Bollywood ruled 2023! From our seasoned superstars raking in the moolah to impactful performances by the younger lot, Hindi cinema lovers got it all! Actor Shah Rukh Khan returned to the big screen with a bang, with not just one or two, but three power-packed performances. Actor Sunny Deol, on the other hand, marked his dhamakedar comeback with the sequel to his 2001 hit Gadar: Ek Prem Katha. Actors Ranbir Kapoor (Animal), Vicky Kaushal (Sam Bahadur) and Vikrant Massey (12th Fail) proved their mettle.

“What a year! Mooh tod jawaab to those who wrote off Bollywood,” says trade expert Atul Mohan.

The audience was served good content and film clashes on a platter this year. The Akshay Kumar-Pankaj Tripathi-starrer OMG 2 clashed with Deol’s Gadar 2; when everyone thought the latter would devour the former, it never came to pass. We also saw clashes between Kaushal and Kapoor, and Shah Rukh’s Dunki and actor Prabhas’ Salaar.

OMG 2 director Amit Rai says, “We saw masses and classes come out to watch films. Some thought cinema se maar-dhaad gayab ho gaya hai, but public ne woh bhi qubool kiya. Future mein, yeh saal sabse important year maana jaayega, in terms of footfall and collections.”

Films set in small towns like Zara Hatke Zara Bachke (Rs. 88 crore), 12th Fail (Rs. 50 crore) and Satyaprem Ki Katha (Rs. 75 crore), too worked their magic. Controversy was swirling around director Sudipto Sen’s The Kerala Story, but it went on to become one of the biggest successes, this year, as it breached the Rs. 200-crore club.

Sen says, “It’s good for the industry that small films worked.” For Rai, 12th Fail was a surprise: “Vikrant, the lead actor isn’t that big a star. Yet it worked and the return on investment is crazy.”

The industry also saw a few lows as some films didn’t quite hit the mark with their box-office collections. Actor Salman Khan’s Tiger 3, one of 2023’s most anticipated releases, with a budget of Rs. 300 crore, earned Rs. 466 crore. Ganapath, made on a budget of Rs. 200 crore, earned Rs. 13.38 crore, while Kuttey and Thank You For Coming, both produced with a budget of Rs. 45 crore, earned Rs. 4.65 crore and Rs. 9 crore, respectively.

Devang Sampat, CEO, Cinepolis India, says, “This is part and parcel of making films. After Covid-19, we saw a recovery of 90% in 2022 and it reached 110% in 2023. It’s a great sign.”

This year, Vicky Kaushal was on a roll with back-to-back releases that allowed him to showcase his versatility. He began the year with the rom-com, Zara Hatke Zara Bachke (ZHZB), followed by the comedy, The Great Indian Family. He acted in Sam Bahadur, a biographical war drama, and ended the year with the social drama, Dunki.

“I genuinely feel hungrier than ever before,” says the 35-year-old, adding, “Sam (Manekshaw, former Field Marshal of the Indian Army) was the toughest role and film I took up. Now, I want to push the envelope further. As an actor, I want to plunge myself into even tougher situations. I feel charged for the journey ahead.”

For Kaushal, 2023 has been “gratifying”. He says, “In the first quarter, I was shooting for Sam Bahadur and it was an enriching experience. Zara Hatke Zara Bachke worked wonderfully at a time when people were saying it won’t do well in theatres. Sam resonated with the audience and, of course, Dunki is doing well, too.”

Over the years, he has established himself as an actor who acts in powerful yet meaningful roles, with Uri: The Surgical Strike (2019). Sardar Udham (2021) and Sam Bahadur: “There is a certain responsibility towards the character you play [in these films]. These types of characters bring out the best in me. But, as an actor, you are hungry to explore different genres.”

This is what the actor strived to do with projects like ZHZB, The Great Indian Familyand Govinda Naam Mera (2022). Many called them a risky proposition, but Kaushal went ahead with them: “As an artiste, I am on a quest to take up varied characters as that’s how I will grow. I focus on if a film resonates with me, be it the story, character or director’s vision. These films excited me with the conversation they were trying to have with the audience.”

Success and failure are inevitable aspects of an artiste’s journey. However, what truly characterizes them is how they navigate through both. Vicky Kaushal, who has experienced success with Zara Hatke Zara Bachke, says he doesn’t let either success or failure affect him.

“One valuable lesson I’ve learnt through my journey so far is the importance of being attached to the process and detached from the results, be it success or failure.”

“I treat both as imposters that come and go. Jab mera waqt hoga toh success dekhunga aur jab nahi hoga toh failure se samjhunga aur seekhunga. You can be motivated by the result or learn from it, but not be overly attached to it. Every Friday, a film becomes the audience’s and it’s crucial to let go. Whether applause or criticism follows, one must accept it and move forward,” shares the actor.

