Tag: vicky kaushal

Trade predicts that Prabhas-starrer Salaaar’s Hindi version will cross Adipurush’s Hindi collections; Shah Rukh Khan-starrer Dunki will collect Rs. 220-225 crores in its lifetime :Bollywood Box Office – Bollywood Hungama

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A lot was expected from the big Christmas releases, Dunki, starring Shah Rukh Khan and Salaar, starring Prabhas. Also, while Dunki was directed by Rajkumar Hirani, Salaar was helmed by Prashanth Neel of KGF fame. These filmmakers have a separate fan base. As a result, the hopes were immense. While the films did well, a lot more was expected from them. We spoke to the trade about their performance at the ticket window.

Trade analyst Atul Mohan said, “People expected more from Dunki as it was directed by Rajkumar Hirani. Also, Shah Rukh Khan’s dream run was going on.” He added, “The plot was superb. Unusually such films show characters struggling to reach foreign shares. But in this film, unko Dunki maarke wapis aana pad raha hai. This was quite fresh. With a plot like this, that too coming from Rajkumar Hirani, anybody would jump at it.”

Girish Johar, producer and film business analyst opined, “Dunki, in my opinion, is a fantastic movie. It is message-oriented and has a lot of soul. The film has to be watched with a heart and not with conventional logic. The mood of the nation was action-oriented. That could be the reason (why it underperformed). Also, the promotions could have been a little better. They underplayed the film, relying a bit too much on word of mouth.”

He also said, “Salaar affected the film more. If Salaar had not released, Dunki would have collected Rs. 30 crores more and would have had first-week collections of Rs. 180 crores.” Dunki collected Rs. 149.77 crores in its first week.

Atul Mohan further explained, “The jokes didn’t land well. But the big problem was that people had too many expectations. People went for a film like Zara Hatke Zara Bachke, for example, without much hope. And it worked. But with Dunki, people expected the moon. It’s not like it has faced outright rejection. Moviegoers don’t mind the film but they come out of the theatre and say, ‘Thoda aur accha ho sakta tha’.”

When asked how much the film will collect in its lifetime, Raj Bansal, the owner of Entertainment Paradise in Jaipur predicted, “Dunki will collect Rs. 220-225 crores in its lifetime. It’ll definitely cross the Rs. 200 crore mark. It doesn’t have strong competition until Republic Day when Fighter releases. Also, on New Year, people will want to watch light, masti waali film.”

Atul Mohan and Girish Johar also agreed and felt that Merry Christmas, starring Vijay Sethupathi and Katrina Kaif and which releases on January 12, is not a strong competition. Dunki, along with Salaar, has a clean run for a month, as a result. Girish said, “Dunki has a couple of weeks more to score. I hope it picks up over the second weekend. Rs. 200 crores plus is a given. Anything above Rs. 225 crores will be a bonus.”

Trade predicts that Prabhas-starrer Salaaar’s Hindi version will cross Adipurush’s Hindi collections; Shah Rukh Khan-starrer Dunki will collect Rs. 220-225 crores in its lifetime

Salaar collected Rs. 87.75 crores in week 1 and experts feel that it’ll cross the Rs. 135.04 crore collections of Prabhas’ previous film, Adipurush. Raj Bansal stated, “Salaar will 100% collect more than Adipurush’s Hindi collections.”

Girish Johar explained why it didn’t perform up to the mark, “Marvel superhero fatigue has set in. A similar scenario might emerge with these action films. Throughout Salaar, the tempo is so high that you are always alert while watching it. You are not consuming or feeling the film. Action, obviously, is praiseworthy. But the audience is saying ‘Ab ho gaya yeh sab. Thoda dil bhi chhu ke jaao’. Thankfully, the twist in the climax worked. Or else, the film would have fallen flat.”

Calling the fight scenes as ‘tappa action’, Girish complained, “How many times you’ll see heroes attacking baddies with such force that they bounce and fall? If you see the film from a particular point of view, it just has slow-motion action. Nothing else.”

As for the lifetime, he said, “The response is muted and not as big as was expected from the makers of KGF – Chapter 2 (2022). Rs. 90 crores toh ho hi gaya hai. Rs. 135 crores toh ho hi jaayega.”

Atul Mohan exulted, “Rs. 125 crores would be the best case scenario for Salaar. After delivering a film like KGF – Chapter 2, agar aap Rs. 125 crores mein nipat jaate ho, toh phir kya faayda?”

