I said to myself that ‘I got to get over my fear and give it a chance.’ If I can get through it, then I can do it. When I got the part I was more than just elated, I was terrified. I was like, ‘Yes, I got it, but will I be able to deliver with all my fears and insecurities’,” she shares.
But soon she realised that her fears were unfounded. “It was stupid of me because once you are in his hand, he takes care of everything. So you just have to show up. He knows exactly what he wants from his actors,” she concludes.
It is exciting for me that people go back and re watch my films to get them-Christopher Nolan
8:05 AM
Christopher Nolan understands that packing so much information in his films tends to get overwhelming for the audiences but adds, ‘hopefully, we put things there which people might notice in the second or third viewing’
Juhi Chakraborty (HINDUSTAN TIMES; December 12, 2020)
His cinematic style is distinct, with complicated narratives, often featuring the oscillation between different time frames — all this is the reason why Christopher Nolan has taken the modern day cinematic landscape by storm and earned a much deserved fan base. While his oeuvre is impressive, he credits it to his amazing team. The filmmaker, whose film Tenet released in India, understands that packing so much information in his films tend to get overwhelming for the audiences but adds, “hopefully, we put things there which people might notice in the second or third viewing.”
You shot portions of The Dark Knight Rises (2012) in Jodhpur and shot in Mumbai for Tenet. What brought you back to shoot in India?
I had a fantastic experience working with the local crew while shooting for The Dark Knight Rises. Then, I got an opportunity to come to Mumbai a few years ago, where we did a forum about future of cinema and I was struck by Mumbai and the look of the place, textural and architectural styles and the history in every angle of the city. As a filmmaker, it really excites your imagination and it left me wanting to come back with a camera and crew. I think the aerial view and the whole landscape that we added of the city in Tenet are one of the most fantastic visuals of the film.
Your films have complicated ideas. How challenging is it to adapt them for celluloid and make them simple for the audiences?
The process for me is a lot of time. I do a lot of diagrams. I need to know what the genre is. In Tenet, the important part was looking at the spy film genre, looking at the James Bond films I grew up watching. I thought to myself, ‘okay, how can I use the genre, and how can it help me take the audience on this journey’.
A Nolan film typically means one watch is never enough and people have to go back again and again to join the dots…
For me, it is very exciting that people go back and re-watch my films again and again to get them. As long as I have done my job of giving the first time viewer an exciting and entraining experience, I am happy. If I can’t entertain people the first time around, then I don’t think they’ll be interested in coming back. I take years to work on the stuff and I have a lot of people helping me do it. There are a lot of ideas that go into my films and the audience has only two-and-half hours to take away. Hopefully, we put things there which people might notice in the second or third viewing.
The casting in your films continues to be intriguing. How do you zero down on your cast?
I try to not write with actors in mind as that would be limiting for actors. I try to write the character on page and don’t let real actors be a factor. When I finish the script, I have this amazing moment of looking at the performances of so many talented actors and think about what this actor could bring. Be it John David Washington, Dimple Kapadia, Robert Pattinson, Elizabeth Debicki, these are all people I knew would take what I had written and make it so much more real.
You did a cohesive and successful job with the Batman franchise. Would you go back to directing superhero films?
I don’t think so. It was a privilege to work with that character but it was 10 years of my life. I have other types of stories to tell as filmmaker.
I feel people’s desire to watch films on the big screen is undiminished-Christopher Nolan
8:03 AM
Renuka Vyavahare (BOMBAY TIMES; December 12, 2020)
If it isn’t complex, it isn’t Nolan. Will we ever see you making a non mind-bending, uncomplicated film?
I like to do things that use convention to give the audience a certain jumping-off point. For instance (in Tenet), I have taken a spy film and the audience is familiar with that genre. There are conventions to that, but I take those for granted and use those to take the audience somewhere different, somewhere more complicated or somewhere they haven’t been before. That’s my ambition for whatever genre I am working on.
“You have to see Christopher Nolan’s films at least three times to understand what he is trying to say.” How would you respond to this popular opinion or observation of your work?