So, has he mastered the art of detachment once a film is out? Calling himself a work-in-progress, he says, “Main itni philosophical baatein bol raha hoon iska matlab yeh nahi ki main bilkul implement karta hoon. Jab taaliyaan padti hain tab bahut khushi bhi hoti hai aur internet par jaa kar dekhne ka mann bhi karta hai ki log kya-kya keh rahe hain, aur jab gaaliyaan padti hain, toh bilkul mann nahi karta. It is something that I am learning. So, that awareness is there, and I remind myself every day to stay with that understanding and think about what’s next.”

He further adds, “There are so many opinions around you regarding what works and what doesn’t, and you want to safeguard your instinct and follow it. Sometimes, it’s a battle between the heart and mind, and at other times, they are in sync. I am at a point where I listen to everyone but follow my instinct.”

It’s not always the big shout-outs that make a difference in one’s pursuit of success. Even silent support can have a significant impact.

At a time when many utilize social media and their star power to back each other’s endeavours, Vicky Kaushal shares that his wife, actress Katrina Kaif’s quiet support in their personal space means a lot to him.

Ask him about his star-wife not taking to social media to promote his work, and he replies, “It’s not something we have decided on. We understand the importance of keeping our personal and professional lives separate. We are each other’s biggest cheerleaders, but that doesn’t necessarily mean we shout from the rooftops to show the world.”

For Vicky, it’s very important that Katrina is among the first to watch his film’s trailers and songs when they are released because she always gives him unbiased feedback.

He says, “Throughout the journey of ‘Zara Hatke Zara Bachke’, she has been an incredible pillar of support. I always want her to watch the trailers and the songs of my films because she is like a mirror to me. She won’t sugar-coat things to please me and will give me honest feedback so that I know the reality. I seek emotional support and grounding from my partner. It’s not about her clapping the loudest for me. She is an unwavering and rock-solid support, and I deeply appreciate it.”

She was raised by liberal parents who encouraged her to blossom, thrive and be who she wanted to be. And here’s what we have today — a bindaas, spunky, confident and cool girl, who likes living her lifezara hatke. Someone who is proud about not “being manicured”. Take it, or leave it — that’s Sara Ali Khan for you, darshakon! Sitting in her lovely Juhu home, we talk about all that matters – success, failure, beliefs, criticism, love, and most of all, about her honest, true self. Read on…

I definitely think that my career has been hatke. Aankh Maare (Simmba) dropped on December 6, 2018, and Kedarnath released the next day, on December 7, and just those two pieces of work are so different. However, I think whenever I have played a girl from the heartland of India, it has connected with the audience, because I am that person in my soul – in the way I travel, eat, talk or my values. Whether it is the Bihari dialect in Atrangi Re or dressing up like a Punjabi girl in Zara Hatke Zara Bachke (ZHZB), these are things you have to work on, but desiness to me is an emotion. So, the desire to be versatile is always there, but beyond that, there has been no planning my career trajectory.

I think it is important to understand what the criticism is. If I am being criticized for going to a temple, the length of my shorts or the colour of my dupatta – then I don’t care. It’s no one’s business, but my own! But, if I am being criticized about my work, and if they don’t like my work, then that’s a problem because I work for the audience. It is important to take feedback, learn and grow. If I had carried the burden of the failure of Love Aaj Kal onto the set of Atrangi Re, I wouldn’t have been able to deliver. Whatever I do, I do it with my heart and soul. It is difficult to detach when you love something so much. It broke my heart when the media and audience that gave me so much love for my first two films panned me in Love Aaj Kal. It shattered me entirely. But I decided that main haar nahin maan sakti, and I have to do better. I am not one of those people who will say that they don’t care. Of course, I do. I don’t let failure or criticism break me, but I don’t let it make me either. Now, when I meet people at the gym, they are much nicer to me than they were a few months ago (owing to the success of my film). The love I received for ZHZB has given me a lot of confidence, but I didn’t let it excite me much as I know it’s till next Friday. So, I don’t get too attached to the love, for I know that it might not last.

Yes, I have. I am getting better at being able to surrender to the director’s vision. I think somewhere, I had become a little insecure after some of my films that released didn’t get the kind of response and love that I had hoped they would. Suddenly, I became unsure…ki bharosa bhi karu to kispe karu, kitna, kya karu? To fully let that feeling go and be able to honestly present yourself in every set is a different learning. Also, because I am loud, funny and bindaas, one thing I have learnt recently is that the idea is not to be the joker on set. The idea is not to exhaust yourself so much that action aur cut ke beech mein kuch rahe na because you have to leave the juice and meat for what really matters. The rest is all useless.

I guess I am so different from others that I come across as bindaas, ziddi, pagal…aur mujhe yeh sun ke bahut garv mehsoos hone laga ki I am not manicured, and I started liking that. I started enjoying the fact that people appreciate me for who I am. Since childhood, I was encouraged to be myself by my parents. But people often told me, ‘Talk softly, don’t laugh so loudly, your body language and posture should change now that you are going to be an actor.’ Then I actually got accepted for who I am, and I was like…why should I waste my energy trying to be someone else. I can be different people for my screen roles, and if I need to do justice to all these characters on screen, I need to be Sara when I am not any of these in real life, else I will go crazy. I admire people who can put up this front 24/7. It is exhausting, and I want to save that energy for action and cut. It is not that I say anything anywhere, I do have that awareness. But yes, off-camera, I want to be myself and be real.