Film exhibitor and distributor Akshaye Rathi made his displeasure clear over the fight that erupted over the sharing of screens between the two films, “What happened last week was not business. It was ugly and uncalled for and showed our industry in a really bad light. It only led to a lose-lose situation. It hampered the business of both films. It’s not like one benefited over the other. Both lost out on the business because the advance just didn’t open on time beyond the national chains till the day of release. A lot of business, which could have happened due to these advance ticket sales, didn’t happen. I hope that we can leave aside our squabbles and egos and try to think a little more holistically and sensibly. Here, we literally witnessed a scenario where two production houses and distributors, who were at each other’s neck, ensured that hundreds of distributors all over the country, faced financial losses. That’s not healthy. I really hope we can be a little more sensible and mature in the year ahead so that such scenarios are handled with some dignity and grace.”

He signed off by saying, “I am not talking about these movies in particular. But movies that have hype and not-so-great content can benefit from advances opening up early and having a certain amount of sales. God forbid the advance don’t happen until release day and the content is not up to the mark, you miss out on a chunk of business that could have happened.”

More Pages: Salaar Box Office Collection , Salaar Movie Review

Tags : Adipurush, Box Office Special Features, Box-Office, Dunki, Hombale Films, Jio Studios, Prabhas, Prithviraj Sukumaran, Rajkumar Hirani, Rajkumar Hirani Films, Red Chillies Entertainment, Salaar, Salaar Part 1, Salaar Part 1 Ceasefire, Salaar Part 2, Salaar Part 2: Shauryanga Parvam, Shah Rukh Khan, Shruti Haasan, South, South Cinema, SRK, Taapsee Pannu, Trade, Vicky Kaushal, Vijay Kiragandur

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Sam Bahadur Review: Driven By Spirited Performance From Vicky Kaushal

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Vicky Kaushal in a still from the film. (courtesy: vickykaushal09)

Playing out on a vast and varied canvas, Sam Bahadur crams a lifetime into its two and a half hours. The film covers four decades of active military service, five wars, anti-insurgency operations and brushes with Prime Ministers. Inevitably, Meghna Gulzar’s ambitious biographical film feels a tad rushed. But for sure it has nary a dull moment.

The film fires on the fronts that matter. Driven by a high-spirited performance from Vicky Kaushal, it delivers a rounded, rousing portrait of Field Marshal Sam Hormusji Framji Jamshedji Manekshaw, a gentleman and an officer whose grit and gallantry, joie de vivre, power of repartee and an unwavering sense of purpose are the stuff of legend.

An intense character study more than an action-heavy war movie, Sam Bahadur hits most of its targets. It blends the story of an illustrious life – it isn’t exactly a from-the-cradle-to-the-grave affair although it does begin with the protagonist as a newborn in a crib – with the exploits of a legendary army man who brought remarkable dexterity to bear upon his job as a soldier and a leader.

The screenplay by Bhavani Iyer, Shantanu Srivastava and Meghna Gulzar adroitly picks incidents and encounters that aid in imparting a vivid, vibrant quality to the picture. As much about an individual as about a nation, Sam Bahadur has the sprawl of an epic and the delicate touches of an intimate chronicle.

As the film flits from one point in time to another from the early 1940s (when Japanese soldiers march into Burma) to the early 1970s (when the Indian Army enters Bangladesh’s war of liberation), it has its share of ellipses. But no matter how glaring the gaps are, they do not restrict the sweep of the consistently arresting saga.

The screenwriters graft just enough narrative meat on to the condensed storyline to be able to do justice to the charismatic general whose career it explores in the context of the nation’s eventful history before and after Independence.

I fight to win, Manekshaw frequently asserts, often in so many words. That might make him sound like an insuperable Hindi action film hero. But the director makes it a point not to turn the protagonist into a larger-than-life figure – which he probably was to the men he led.

Keeping hysteria out of history, she presents the great soldier not as a single-hued, punchline-spouting general but as a believable human – a man of conviction – intelligent, confident and cocky – and a master strategist who revelled in speaking his mind.

The Sam Bahadur we see on the screen isn’t a Bollywoodised version of a hero from the pages of Indian military history, but a man rooted in the real world but endowed with exceptional acumen and courage of conviction.

What’s in a name? In the case of Sam Manekshaw, as the film about him tells us, there is a whole lot. In the opening sequence, we learn that Sam’s parents had christened him Cyrus but were constrained to rename him because a thief named Cyrus had just been nabbed in the neighbourhood.