I make mainstream films for a wide audience. Hopefully, they enjoy that. I think having some complexities in the story, something potentially confusing, that’s the fun of filmmaking. I like to pull people in a slightly different direction than they are familiar with. You’ve got to remember that I have had years and years to think about and craft these films with a great team working on it. The audience only has two-and-a-half hours to take it away, so inevitably there’s a density to it. There will be things that people miss the first time around that they get to see the second time if they are interested. I am happy if people want to revisit my work. If there are questions left at the end of the movie that make them want to rewatch it, that’s a wonderful thing for a filmmaker. But at the same time, a film has to be inspiring and exciting the first time you see it. It has to take you some place and give you a reason to think about it more or see it again with friends.
One cannot hold back from asking you about your fascination with time. Be it Memento, Inception, Interstellar, Dunkirk and now Tenet. What draws you towards time the most?
I am fascinated with time because I have always lived in it like the rest of us. What I have learned over the years while exploring stories is that there’s a very unique relationship between time and cinema. My friend, visual artist Tacita Dean, said something profound during a presentation in Mumbai a few years ago. I was seated in the audience. She said, “The camera sees time.” I thought about it when I was writing Tenet and it struck a chord with me. It’s true. Before the film camera, humans had no way of seeing time differently… running something backwards, fast forward or slow motion. The birth of cinema itself lets us examine time in a way that we couldn’t before. This is why I feel time is the most cinematic subject.
In what has been a huge loss to cinema, one of Indian cinema’s finest actors, Irrfan Khan, passed away this year. You were keen on having him on board for Interstellar, but that didn’t materialise. He told Bombay Times in August 2013 that while he doesn’t have the tendency to regret what he does, not being able to work with you was one.
Yes, I did meet Irrfan for Interstellar. I was looking forward to working with him. Unfortunately, he wasn’t able to do the film. He was a great actor.
Dimple Kapadia told us that she was sure she won’t get a part in Tenet, but the only reason she auditioned for it was to get a picture with you.
(Laughs!) Dimple is extremely self-deprecating. She is an actress of supreme poise and elegance. As soon as we met, we felt a connection. What I was looking for in Priya (Dimple’s character in the film) was hidden depth, elegant façade and a layered personality. She was able to project that. She gives you the shift you are looking for in her character. In our first meeting, I just put a camera on her and we tried to do a scene in different ways to project different psychology of her character. That’s what I look for in an actor as a director. She is the whole package. There’s so much charisma.
You have been to Mumbai twice. You shot portions of Tenet in the city. As a director whose work takes him across the globe, what intrigued you about Mumbai the most?
Mumbai has a mixture of different architectural forms — old colonial, Gothic to modern and an exciting skyline. The scale, density of the city and number of people living there... Mumbai is vibrant, unique and extremely striking. For a filmmaker who hasn’t been there before, to see it all with fresh eyes, you try to take it all in and capture it on camera as much as possible. Having seen the city from the ground, I wanted to take some aerial helicopter shots of the skyline. I was able to do that and that was a unique opportunity. The Mumbai shots speak for themselves. They are one of the grandest scenes in Tenet and we have shot all over the world.
You have always been a huge supporter of the big screen. The pandemic has affected the theatre business globally. Do you see them bouncing back anytime soon?
People will always love the feeling of coming together to watch a great story. The pandemic has made us unable to do that for some time, but in the long term, it’s something that you will always want to do. This phase has been very hard on exhibitors and people working in theatres. But I feel people’s desire to watch films on the big screen is undiminished. People are hungry to get back to the theatres when it’s safe to do so. In the long run, I feel very optimistic about the future of films.
Logjam at the box office in 2021?
8:29 AM
Even as a number of Hindi as well as Hollywood biggies shift to 2021 due to the pandemic, experts feel it will only ensure ‘a steady and robust flow’ of quality films
Prashant Singh (HINDUSTAN TIMES; December 9, 2020)
It’s a given that 2020 has been nothing less than disastrous for movie exhibition business. But now that the year is nearing it’s end, 2021 may see a box- office logjam of sorts as all the films — Bollywood, Hollywood and others — that have moved to next year, besides the ones that were anyway set for a 2021 outing, will have back-to-back dates with the big screen.