I want to be able to do everything. There is a certain connect that I feel to heartland India, and I would like to do another one in that zone. But I also want to do a royal period drama and a romantic film. I want to reach a point where people say that there is no genre that Sara can’t do. I set very high standards for myself; I always have. I believe that if you aim for the moon, you will land on the stars. Anand L Rai taught me that – give a bad shot, but never give a safe shot. Take a risk, take that leap.

I don’t know if it is a deterrent, but it is who I am. I have learnt thus far in life that I don’t mind being loved, I don’t mind being hated, but I don’t want to lie – whether it is to my friends, audience, media, or the man in my life. You have to take me for who I am. I do have an opinion, a brain, a heart, and I am not going to silence any of them. Hopefully, I will find the right person who accepts that.

I am beginning to understand what the job is and what isn’t. People pleasing is a defence mechanism you will adopt when you don’t think you are good enough for the job. I went through that phase after Love Aaj Kal when I thought my jokes would be appreciated if not anything else. But I am realizing that the work will speak. I don’t want to be known as a knock-knock queen, that’s not my name. That is only funny if there is a decent amount of work to substantiate it. Confusing audiences into buying their love by giving intelligent interviews or jokes on reels instead of work is not the approach. The more films I do, the more I realize that.

The weekend gone by was nothing less than a carnival at the cinemas, as audiences had four distinct movies to choose from—romantic drama Rocky Aur Rani Kii Prem Kahaani, Christopher Nolan’s biopic Oppenheimer, Greta Gerwig’s satire Barbie, and Tom Cruise’s actioner Mission Impossible: Dead Reckoning - Part One. While the Ranveer Singh and Alia Bhatt-led dramedy earned Rs 45.90 crore over its opening weekend, Oppenheimer and Barbie have amassed Rs 91 crore and Rs 32 crore respectively, in its 10-day run. So, are we finally witnessing a turnaround after the dry spell of the past many months?

Not exactly. Trade analysts say the movie business is far from recovering the losses incurred in the post-pandemic era. “Thanks to Oppenheimer, Mission Impossible: Dead Reckoning - Part One and Rocky Aur Rani, many theatres had housefull boards this weekend. So, we are enthusiastic, but not elated. The industry has a long way to go before we can recover the losses incurred during the pandemic. We need four to five blockbusters to get there,” says exhibitor Akshaye Rathi, who runs a chain of cinemas across Maharashtra, Madhya Pradesh and Chhattisgarh.

Bihar-based exhibitor Vishek Chauhan is less optimistic. He points out that while theatres in metros have witnessed strong footfall, things haven’t changed in tier-2 and 3 centres. “These are primarily multiplex films. The single screens are dead. Audiences didn’t throng my theatre yesterday for Rocky Aur Rani Kii Prem Kahaani, which they did in the case of Satyaprem Ki Katha and Zara Hatke Zara Bachke. We can’t [only] consider the robust collections in metros, and say that theatres are doing well,” he explains.

Distributor Raj Bansal highlights another important factor—that the current business is largely being driven by three Hollywood films, with Karan Johar’s dramedy being the only exception. “When we look at the commercial business of Hindi films in 2023, we don’t have many [successes] so far except Pathaan, Tu Jhoothi Main Makkaar, Zara Hatke Zara Bachke and Satyaprem Ki Katha.”

On that count, Chauhan emphasizes that Rocky Aur Rani Kii Prem Kahaani, being a Johar venture, should have performed much better. “Even in the multiplexes, the film hasn’t gained the momentum that one expected from it. A Karan Johar film should have had an opening weekend of Rs. 75-80 crore,” he says. Fortunately, the movie is enjoying good word-of-mouth and should hold well in the coming days.

Bansal adds that the upcoming movies may give us those elusive blockbusters. “The limited advance booking of Gadar 2 is positive. Then, there is Jawan, and towards the year-end, our hope is pinned on Tiger 3, Animal and Dunki.”

Since she broke on to the film scene five years ago, Sara Ali Khan has worked with a number of A-list directors like Abhishek Kapoor (Kedarnath; 2018), Rohit Shetty (Simmba; 2018), Imtiaz Ali (Love Aaj Kal; 2020) and Aanand L Rai (Atrangi Re; 2021). Riding high on her latest, Laxman Utekar’s Zara Hatke Zara Bachke (ZHZB), the actor, who is a “nervous person in general” believes that working with these big names is a privilege.

The 27-year-old shares, “I don’t feel pressure while working with a big director, but rather privileged. I want to work with filmmakers, who I can fully surrender myself to and say ‘Bhai aap jo bologe, as an actor, main vahi karungi’. I want to continue to do honest work so that more directors want to work with me. That’s the only way to grow.”