In the next scene – it is repeated later in film – an 8th Gorkha Rifles jawan, when Manekshaw asks him if he knows the name of the Indian Army chief, lisps “Sam Bahadur”. The apt moniker sticks.

Played with panache by Vicky Kaushal, who walks the tightrope between caricature and authenticity and never keels over on to the side of the former, Sam Manekshaw emerges as a man and an icon who was both enormously charming and dauntingly firm.

Falling back on a jaunty gait, dialogue delivery faintly reminiscent of Hum Dono‘s Dev Anand and demeanour that exudes both hauteur and amiability – Kaushal livens up the portraiture with distinct mannerisms that are far removed from his own.

One of the most striking aspects of Sam Bahadur is that it eschews flag-waving militarism while celebrating the bravery of India’s soldiers. It treads gently and thoughtfully through the life-threatening minefields that infantrymen have to negotiate in the line of duty. There are battle scenes and punchlines aplenty in the film, but they do not overshadow the less flashy components with which the lively biopic is constructed.

Sam Bahadur isn’t only about a man delivering rousing speeches to lift the spirits of his men or stamp his personality on the army under him. It is also about the human and personal aspects of a general’s life, which are underscored in the moments that he has with his wife Silloo (Sanya Malhotra) and family.

Since the film harks back to a time when love for the nation was not coloured by any manner of religious exceptionalism, it showcases an ethos that hinged on a celebration of unity in diversity, the cornerstone of the idea of India. The war cries of the various regiments (in the film’s climactic passages) point to the variegated backgrounds of Indian soldiers marching towards a common goal.

In a significantly resonant scene, a court of inquiry charges Manekshaw with being anti-national because the defence academy he presides over has portraits of British soldiers rather than those of Indian political leaders. The general’s response to the flimsy allegation is illuminating. The academy trains soldiers, not politicians, he asserts.

Sam Bahadur slips up a bit in its sketchy portrayal of Jawaharlal Nehru (played by Neeraj Kabi). Indira Gandhi (Fatima Sana Shaikh) receives far better treatment. Not only does India’s third Prime Minister get greater play in the narrative, she also has a scene or two is which she nearly steals Sam’s thunder.

In one sequence, Mrs Gandhi puts Richard Nixon’s Secretary of State Henry Kissinger in his place (using chief of army staff Manekshaw as her trump card) when he threatens India with dire consequences if she attacks Pakistan on the eastern front.

Newsreel footage of Sheikh Mujibur Rahman exhorting his people to rise in revolt, sequences of Dhaka University students being gunned down by the Pakistan army and flashes of General Yahya Khan (Mohammed Zeeshan Ayyub), Manekshaw’s friend in their pre-Partition defence academy days, planning to precipitate a confrontation with India are woven into the lead-up to the Bangladesh war. So, Sam Bahadur isn’t just talk. There is enough in here to keep the film on the boil all through.

It would be easy to describe Sam Bahadur as a Vicky Kaushal show because it is who dominates every major scene in the film. But without the fine balance that Meghna Gulzar strikes between ambition and restraint, neither the spirited central performance nor its emotional (and cinematic) payoff would have been quite as remarkable.

Cast:

Vicky Kaushal, Sanya Malhotra, Fatima Sana Shaikh, Mohd Zeeshan Ayyub and Neeraj Kabi

Director:

Meghna Gulzar



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Sam Bahadur Review: Driven By Spirited Performance From Vicky Kaushal

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Vicky Kaushal in a still from the film. (courtesy: vickykaushal09)

Playing out on a vast and varied canvas, Sam Bahadur crams a lifetime into its two and a half hours. The film covers four decades of active military service, five wars, anti-insurgency operations and brushes with Prime Ministers. Inevitably, Meghna Gulzar’s ambitious biographical film feels a tad rushed. But for sure it has nary a dull moment.

The film fires on the fronts that matter. Driven by a high-spirited performance from Vicky Kaushal, it delivers a rounded, rousing portrait of Field Marshal Sam Hormusji Framji Jamshedji Manekshaw, a gentleman and an officer whose grit and gallantry, joie de vivre, power of repartee and an unwavering sense of purpose are the stuff of legend.

An intense character study more than an action-heavy war movie, Sam Bahadur hits most of its targets. It blends the story of an illustrious life – it isn’t exactly a from-the-cradle-to-the-grave affair although it does begin with the protagonist as a newborn in a crib – with the exploits of a legendary army man who brought remarkable dexterity to bear upon his job as a soldier and a leader.