From Bollywood, titles such as Sooryavanshi, '83, Maidaan, Jersey, Radhe: Your Most Wanted Bhai and Laal Singh Chaddha among others have moved to 2021. Plus, a number of films such as Mumbai Saga, Jayeshbhai Jordaar, Brahmastra, Bunty Aur Babli 2, Prithviraj, Shamshera and Bellbottom are either complete or nearing completion.
Experts, on their part, feel a “steady flow” will help the entire ecosystem. “The year 2021 will be a very exciting year as a number of big films will finally hit theatres, which, in turn, will contribute in bringing back people to theatres and, help theatres finally earn some revenue,” says trade analyst Taran Adarsh, adding that the “big films are the need of the hour” for theatres.
Not just Bollywood movies, a number of topline Hollywood biggies such as West Side Story, Mission: Impossible 7, The Suicide Squad, Top Gun: Maverick, Fast & Furious 9, Black Widow, A Quiet Place Part II, No Time To Die, Morbius and The French Dispatch among others also made their way towards 2021. “After a remarkably bad 2020, a steady and robust flow of quality movies next year can really help bring a lot of things back on track, which is the need of the hour for the entire exhibition sector,” says exhibitor-distribitor Akshaye Rathi.
But what about the logjam at the box office? “In a way, it will be a good problem to have after a disastrous 2020. So, exhibitors and distributors may not complain with the sheer variety,” says filmmaker Anees Bazmee, adding: “But I hope that the release windows can be worked out in a way that no one faces any loss.”
Industry experts are confident that release windows can be spaced out and “makers will do that”.
Adarsh says: “I am sure everyone will space out their releases instead of stepping onto each other’s shoes. Be it screens, footfalls or box-office, they can be divided for everyone’s benefit.”
For Rathi, spacing out a film’s release is directly proportional to a film’s revenue share. “I only hope that all the tentpole films space out their release dates by at least a week because we wouldn’t want a situation wherein two or three of them are out on a day, resulting in business getting divided,” he says.
No Christmas cheer at BO?
While Christopher Nolan’s Tenet has brought in some cheer to Indian box-office with opening weekend collections of ₹4.25 crore (it’s expected to make ₹10-12 crore in India), exhibitors -distribitors are surprised that no premium Hindi film has gone for the lucrative Christmas weekend. As of now, only Wonder Woman 1984 and Shakeela are slated for December 25 release. “Sanjay Leela Bhansali’s production, Tuesdays And Fridays may come out on Christmas,” says a source.
Christopher Nolan brings back the audience with Tenet, wonders expected from Gal Gadot's Wonder Woman 1984
8:28 AM
Makers of Sooryavanshi and ’83 should fix release dates by first week of Jan
Himesh Mankad (MUMBAI MIRROR; December 8, 2020)
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.
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?
8:24 AM
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.
(Crisp) Movie Review: TENET by FENIL SETA
6:56 PM
Tenet is an exciting thriller with loads of thrilling and unpredictable moments
from start to finish. As expected, it’s not a simple fare. But this
flick is more complicated than Christopher Nolan’s previous films and deserves the full attention of the viewers. The first half is sure
to bewilder audiences. Thankfully, things get slightly comprehensible in
the second half. The twists and turns here are amazing. The film,
however, ends with a lot of unanswered questions. One really wishes if the
film was simpler. Perhaps, that would have enhanced the impact. A few
instances do remind one of Avengers: Endgame. One of the reasons it
worked despite its complex concept was because it was simpler and hence
appealed to all kinds of audiences. Speaking of performances, John David
Washington is apt for the part. Robert Pattinson looks stylish and
impresses with his style and understanding of the character. Elizabeth
Debicki arguably gives the best performance in the film and it’s an act
to watch out for. Kenneth Branagh scores in the villainous role. Dimple
Kapadia is fantastic and it’s a pleasure to see her essaying an
important role. Michael Caine is adorable while Clémence Poésy is
first-rate in the cameo. Ludwig Göransson's music is one of the best
parts about the film. The score enhances impact significantly. VFX is
seen to be believed. All in all, despite the minuses, Tenet deserves a
watch, that too on the big screen. In fact, it’ll be a CRIME to not see
this in cinemas, especially if you are interested to see it. And kudos
to Nolan and Warner Bros for taking the brave step of releasing it in
cinemas across the world in these times!
My rating - *** ½ out of 5!
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