Sara, who comes from a filmy family (her parents are actors Saif Ali Khan and Amrita Singh), doesn’t let that go to her head. “Early on in my career, I was spoiled. But I understood that mera kaam hai apna kaam karna. I have to be on set on time, know my lines and do what the director says. Films are a director’s medium,” she says.

Sara, who starred along with Vicky Kaushal in ZHZB says, she is taking success with a pinch of salt. “You’re only as relevant as your last Friday [collections]. I got a lot of love for the film. I’m enjoying the moment but I am not holding onto it. One wrong Friday and it can all go away,” she ends.

What’s common among Shahid Kapoor-starrer Bloody Daddy, Varun Dhawan and Janhvi Kapoor-starrer Bawaal and Blind, featuring Sonam Kapoor Ahuja? Its makers ditched a big screen release and took the direct-to-OTT route. Amid the supposed resurgence of the box office, looks like makers consider the web a safer bet to release films.

The box-office performance of Indian films has marginally dipped, though Hindi movies have shown improvement, according to Ormax Media’s bi-annual report. Could this be a reason for the increase in the number of web-first releases?

Trade expert Atul Mohan says, “Makers feel going to OTT is a safer bet and streaming platforms also want big names, to get subscribers. When makers sense a film will not work, they strike a deal with a streaming platform and also save money on marketing. If the budget of a film is Rs. 65 crore, they usually spend Rs. 10-15 crore on promotions.”

According to Manish Kalra, chief business officer at ZEE5 India, the trend has a lot to do with the creative freedom the web offers: “From Salman Khan’s Radhe (2021) to recent hits Sirf Ek Bandaa Kaafi Hai (starring Manoj Bajpayee) and Tarla (featuring Huma Qureshi and Sharib Hashmi), the [web] space provides creators a platform to connect with the audience, map preferences and bring stories with more compelling narratives.”

Trade expert Taran Adarsh feels what’s meant for the big screen should head there: “For instance, in the case of Zara Hatke Zara Bachke, a lot of people said it is meant for OTT and that it will not make even Rs. 10 crore at the box office. But, it has made close to Rs. 90 crore, all because the producer took a big risk and released it in theatres. Makers should never underestimate the power of good cinema.”

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Whoever has put in money [in a film] should benefit, irrespective of the medium of release. I’d want all my films to be released on the big screen, but I understand the commercial aspect. So, as long as it is benefiting everybody and reaches viewers, I don’t mind where they (his films) release.

- Sharib Hashmi, actor

Producers are looking at the OTT space as a safer bet over the big screen. And that is fine. As long as a film is released somewhere... Kahin na aaye, usse better kahin toh release ho!

- Anees Bazmee, director

Vicky Kaushal’s josh is currently high – he has tasted box office success, is excited about his upcoming projects and is enjoying his married life, which, in his own words, has helped him evolve.

Vicky says, “I knew I didn’t fit the quintessential hero archetype. Initially, I just wanted opportunities to showcase my love for acting and my ability to act. It’s not that I had 10 scripts to choose from. I didn’t choose a Masaan or a Zubaan, they chose me. ”

In a conversation with us, the actor talks about how he confronted his insecurities, the way he views success, and about staying true to his core.

Talking about how he spent years finetuning his craft, Vicky says, “I was never in a rush to be in front of the camera or be a hero. I always had a realistic picture of the industry because of my father (action director Sham Kaushal). I observed the harsh reality and realized that there are no second chances. At the end of the day, it is showbiz, where people are putting money on you. You must make them believe that you know your work and are passionate about it. I spent around six years training myself in the craft and worked as an assistant director trying to understand the process.”

The actor admits that, in the beginning, he would he would be overcome by inferiority complex “for not being a gora chitta, with a typical hero kind of body”. He recalls, “I was exactly the opposite of that. In the beginning, when I would tell people, ki mujhe acting karni hai toh unke face par ek question mark hota tha. Honestly, when I started auditioning for films, I had to confront my own inferiority complexes. I knew I didn’t fit the quintessential hero archetype, who would get a typical launch. Initially, I just wanted opportunities to showcase my love for acting and my ability to act. It’s not that I had 10 scripts to select from. I didn’t choose a Masaan or a Zubaan, they chose me.”

Over the years, Vicky’s career trajectory boasts of films that are both content-driven and commercially viable.

Ask him how much the box office matters, and he says, “Box-office success is crucial because filmmaking is also a form of business with art as its steering wheel and money being the engine that helps to produce that art. While the box-office collection is important for reasons like being able to tell more stories, in the end, I feel the ecosystem of making films has to also focus on the purity of the art form.”

Vicky admits to being overwhelmed by the response to Zara Hatke Zara Bachke, but while he enjoys success, the actor says that the change happens on the outside, and deep down, nothing much has really changed. “When you evaluate change at just the surface, then it is that you have moved into a bigger house or driven a bigger vehicle. However, these are materialistic things that will keep changing. At the core, I don’t think anything has changed.”