The screenplay by Bhavani Iyer, Shantanu Srivastava and Meghna Gulzar adroitly picks incidents and encounters that aid in imparting a vivid, vibrant quality to the picture. As much about an individual as about a nation, Sam Bahadur has the sprawl of an epic and the delicate touches of an intimate chronicle.

As the film flits from one point in time to another from the early 1940s (when Japanese soldiers march into Burma) to the early 1970s (when the Indian Army enters Bangladesh’s war of liberation), it has its share of ellipses. But no matter how glaring the gaps are, they do not restrict the sweep of the consistently arresting saga.

The screenwriters graft just enough narrative meat on to the condensed storyline to be able to do justice to the charismatic general whose career it explores in the context of the nation’s eventful history before and after Independence.

I fight to win, Manekshaw frequently asserts, often in so many words. That might make him sound like an insuperable Hindi action film hero. But the director makes it a point not to turn the protagonist into a larger-than-life figure – which he probably was to the men he led.

Keeping hysteria out of history, she presents the great soldier not as a single-hued, punchline-spouting general but as a believable human – a man of conviction – intelligent, confident and cocky – and a master strategist who revelled in speaking his mind.

The Sam Bahadur we see on the screen isn’t a Bollywoodised version of a hero from the pages of Indian military history, but a man rooted in the real world but endowed with exceptional acumen and courage of conviction.

What’s in a name? In the case of Sam Manekshaw, as the film about him tells us, there is a whole lot. In the opening sequence, we learn that Sam’s parents had christened him Cyrus but were constrained to rename him because a thief named Cyrus had just been nabbed in the neighbourhood.

In the next scene – it is repeated later in film – an 8th Gorkha Rifles jawan, when Manekshaw asks him if he knows the name of the Indian Army chief, lisps “Sam Bahadur”. The apt moniker sticks.

Played with panache by Vicky Kaushal, who walks the tightrope between caricature and authenticity and never keels over on to the side of the former, Sam Manekshaw emerges as a man and an icon who was both enormously charming and dauntingly firm.

Falling back on a jaunty gait, dialogue delivery faintly reminiscent of Hum Dono‘s Dev Anand and demeanour that exudes both hauteur and amiability – Kaushal livens up the portraiture with distinct mannerisms that are far removed from his own.

One of the most striking aspects of Sam Bahadur is that it eschews flag-waving militarism while celebrating the bravery of India’s soldiers. It treads gently and thoughtfully through the life-threatening minefields that infantrymen have to negotiate in the line of duty. There are battle scenes and punchlines aplenty in the film, but they do not overshadow the less flashy components with which the lively biopic is constructed.

Sam Bahadur isn’t only about a man delivering rousing speeches to lift the spirits of his men or stamp his personality on the army under him. It is also about the human and personal aspects of a general’s life, which are underscored in the moments that he has with his wife Silloo (Sanya Malhotra) and family.

Since the film harks back to a time when love for the nation was not coloured by any manner of religious exceptionalism, it showcases an ethos that hinged on a celebration of unity in diversity, the cornerstone of the idea of India. The war cries of the various regiments (in the film’s climactic passages) point to the variegated backgrounds of Indian soldiers marching towards a common goal.

In a significantly resonant scene, a court of inquiry charges Manekshaw with being anti-national because the defence academy he presides over has portraits of British soldiers rather than those of Indian political leaders. The general’s response to the flimsy allegation is illuminating. The academy trains soldiers, not politicians, he asserts.

Sam Bahadur slips up a bit in its sketchy portrayal of Jawaharlal Nehru (played by Neeraj Kabi). Indira Gandhi (Fatima Sana Shaikh) receives far better treatment. Not only does India’s third Prime Minister get greater play in the narrative, she also has a scene or two is which she nearly steals Sam’s thunder.

In one sequence, Mrs Gandhi puts Richard Nixon’s Secretary of State Henry Kissinger in his place (using chief of army staff Manekshaw as her trump card) when he threatens India with dire consequences if she attacks Pakistan on the eastern front.

Newsreel footage of Sheikh Mujibur Rahman exhorting his people to rise in revolt, sequences of Dhaka University students being gunned down by the Pakistan army and flashes of General Yahya Khan (Mohammed Zeeshan Ayyub), Manekshaw’s friend in their pre-Partition defence academy days, planning to precipitate a confrontation with India are woven into the lead-up to the Bangladesh war. So, Sam Bahadur isn’t just talk. There is enough in here to keep the film on the boil all through.

