Bollywood ’22: Big Screen succumbs to small screen

Bollywood’s last hope of 2022 was a ‘Jayeshbhai Jordaar’-starrer, but it was as if it suo motto jumped from a flying aircraft from a height of 35,000 feet. If the chief star of that film had posted his vacation photos on Instagram, that would have gotten more likes than the audiences who went to theatres to watch that film.

Only three films, ‘Bhool Bhulaiya’, ‘Drishyam 2’ (a remake of a Malayalam hit), and ‘The Kashmir Files’ (many have suspicions about its success but the figures speak for themselves) were proven hits. There was also a Rs 400 crore film that was a “designer” hit – half of its budget was spent on proving it a hit.

Yet, Bollywood makers are not much worried. They only have to recover their print and advertising (P&A) costs or a maximum of 20-25% of their budget and the rest is “OTT malik”. In short, for Bollywood makers, film release has become merely a formality, since 75% of the cost is borne by OTTs irrespective of the film’s performance in theatres. Thus, the big screen has succumbed to the small screen and has come to totally rely on it. This is ironic because they used to look down upon it in the past.

In the last one or two months, there have been some films which, if they were released in theatres, would not have grossed double digits, but they were released directly on OTT, and earned eight to ten times their budgets. As per the market buzz, an OTT platform has bought two projects of a B+ action hero at three times its value – before even theatre release. As per the industry talk, one film released during the Diwali season claimed its budget to be Rs 70 crore, but in reality, it was Rs 270 crore as Rs 200 crore had been paid to the lead star for an action game show on OTT. When that project did not materialise, the platform was compelled to produce the film to adjust the amount paid.

This has become a new trend in the industry. When a film is under production, its budget is said to be Rs 150 crore, on the day of the release it becomes Rs 75 crore and as the release progresses the figure is cut down by Rs 5 crore every day in order to match it with collection figures. That is the trick to prove it is a hit, because the makers are confident that their main revenue will come from OTTs. There is a saying in Gujarati, “Kona baapni Diwali?” (Whose father’s Diwali is it? That is, whose money is it anyway?)

Playing with figures is not a new game. Some years ago, the same trick was in trend when ‘satellite rights’ of films were sold to traditional linear TV channels. At that time too, the cost of the acquisition of ‘satellite rights’ came close to the film budgets and the deals were done in advance. But there are no free lunches – not every day. One day, ‘real’ channel bosses woke up and there was a mutual stop on such abrupt buyings. OTTs should be prepared for that fate too.

It’s not that audiences do not want to go to theatres. If that were the case, we would have not seen midnight shows of ‘Avatar’ and many South Indian films running to packed houses. People go to the theatre for films whose production reflects sincerity and where content is supreme.

Our Bollywood is over-promoted. Leading players are interested only in generating millions of likes on social media and filthy paparazzi YouTube channels. They must realise that our population is not in a few millions; there are 140 crore people here. They have, unlike earlier times, alternative choices in the powerful content on the same OTT platforms.

Currently, the media has become lenient and cooperative with Bollywood when it comes to reviews. That is a good sign but what after the first weekend? Monday speaks for itself.

Above all, the new trend of announcing boycotts of this or that film or star is proving to be the last nail in the coffin. Calls for boycott are totally undemocratic. Everybody has a right to have opinions, even strong opinions, but no one can stop others from going to theatres. If one disagrees with some viewpoint, best to leave it to our robust judiciary.

To sum up, our Bollywood is full of talent and creative people, now it must raise the bar and deliver robust, high-quality content. Otherwise, with only English and South Indian films doing real business, the days are not far when so many of multiplex screens will turn into community halls.

Also read - How long will OTTs bail out Bollywood duds?

(The views expressed here are solely those of the authors and do not in any way represent the views of exchange4media.com)