He added, “What I try to keep doing is be honest with my work and who I am at my core. The story of Zara Hatke Zara Bachke and the character of Kapil was close to my middle-class upbringing, and it struck a chord with the audience.”

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Talking about changes that marriage bought in his life, Vicky says, “I have evolved beautifully. Living with someone is a learning experience. I have come to realise that when two people come together, they create a common ground of understanding and meet halfway, and embark on a beautiful journey together. It’s an incredibly exciting and enriching experience. I have been married for over a year and a half now, and I have learnt that it is not just about my perspectives, opinions, or schedules but about the union of two individuals. The truth is that I couldn’t have asked for a better companion than Katrina to live this journey.”

It’s been eight years since Vicky Kaushal stepped into mainstream cinema with Masaan, after doing a couple of brief roles in projects such as Bombay Velvet (2015) and Luv Shuv Tey Chicken Khurana (2012). As he achieves new heights in his eight-year career, the actor shares that he doesn’t shy away from the pressures that come with stardom. 

“We (actors) don’t own stardom. It is given to us by the public,” says Kaushal, adding, “The pressure and responsibilities that come with it, if taken the right way, will help you grow as an artiste and as a human being.” 

The 35-year-old, whose last theatrical outing, Zara Hatke Zara Bachke, turned out to be a hit, wants the audience to have high expectations from him. “I want people to care about my work and expect better, in fact the best, from me. When I started off on this journey, it was very clear that there are just two paths; first, where you can try to be better at your work so people care about what you do; second, where people will not be happy with your work and not care, hence no pressure,” explains Kaushal, saying that he was clear that he wanted to walk down the first path. 

Kaushal made a name for himself through projects such as Uri: The Surgical Strike (2019) and Sardar Udham (2021). Reflecting upon his journey so far, the National Award-winning actor says, “Through the years, the biggest lesson for me has come from a poem by Rudyard Kipling, which says, ‘Success and failure both are imposters. Nothing should make you fly too high, nothing should make you feel bogged down too much’.”  

Having said that, Kaushal points out that whatever happens with every film after Friday has “to do with destiny”. “I just focus on learning, no matter what happens,” he ends.

The first half of the year continued from where we left in 2022 with most films biting the dust. PATHAAN hit it out of the park with record numbers edging past BAAHUBALI 2: THE CONCLUSION though in GROSS terms the Prabhas-starrer remains ahead. PATHAAN saw Shah Rukh Khan in the action genre which should have happened 10-15 years ago as a lot of his non performers were down to genre not being correct at the time of release for such a big star.

THE KERALA STORY was the surprise of the first six months as it racked up huge numbers for what the actual film as worth and the collections were more organic than last year's THE KASHMIR FILES which was on similar lines. Both these films are very low cost films with huge returns and are compared to biggest low cost film ever JAI SANTOSHI MAA (1975). But the box office success of these films is a notch lower as the reach is less than that film. 

ZARA HATKE ZARA BACHKE was another big HIT and it is actually the most important film of the year as it is basically the bread and butter type film for the industry and it can still work. The film shows the audience profile has changed from upper middle/middle class to lower middle/middle class as nothing else in this zone has worked. But generally those films were more like pre pandemic aiming at the upper middle/middle classes. This film scored strongly in A centres of the Hindi belts pushing the box office over 80 crore nett with the help of super hit music.

The other moderate successes were TU JHOOTHI MAIN MAKKAAR and SATYAPREM KI KATHA but today even moderate is good. Actually today even a FLOP tag is pretty respectable as its one disaster after another. TU JHOOTHI MAIN MAKKAAR had a lot going for it with a strong cast and good music. As the film had a story and milieu which was very urban, the reach got limited and that reflects in collections. SATYAPREM KI KATHA is another film which has done well for what its worth. The film did not have much going for it and its managed a decent run till date and should end up around that 70 crore nett mark or near. The AVERAGE mark is disappointing for TU JHOOTHI MAIN MAKKAAR but you take it for SATYAPREM KI KATHA.

Last year there was support from the South with KGF: CHAPTER 2 and RRR but so far there has been nothing this year. Hollywood had some successful films with JOHN WICK: CHAPTER 4 being the surprise with collections of 50 crore nett. FAST X did a bigger number but expectations were also much higher.

There are flop theatrical films put in the list but as mentioned above, a flop is not bad as most films are disasters at the ticket counters today. The classifications of the first half of 2023 is as follows.

Pathaan

The Kerala Story

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Zara Hatke Zara Bachke

John Wick: Chapter 4 (Hollywood)

Fast X (Hollywood)

Spider-Man: Across The Spider-Verse (Hollywood)

Tu Jhoothi Main Makkaar

Satyaprem Ki Katha

Guardians Of The Galaxy Vol. 3 (Hollywood)

Mrs Chatterjee Vs Norway

Ponniyin Selvan - Part 2 (South)

Adipurush

Kisi Ka Bhai Kisi Ki Jaan

Bholaa

While he was nervous about how his first theatrical outing since the pandemic, Zara Hatke Zara Bachke (ZHZB), would do on the big screen, Vicky Kaushal is now in a “super positive mindset”, thanks to the way the audience accepted his film. The actor adds, “It has made me hungry to give more than my 100% in whatever I do next.”