It would be easy to describe Sam Bahadur as a Vicky Kaushal show because it is who dominates every major scene in the film. But without the fine balance that Meghna Gulzar strikes between ambition and restraint, neither the spirited central performance nor its emotional (and cinematic) payoff would have been quite as remarkable.

Cast:

Vicky Kaushal, Sanya Malhotra, Fatima Sana Shaikh, Mohd Zeeshan Ayyub and Neeraj Kabi

Director:

Meghna Gulzar



Source link

#Sam #Bahadur #Review #Driven #Spirited #Performance #Vicky #Kaushal

Michael Douglas to receive the Satyajit Ray Lifetime Achievement Award; Catherine Zeta-Jones, Salman Khan, Karan Johar and others to attend IFFI 2023 : Bollywood News – Bollywood Hungama

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The 54th edition of the International Film Festival of India (IFFI) will be hosted in Goa from November 20th to 28th. While more than 250 films are being showcased across the various sections of the festival, all eyes are set on the gala opening ceremony being hosted on November 20th at Shamaprasad Indoor Stadium, Panaji, Goa. The opening ceremony is headlined by Shahid Kapoor and Madhuri Dixit along with Shriya Saran, Nushratt Bharucha, Pankaj Tripathi, Shantanu Moitra, Shreya Ghoshal and Sukhwinder Singh, while the ceremony is being hosted by Aparshakti Khurrana and Karishma Tanna.

Michael Douglas to receive the Satyajit Ray Lifetime Achievement Award; Catherine Zeta-Jones, Salman Khan, Karan Johar and others to attend IFFI 2023

Several dignitaries are expected to be present, along with eminent personalities from Indian cinema, including Sunny Deol, Vijay Sethupathi, Sara Ali Khan, Karan Johar, at the 54th IFFI opening ceremony, recognized as one of the biggest film and cultural extravaganzas in the world. Viacom Media Pvt. Ltd. is the exclusive media and broadcasting partner of the opening and closing ceremonies for the second consecutive year and will broadcast the ceremonies on India’s leading general entertainment channel COLORS and its OTT platform JioCinema. The star-studded ceremonies are produced by Wizcraft Entertainment Agency, the country’s leading producers of live events.

Speaking about IFFI, Hon’ble Union Minister of Information & Broadcasting and Youth Affairs and Sports, Shri Anurag Singh Thakur said, “IFFI has been growing every year thanks to the passion of our filmmakers from across the country and the collaboration that we have been able to forge with the directors and producers from across the world. As we take forward Hon’ble Prime Minister Narendra Modi’s vision of strengthening India’s global position across all sectors, cinema, arts and culture can empower our youth to foray into the world stage with stories that are global in essence and local at heart. Indeed, IFFI has become the perfect platform for establishing collaborations, joint productions and cutting-edge technology.”

Says, Shri Apurva Chandra, Secretary, Ministry of Information and Broadcasting, “The Indian media and entertainment industry has been growing at an average of 20 per cent annually over the last three years with a special focus on original stories for a global audience and use of state-of-the-art technology. This year, IFFI received a record number of 2926 entries from 105 countries, three times more than last year. While working along with the country’s film industry, our team’s efforts are aimed at pushing the boundaries to make the festival bigger and better with every new edition.”

Kevin Vaz, CEO – Broadcast Entertainment, Viacom18 said, “The world’s largest democracy is a fertile breeding ground for stories that cut across social, political, economic, and geographical boundaries. As the country’s foremost storytellers and entertainers, we believe it is our duty to take every story to its audience and every audience to their story. It is with this belief that we are partnering with IFFI for the second year in a row. This partnership aims to celebrate and unite cultures across the country and entertain, educate and empower the world in the ethos of India.”

This year, IFFI has invited Indian actors and filmmakers to promote their upcoming films at the opening gala. Karan Johar and Sara Ali Khan with the team of Ae Watan Mere Watan will unveil the first look of the drama-thriller. Sukhwinder Singh will sing the film’s inspiring title track during the showcase. The film chronicles the journey of Usha Mehta who during the 1942 Quit India Movement started an underground radio station, Congress Radio, which for a few months broadcast uncensored and even banned news.

