Bollywood 2022 – New Indian Express

As 2022 draws to a close, the Hindi film industry has taken another big hit, the final blow of the year. Its most prolific and consistently successful director, Rohit Shetty, has delivered a dead-on-arrival circus that, as we enter 2023, sounds more despair than hope for an already beleaguered Bollywood.

Back in September, just before the release of Ayan Mukerji’s Brahmastra: Part 1 – Shiva, filmmaker Anurag Kashyap expressed how much he hopes the film will hit the elusive gold at the box office. told me “Even in my dreams, I was praying for success,” he said.

Brahmastra has brought in much-needed relief to Bollywood, grossing Rs 360 crore according to Mumbai-based media consultancy Ormax Media’s October box office report. But the film’s modest success is the exception rather than the rule in 2022, riding on big stars and bigger budgets, mostly about hyped films that failed to get audiences to theaters. It was something.

This comes after a historic high in 2019 when total box office receipts (movies in all languages ​​including Hollywood) broke the Rs 10,000 mark in India, according to Ormax Media. Hindi films topped the list with a 44% share of the total domestic box office, Hollywood (all dubbed language versions) followed him with 15%, followed by Tamil and Telugu films with 13% each. rice field.

In stark contrast, aside from Brahmastra, only five Hindi films did well in 2022. With Kashmir File, Drisham 2, Gangvaikatiawadi and Boolbriar 2, Jagjagujiyo did a decent job. “These were the oddballs among subpar performers. I’m here. The lucrative deals through premieres on streaming platforms that producers helped make a partial recovery during the pandemic also collapsed as the films did not sell easily.

Indian movie-going culture has been driven by top stars. Their loyal fans queue up for “first day, first show,” with the first weekend driving most of the business. “Most big star openings are down to 40-60% of their pre-pandemic openings, indicating a decline in star power,” Kapoor said. ~40% doesn’t always guarantee a hit. “They have devalued themselves. They have lost their magic and mystique in their craving for attention on social media,” said TV producer, director and author Nasreen Munni Kabir. says. “Southern stars don’t flaunt wealth, cars, or fashion. [uploaded on social media]said filmmaker Vasan Bala.

Bollywood has also had to face tough challenges from Southern cinema. His 37% of Hindi box office revenue in 2022 was generated by Hindi dubbed versions of Telugu, Tamil and Kannada films. The biggest hit of 2022 will be the Kannada film KGF: Chapter 2, which grossed Rs 970 crore in domestic box office across all versions, followed by Telugu RRR at 46 million rupee Kannada Kantara followed by Tamil Ponyin. Servan: PS I is Rs 323 crore. The Hindi film is Brahmastra and he ranked 5th.

Hollywood was also a tough challenger. This year, movies like Top Gun Maverick, Doctor Strange from Multiverse of Madness, The Batman, and Avatar: The Way of the Water fared better than many Hindi blockbusters.
Movie viewing also had some practical constraints. It is financially impossible for the family to go to the movies regularly. India’s National Cinema Day in September was a success, with tickets for the film selling at Rs 75 across the country. However, this was his one-off event and did not generate enough revenue to hold it regularly.

Meanwhile, in the two years of the pandemic, homebound consumers who found better content online have become choiceless and demanding. According to Santosh Desai, columnist, author, MD and CEO of Future Brands, there is confusion over the link between Hindi cinema and the middle class, family audiences and masses. “The element of surprise is gone from Hindi cinema.

The ban became a thorn in the side, too. Coinciding with Laal Singh Chaddha’s release, #BoycottAamir started trending on his Twitter. The first big movie of 2023, Pathaan, faces music more than singing. “Political dialogue is affecting the social and artistic spheres,” said Desai. The backlash against the industry has also intensified since the 2020 suicide of actor Sushant Singh Rajput.

Many great actors, directors, and writers are moving to streaming platforms that greenlight fresher content. But according to filmmaker Dibakar Banerjee, the OTT revolution isn’t about the revival of meaningful content or freedom of expression, it’s about surviving, gaining attention and creating addiction. The focus is binge watching. His Tees, his Netflix original of himself, has stalled as platforms worry about how it will be received in India’s current socio-political climate.

Many feel that the Bollywood bubble had to burst at some point. Yet they have streamlined budgets, reoriented the star system, given writers what they deserve, focused on content, sold at reasonable prices to maximize revenue, and fixed ticket prices as well. “There will be some trial and error, but Bollywood needs to publish all kinds of content in large quantities with different marketing strategies,” said Akshaye Rathi, the film distributor and exhibitor. I’m here. “It’s not one push, one day, one scene, one line, one movie. We’ll have to accept that,’ he added. But is it?

namrata girls
consulting editor

namroo@gmail.com.