Kaushal feels that content has taken precedence in such a way that the audience doesn’t care about the stars or production house associated with a film these days. “I was nervous if people would turn up at the theatres as the film isn’t a visual spectacle, mounted on a big scale or high on action. But, the audience doesn’t discriminate on the basis of budget, stars or cast anymore. They just come to the theatres to connect to the story and characters that we show them,” says the actor.

This year, a lot of Hindi films failed to rake in the moolah. But, the 35-year-old isn’t worried. “People’s love is our motivation to bring stories [to the big screen],” he says, adding, “I had my reservations about ZHZB, but the joy of looking at packed theatres and people resonating with our film’s middle-class values and struggles, goes beyond numbers.”

Talking about staying “detached” from a film’s fate, he adds, “After a film is released, it’s no longer yours. It belongs to the audience.”

The year started off with a bang as actor Shah Rukh Khan’s big comeback, Pathaan, lived up to its hype. However, it’s been a mixed bag in terms of the releases that followed. Trade expert Atul Mohan says, “Pathaan was an emotional hit. People just wanted to watch it to show support to Shah Rukh, who was going through a rough patch personally.”

A handful of films worked, but a bigger number didn’t. Family films and those in the romcom space, such as Tu Jhoothi Main Makkaar, Zara Hatke Zara Bachke and now, Satyaprem Ki Katha — which is still in its first week — worked. This hints at the fact that mid-segment movies are back to support tentpole films such as Pathaan.

“That was necessary, as mid-segment films are what keep the box office in the green. They keep people coming to cinemas till the time a big film releases,” says exhibitor Akshaye Rathi.

While the Kartik Aaryan and Kriti Sanon-starrer Shehzada didn’t meet expectations, Kisi Ka Bhai Kisi Ki Jaan — led by Salman Khan — made on a production cost of Rs. 150 crore, also didn’t earn as expected.

But, trade expert Taran Adarsh feels the “biggest disappointment of 2023 has been Adipurush”. The Prabhas-led epic, which incurred a production cost of Rs. 500 crore, had its fate sealed from the big drop on its first Monday after release, clouded by controversy and backlash over its dialogues.

Star-led projects such as Akshay Kumar’s Selfiee and Ajay Devgn’s Bholaa also disappointed. But, then came The Kerala Story on May 5 that proved to be a winner. Its director, Sudipto Sen, says: “Small, realistic films are creating a new ecosystem. People are connecting more to them. The ones with an organic connection are the ones working.”

Budget: Rs. 240 cr

Lifetime: Rs. 512 cr

(ALL INDIA FIGURES ACCORDING TO BOX OFFICE INDIA AND TRADE ESTIMATES)

What’s the secret to box-office success in Bollywood? Only a tentpole action film, industry insiders would say until a few weeks ago. But the performance of Satyaprem Ki Katha tells us otherwise. In only four days, Kartik Aaryan and Kiara Advani’s romantic drama has made over Rs 38 crores. This comes close on the heels of Vicky Kaushal and Sara Ali Khan’s Zara Hatke Zara Bachke, which released on June 2 and has made over Rs 84 crores. It’s safe to say that the myth about only action films drawing audiences to theatres has been busted. 

Manoj Desai, executive director of G7 Cinemas and Maratha Mandir, says that romance has been the box-office flavour in June. “The genre of romance is working at the movies. Satyaprem Ki Katha’s occupancy is between 70 and 80 per cent,” he says, adding that the underwhelming run of Adipurush in mid-June left the audiences wanting more.

“People expected Adipurush to do well, but it didn’t. There is a desire to watch a movie on the big screen. In some ways, this film is making up for the deficit.”

Trade analyst Taran Adarsh says it is folly to believe that a certain genre has an advantage over others. “If a movie is good, it will work. Zara Hatke... and Satyaprem... have been well-received, and are enjoying footfall despite the downpour in Mumbai.”

He, however, credits the makers of Zara Hatke Zara Bachke for taking the leap of faith. “The consensus was that the film should have premièred on OTT, but the makers took a risk, and look how well it did! There is action-movie fatigue. In digital entertainment, [we have] crime, suspense and murder mysteries in surplus. People now want song-and-dance, joy and mostly romance.”

This bodes well for Rocky Aur Rani Kii Prem Kahaani, which promises to be a classic Karan Johar affair, complete with songs, drama and extravagance. While exhibitor Akshaye Rathi admits that an epic romance musical like Rocky Aur Rani... is missing from the market, he is enthusiastic about the mid-budget films.

“There can only be two to three blockbusters a year. For instance, Shah Rukh Khan can give us Pathaan and Dunki once in a few years because these films are time-consuming and expensive to make. For the industry’s ecosystem, it’s not healthy if mid-level films don’t make money. This problem has been rectified by [the success of] Zara Hatke Zara Bachke and Satyaprem Ki Katha.”