Pankaj Tripathi, Shantanu Moitra, Shreya Ghoshal and Taba Chake will step into the spotlight to introduce the crime-thriller Kadak Singh directed by National Award winner, Director Aniruddha Roy Choudhary. The film captures the story of AK Shrivastav, an officer in the Department of Financial Crimes who while battling retrograde amnesia exposes the truth behind a Chit Fund Scam. Actor Pankaj Tripathi maintains, “The IFFI festival has always offered a platform for inspiring stories and storytellers who unmask corruption and clean the system, thereby inspiring and empowering us.”

Vijay Sethupathi would unveil the trailer of the black comedy Gandhi Talks, a silent film in a present-day setting revolving around four characters, played by Vijay Sethupathi, Arvind Swami, Siddharth Jadhav and Aditi Rao Hydari.

For its star acts, IFFI has roped in Madhuri Dixit to recreate a medley of her chartbusters. “Cinema has given me so much, it’s time to give something back in return. What better way to do so than through song and dance which is integral to not just Indian cinema, but Indian culture as well,” asserts the Bollywood diva. Madhuri Dixit was recognised as the Indian Film Personality of the Year at last year’s edition of the festival.

Shahid Kapoor will set the stage on fire with his superhit parade. “Doing great work comes naturally when you’re passionate about what you do. And performing in front of a live audience is something I’ve truly loved ever since I can remember… Thanks to IFFI I get to do that one more time in Goa on November 20th. See you there!” he says.

The naach-gaana continues with Nushrratt Bharuccha and IFFI celebrating ‘The India Story’. While RRR’s “Naatu Naatu” brings back Oscar glory, Pushpa’s “Sami Sami” represents the growing popularity of South Indian cinema. “Jhoome Jo Pathaan” and Jawan’s “Not Ramaiya Vastavaiya” celebrate the resurrection of Hindi cinema while 83’s “Jeetega Jeetega” celebrates Chandrayaan 3’s successful landing and India’s Asian Games wins.

From rustic celebrations to classy soirees and regional fiestas, Shriya Saran shows us how India parties with the Tamil song “Allegra Allegra”, the Kannada chartbuster “Ra Ra Rakkamma”, the Malayalam hit “Kalapakkarra”, “Boss Party” from the Telugu film Waltair Veeraya and “Show Me The Thumka” from Bollywood’s Tu Jhooti Main Makkaar.

The celebrations will continue over a week. Shri Prithul Kumar, Festival Director- IFFI (Jt. Secretary (Films) & MD/NFDC) informs, “This IFFI will have 13 World Premieres, 18 International Premieres, 62 Asia Premieres and 89 India Premieres. These films, which transcend all borders and cultures, represent the best of Indian and world cinema. This carries forward the compelling obligation to continue the legacy of showcasing cinematic excellence at the 54th IFFI. The Festival Team is working tirelessly to make sure that the participants enjoy the outstanding films, engage in thought-provoking discussions and leave with memories that will last a lifetime”

The festival would be graced by Michael Douglas, Catherine Zeta-Jones, Salman Khan, Vidya Balan, Ayushmann Khurrana, Anupam Kher, Vicky Kaushal, Siddharth Malhotra, Aditi Rao Hydari, AR Rahman, Shreya Ghoshal, Shantanu Moitra, Sukhwinder Singh, Amit Trivedi, among celebrated filmmakers. The closing ceremony will be headlined by Ayushmann Khurrana and renowned music composer Amit Trivedi. Ayushmann will deliver an energetic performance and will pay tribute to Michael Douglas, the recipient of the Satyajit Ray Lifetime Achievement Award. Amit Trivedi will curate a special rendition of the Sounds of Bharat, alongside a medley of his superhit songs.

There will be a specially curated performance by the ‘Harmony of the Pines’ orchestra of the Himachal Pradesh police arousing nationalistic fervour. At the closing ceremony, several awards and special honours will be presented for Best Film, Best Director, Best Actor (Male) and (Female), ‘Special Jury Award’, ‘Best Web Series on an OTT Platform’, ‘Indian Film Personality of the Year’, ICFT UNESCO Gandhi Medal.

The opening ceremony on November 20th and the closing ceremony on November 28th will begin with a red carpet hosted by Karan Chhabra and Nashpreet Kaur. The showcase that follows will celebrate our icons and the rise of popular South Indian cinema in pan-India and global markets. The lively performances featuring different dance styles, set to popular film songs, underline the festival’s theme of ‘India through the movies’, showcasing the unity and diversity of our culture.