</p> <p>As 2022 draws to a close, the Hindi film industry has taken another big hit, the final blow of the year. Its most prolific and consistently successful director, his Rohit Shetty, as we enter 2023, is dead-on his circus, ringing with despair rather than hope for an already beleaguered Bollywood. It was delivered. Part 1 – Shiva, filmmaker Anurag Kashyap tells us how much he hoped this film would hit the elusive gold at the box office. “Even in my dreams, I was praying for success,” he said. Brahmastra has brought in much-needed relief to Bollywood, grossing 360 million rupees, according to his October box office report from Mumbai-based media consultancy Ormax Media. But the film’s modest success is the exception rather than the rule in 2022, riding on big stars and bigger budgets, mostly about hyped films that failed to get audiences to theaters. This was after a historic high in 2019 when total box office receipts (movies in all languages ​​including Hollywood) broke the Rs 10,000 mark in India, according to Ormax Media. Hindi films lead with his 44% share of gross domestic box office revenue, Hollywood (all dubbed language versions) his second with 15%, Tamil and Telugu films with 13% each. continued with. In stark contrast, aside from Brahmastra, only five Hindi films did well in 2022. With Kashmir File, Drisham 2, Gangvaikatiawadi and Boolbriar 2, Jagjagujiyo did a decent job. “These were the oddballs among subpar performers. I’m here. The lucrative deals through premieres on streaming platforms that producers helped make a partial recovery during the pandemic also collapsed as the films did not sell easily. Indian movie-going culture has been driven by top stars. Their loyal fans queue up for “first day, first show,” with the first weekend driving most of the business. “Most big star openings are down to 40-60% of their pre-pandemic openings, indicating a decline in star power,” Kapoor said. ~40% doesn’t always guarantee a hit. “They have devalued themselves. They have lost their magic and mystique in their craving for attention on social media,” said TV producer, director and author Nasreen Munni Kabir. says. “Southern stars don’t flaunt wealth, cars, or fashion. [uploaded on social media]said filmmaker Vasan Bala. Bollywood has also had to face tough challenges from Southern cinema. His 37% of Hindi box office revenue in 2022 was generated by Hindi dubbed versions of Telugu, Tamil and Kannada films. The biggest hit of 2022 will be the Kannada film KGF: Chapter 2, which grossed Rs 970 crore in domestic box office across all versions, followed by Telugu RRR at 46 million rupee Kannada Kantara followed by Tamil Ponyin. Servan: PS I is Rs 323 crore. The Hindi film is Brahmastra and he ranked 5th. Hollywood was also a tough challenger. This year, movies like Top Gun Maverick, Doctor Strange from Multiverse of Madness, The Batman, and Avatar: The Way of the Water fared better than many Hindi blockbusters. Movie viewing also had some practical constraints. It is financially impossible for the family to go to the movies regularly. India’s National Cinema Day in September was a success, with tickets for the film selling at Rs 75 across the country. However, this was his one-off event and did not generate enough revenue to hold it regularly. Meanwhile, in his two years of the pandemic, stay-at-home consumers who found better content online have become choiceless and demanding. According to Santosh Desai, a columnist, author, MD and his CEO of Future Brands, there is confusion over Hindi cinema’s connection with the middle class, family audiences and the masses. “The element of surprise is gone from Hindi cinema. The ban became a thorn in the side, too. Coinciding with Laal Singh Chaddha’s release, #BoycottAamir started trending on his Twitter. The first big movie of 2023, Pathaan, faces music more than singing. “Political dialogue is affecting the social and artistic spheres,” said Desai. Backlash against the industry has also intensified since the 2020 suicide of actor Sushant Singh Rajput. Many talented actors, directors and writers are moving to streaming his platform giving green light to fresher content. But according to filmmaker Dibakar Banerjee, the OTT revolution isn’t about the revival of meaningful content or freedom of expression, it’s about surviving, gaining attention and creating addiction. The focus is binge watching. His Tees, his Netflix original of himself, has stalled as platforms worry about how it will be received in India’s current socio-political climate. Many feel that the Bollywood bubble had to burst at some point. Yet they have streamlined budgets, reoriented the star system, given writers what they deserve, focused on content, sold at reasonable prices to maximize revenue, and fixed ticket prices as well. “There will be some trial and error, but Bollywood will have to use different marketing tactics to mass-publish all kinds of content,” said film distributor and exhibitor Akshaye Rathi. . “It’s not one push, one day, one scene, one line, one movie. We’ll have to accept that,’ he added. But is it? Namrata Women’s Consulting Editor namroo@gmail.com.<br />