“The title is very appropriate with what has happened with the film. Everyone in the industry was going bachke, but we went the hatke way,” gushes actor Sara Ali Khan, referring to her latest movie, Zara Hatke Zara Bachke (ZHZB), which has been running in theatres for close to a month now. “I’ve never really understood numbers; the only currency I prefer is the love I get from the audience,” says the actor.

The 27-year-old is glad that her film has helped defy the notion that people are no longer interested in going to the theatres. “I am happy to see that we (cinemas) are back. Bahut log bolte the badi film honi chahiye, action film honi chahiye, sirf tabhi big screen par aayegi. But, that’s not necessary. I’ve always said that if you tell stories honestly, it will touch people’s hearts,” says Khan.

While she might not understand numbers, Khan does admit that they matter. “ZHZB is my highest-grossing film so far. I can’t claim Simmba (2018) as much as Ranveer Singh (actor) and Rohit Shetty (director) can. Yes, it was my film too, but ZHZB feels more personal,” she says.

The actor is aware that her most well-received performances — including in Kedarnath (2018), Atrangi Re (2021) and now ZHZB — saw her play a “small town girl”. How does she pull these off? “I may not have lived in rural India, but I am a desi girl at the core and am very proud of my Indianness. It’s an emotion. Even my vacations are very different, maybe that’s why people don’t like holidaying with me (laughs). If I go to Himachal [Pradesh] for five days, for instance, I will have at least six meals with the locals. I enjoy that... So if people resonated with these roles, that’s maybe because they come from an honest space,” she ends.

Khan’s visits to religious places such as Kedarnath and most recently, Mahakaleshwar Temple, have created a lot of buzz. Ask her about it, and she says, “People are in the habit of it (trolling); whatever keeps them entertained. I don’t mind if every third person is trolling me, as long as the work I do for the audiences does not go unnoticed. The rest is background noise. Aapko achha lagega, toh theek hai, nahin lagega, toh aisa nahin hai ki nahin jaaungi! It is my personal choice.”

mid-budget movies don’t have a chance at the box office. That has been the industry’s belief going by films’ performance over the past six months. But the success of Zara Hatke Zara Bachke (ZHZB) has busted this myth, as it runs strong even in its fourth week. The Vicky Kaushal and Sara Ali Khan-starrer has reportedly earned Rs. 80 crores, its run unhindered even by the release of magnum opus Adipurush. The leading man admits he didn’t foresee its success, especially in today’s uncertain times.

“When the film was releasing, we were quite nervous. We wondered, will people give us a chance? We were told only big-scale spectacles are working. Our film was about a middle-class family from Indore; there was no action or big-scale extravaganza. But then, its success reminds us that the central idea—of the joys and sorrows of a middle-class family—was powerful. It reiterates that we must follow our instinct,” he smiles.

One of the biggest charms of the Laxman Utekar-directed romantic comedy is the chemistry between the lead pair. “With Sara, you don’t need any ice-breaking. You meet her and instantly feel like you’ve known her a long time. She is such a pure soul.”

Having started his career in 2015 as a critics’ darling, Kaushal has journeyed to becoming a star loved by the masses. Does he worry about losing out on critical acclaim when he signs such massy films? 

“When I sign a movie, I never have these calculations—will I lose my critical acclaim? Is it massy enough? I only care about the story. Also, I look at the director’s vision, and whether it’s a character that I’ve played before. I want to deliver something new to the audience each time. What I can gain or lose from a movie is a conversation I don’t have with myself because that is not in my control.”

This is an important year for Kaushal as he will be seen in Sam Bahadur, another biopic after the acclaimed Sardar Udham (2021). But the actor insists that starting the year with a hit hardly implies that audiences will be drawn to his next with Meghna Gulzar.

“Every film has its own destiny. There is no guarantee that if your last film worked, your next will too. But Sam Bahadur is a special film. We have given it our all, in every way possible.”

Even as Tere Vaaste from Zara Hatke Zara Bachke continues to rule social media, Phir Aur Kya Chahiye, Sachin-Jigar’s other love anthem from the film, has topped the Billboard India list. However, the music producer duo don’t want this success to get to their head.

“We’re happy but we cannot allow the results to change the purity of what we do,” says Sachin, adding, “We are coming from a time where Instagram wasn’t a thing and a radio jockey would tell if the song was a hit or not. So, we feel happy and hope every song we compose is received well, but if we make this achievement our standard, we are not going to enjoy the process.”

About Tere Vaaste becoming a hit on social media reels, they say it’s “overwhelming” to see the response but for them, social media isn’t an inspiration for making music. “We create a four-to-five-minute song keeping in mind our audience. If we start making music thinking ye trend karega, we will end up adulterating it,” ends Jigar.

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In a bid to lure audiences back to the silver screen, theatres are employing innovative strategies such as Buy One, Get One (BOGO) offers and reduced ticket prices. These tactics aim to not only attract moviegoers but also ensure the success of films that might otherwise struggle to find an audience. With several recent releases reaping the benefits, it appears that these approaches are yielding positive results.