ALSO READ: Tiger 3 fan event: Salman Khan ‘kisses’ Emraan Hashmi; brings the house down

Tags : 54th International Film Festival of India (IFFI), Aditi Rao Hydari, Amit Trivedi, Anupam Kher, AR Rahman, Ayushmann Khurrana, Bollywod, Catherine Zeta-Jones, Hollywood, IFFI, IFFI 2023, International, International Film Festival of India (IFFI), International Film Festival of India (IFFI) 2023, Madhuri Dixit, Michael Douglas, Music, News, Salman Khan, Satyajit Ray, Shahid Kapoor, Shantanu Moitra, Shreya Ghoshal, Siddharth Malhotra, Sukhwinder Singh, Vicky Kaushal, Vidya Balan

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Trade experts share their views on the buy-one-get-one-ticket-free offer: “It is KILLING the industry. When you give one ticket free, the films that are released alongside or are about to release get affected. People might get used to such offers” : Bollywood News – Bollywood Hungama

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The Vicky Kaushal-Sara Ali Khan starrer Zara Hatke Zara Bachke has emerged as a surprise hit, collecting a huge Rs. 58.77 crores in 12 days. The film scored majorly due to its content and hit music score. At the same time, the makers offered one ticket free on every ticket, provided the ticket was bought on the ticketing app, BookMyShow. The offer was valid for the first 4 days on limited tickets. But it grabbed a lot of eyeballs, prompting even the makers of Spider-Man: Across The Spider-Verse and Gadar – Ek Prem Katha to offer similar incentives.

Trade experts share their views on the buy-one-get-one-ticket-free offer: “It is KILLING the industry. When you give one ticket free, the films that are released alongside or are about to release get affected. People might get used to such offers”

Sanjay Chatar, of PEN Marudhar, which distributed Zara Hatke Zara Bachke, told Bollywood Hungama, “Only 50,000 tickets were sold for free and that too was spread out in the first 4 days. The offer was given to push the film a bit in the initial days of release. Also, the offer wasn’t there from Tuesday onwards. Yet, the film continued to get footfalls. In fact, the second weekend collections are one of the highest of this year. The film has run due to its content. The success of such films is very important for the industry. It’s only due to the love from the public that it has become a big hit.”

Bollywood Hungama spoke to trade experts about their views on this offer. Trade veteran Taran Adarsh said, “It helps in creating awareness for that film. It becomes a talking point. At times, the producer or studio looks at the star cast and content and feel ‘Humein kuch karna padega taaki log theatre mein aaye’. This is especially in today’s times when people are consuming a lot of content on OTT platforms.”

He continued, “Eventually, the film has to deliver. If the film doesn’t work, all these offers will not help out. The content has to be strong enough and then, these incentives come as a boon and start creating awareness and momentum.”

Trade analyst Atul Mohan stated, “Earlier, we used to pay to watch IPL on a digital platform. Then Jio Cinema made it free. To counter this offer, Disney+ Hotstar made Asia Cup and World Cup free for their subscribers. And now, with this BOGO (Buy One Get One) offer, the mind-set of the consumer undergoes a change. It unnecessarily increases audiences’ expectations. They might feel, ‘Just because we were not going for films, they are now giving one ticket free. Let’s wait a little more and they’ll soon give two tickets free on every ticket’!”

He also agreed that the content has to be worth it for such offers to work. He opined, “Agar content kharaab hai, toh ek ticket pe aap dus tickets free doge, toh bhi log nahin aayenge.”

He reminded, “When Gurmeet Ram Rahim Singh Insan’s films used to release, his followers used to distribute tickets for free. Yet, hardly anyone would go for it as the content matters a lot. Even on OTT, if free content is not enticing, the consumer can change to another film or platform. Hence, the scheme will work only if the content is engaging.”

Raj Bansal, the owner of Entertainment Paradise in Jaipur, thundered, “It is killing the industry. Aap ticket rate kam kar do, woh chalega. But when you give one ticket free, the films that are released alongside or are about to release get affected. People might get used to such offers. As it is, they are not coming to theatres (like they used to do pre-pandemic). And everyone can’t lure them with such schemes. Moreover, cinemas are not participating. It’s the producer who’s bearing the cost of the free ticket.”

Girish Johar, producer and film business analyst, exulted, “I see it as just another marketing tool. Producers print posters, release trailers and songs, do city tours etc. Likewise, this is also a marketing tool. At the end of the day, audiences want to watch content which is relevant and exciting to them. It may initially get traction. But if we do it regularly, they will not fall for it. If the film is not good, they’ll not venture out. Eventually, it’ll also spoil the business habit for the cinemas.”