One film that capitalized on the BOGO offer was Zara Hatke Zara Bachke (ZHZB). According to insiders, the offer came with a limited number of free tickets available each day. Once the cap was reached, tickets reverted to their regular prices. ZHZB managed to earn Rs. 5.49 crore on its opening day, with nearly Rs. 50 lakh coming from the BOGO offer alone. “Fortunately, ZHZB’s content was good, so the offer became an advantage,” says Rajender Singh Jyala, chief programming officer, PVR Limited.

The makers of The Kerala Story recently announced that audiences could now watch the film for just Rs. 99 (plus GST) nationwide. Sudipto Sen, the film’s director, explains that “this decision was driven by the exorbitant ticket prices in major cities. By lowering the cost, the film could reach a broader audience, including smaller cities where it hadn’t been released previously”. 

While in the case of Shehzada, the BOGO offer couldn’t weave magic, it contributed to the success of the re-mastered version of Gadar (2001). Its director and producer, Anil Sharma, shares, “We made the tickets cheaper so that even a poor person could come to a multiplex. Otherwise, today, ticket prices are such that taking a family to one film costs anywhere between Rs. 1,000-1,500. This is also why films don’t work well.”

Meanwhile, Hollywood movie The Flash has adopted a unique strategy by announcing “Flash Sales” twice a day for 20 minutes (the offer lasted for three days until June 14), where users who are able to book tickets through a multiplex chain’s app will get 50% off on tickets.

Exhibitor Akshaye Rathi encourages such tactics, but says, “This kind of strategy would never be successful for films like Brahmastra (2022) and Pathaan because it’d erode potential revenue. But for (small or medium-budget) films like ZHZB, it works like magic. This becomes the push to watch in halls instead of web.”

The release of ZARA HATKE ZARA BACHKE last week came with a buy one ticket get one offer through the biggest ticketing platform in India, BookMyShow. The industry reports of the film were not encouraging but the film worked with a certain audience in the Hindi belt heartland. This middle class has an overlapping audience in the metros as well. So, many theatres did well in the metros as well.

As within the industry the film was not thought to be that good, the success of the film was put down to the offer and then there was complete chaos as midweek you had the other holdovers like THE KERALA STORY and even SPIDER-MAN: ACROSS THE SPIDER-VERSE giving offers with free tickets and discounted rates. The re release of GADAR - EK PREM KATHA on limited screenings is coming with a buy one get one free offer. There are now many producers of new films contemplating the same.

The fact is that these things just don't work and its about the film and ZARA HATKE ZARA BACHKE has worked to whatever extent due to the film and not the offer. There were reports about X amount of lakh tickets going for free but that is not the case as the numbers coming from the multiplexes chains are much much less as far as far as the free tickets go.

The buy one get one free ticket tactic means that your share is zero on two tickets which makes little business sense. In fact it is less than zero as you are also paying GST yourself on one of the tickets meaning share being minus. The problem being faced by the industry is basically a change in audiences tastes and it is a game of catch up.

This has happened before but this time due to the break for the pandemic it has happened very quickly rather over a few years. Normally you have releases and so the change is picked up and adjustments made to the fresh content going on the floors. But this time it was standstill and then the old content releasing to a divergent audience and box office which had changed, the former in terms of tastes and the latter in terms of different areas driving the box office.

The industry must get into its head that cheap tickets and free tickets does NOT result in more business. The former may give you more footfalls but not higher collections. There is also a misconception that multiplexes want higher rates which is not true as they are happy to drop rates and do these incentives if the producer wishes and its much harder actually for the producer to get the extra push from multiplexes when the there is a premium product. Yes watching a film in a multiplex is not affordable for many but the issue there is not the ticket rate but concessions. There are many multiplexes with 150-200 rates but where the bill goes up and up is on concessions.

Simply put offers and low ticket rates are not going make films do better business. The business side is content related and if the audience does not like there is not much chance of getting numbers. You can even go dirt cheap and all that will do is get more admits but the bottom line is that its unlikely to increase. There are so many examples of this in the tax exemption days as tickets rates went down 70-80% due to high tax but even still with tax exemption, so many films flopped and could not do the business.

This is a dangerous cycle and once you start it sometimes gets hard to stop as by then you make cheap or free tickets a habit for some of the audience and even multiplex chains like it as they see higher footfalls which leads to higher sales on concessions side. The only loser will be the distributor or producer. 

It looked like this was all gone post National Cinema Day when many tactics and tricks were tried but it has come back now and even here the industry will find out it does not work as films tank with offers and cheap tickets when content is not good. National Cinema Day is fine once or twice a year but it can only work if its a novelty rather than week in and week out and even there it cant be when there is a highly awaited big release as you cant build capacity.

The sooner the industry does away with this, the better and just let the system work naturally. The rule has been the same for years and holds true today that its all about the product being good and that good product with a good distribution may get out a 5-10% better result than the same product with normal or poor distribution.