He continued, “If a film is well made and if tickets are reasonably priced, one doesn’t need such schemes. Viewers will come for it, whether or not there’s any such offer. The content has to do the talking, at the end of the day.”

Free tickets add to the producer’s cost
The industry experts also observed that when tickets are given for free, it’s the producer who has to bear its cost, and also pay the GST on the free ticket. Girish Johar said, “Like any other marketing tool, this is adding on the producer’s cost. The producers have funded the free tickets. So he will also have to bear the cost of the GST.”

Taran Adarsh said, “The producers add it to the cost of making a film. I am not in favour of such schemes. Agar aapki film mein dum hoga, toh woh chalegi. But we are living in very different times. There’s an alternative today in the form of OTT.”

Trade experts share their views on the buy-one-get-one-ticket-free offer “It is KILLING the industry. When you give one ticket free, the films that are released alongside or are about to release get affected. People might get used to such offers”

Atul Mohan said, “They must be having some internal arrangement. Maybe the producer is not paying the nett price and is instead only bearing the GST.”

A senior official from a multiplex chain told Bollywood Hungama on condition of anonymity, “The offer was on limited seats. Even for the exhibitor, there’s a lost revenue opportunity. If a ticket costs Rs. 100, then we pocket Rs. 48 while the distributor keeps Rs. 52. This is what happens in a normal scenario. When the ticket is given for free, we both end up losing our share of Rs. 48 and Rs. 52. However, we get compensated with the food sales. Viewers will still eat in the multiplex, despite having a free ticket. Also, when guests get a free ticket, they spend liberally, thinking ‘Bada popcorn tub le lete hai’. As for the producer, he benefits as he gets visibility.”

Sanjay Chatar, however, clarified, “The producer bore the cost of the free ticket but as I said, only 50,000 tickets were sold for free.”

Free tickets: norm or the exception?
When asked if this is a long-term model or a short-term novelty, Atul Mohan replied, “This is not viable and I don’t think it’ll work on a long-term basis. Aap audience ko bigaad rahe ho.”

He gave an example to prove why such offers can’t work in the long run, “There are some stores which have sales on select days and it attracts a lot of consumers. But there’s a shop in Andheri which offers three shirts for every shirt bought. This offer is valid all year round and it hardly gets any customers.”

Girish Johar agreed, “There are so many films that the audiences are just not interested. If such films also release with a similar offer, people will still not go for it. If we stretch it or overdo it, it’ll not be as effective as intended.”

Raj Bansal stated, “It is a short-term thing. It’ll not sustain at all. The sooner we decide to stop this practice, the better it will be for the industry. Instead, we should reduce ticket prices. Ek pe ek free ki offer kapde ke dukaan mein chalti hai. Theatres mein nahin. It’ll push audiences away. They might stop coming to theatres at normal rates if these offers continue.”

Taran Adarsh, however, said, “We never know. I don’t think Pathaan or Animal or Gadar 2 makers would use this strategy at least in the first week. Pathaan’s tickets were sold for Rs. 99, that too, many weeks after its release. Shehzada makers also tried the one plus one offer but it misfired.”

Content worked for ZHZB, not the offer
Everyone, however, was on the same page in stating that Zara Hatke Zara Bachke worked due to the content. Taran Adarsh said, “If you notice, after the four days of the offer, the film started gaining momentum. Many had concluded that it’ll finish at Rs. 10-15 crores. Today, it has crossed the Rs. 50 crores mark and is heading towards Rs. 70 crores now. This is because film mein dum tha. I completely endorse the statement of director Laxman Utekar that sade hue tamatar koi free mein bhi nahin kharidega. If the film is bad, no one is going to watch it even if you give free tickets. Why would anyone waste 2 or 3 hours of their life to watch a dabba film?”

Raj Bansal agreed, “The film has done better than everyone’s expectations. I feared the film might fall once the offer window got over. However, the film had substance. Hence, it excelled on the weekdays and also in the second weekend.”

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Tags : Gadar: Ek Prem Katha, OTT, OTT Platform, Pen Marudhar, Sanjay Chatar, Sara Ali Khan, Spider-Man: Across the Spider-Verse, Spider-Man: Across The Spider-Verse (English), Trade Experts, Vicky Kaushal, Zara Hatke Zara Bachke

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