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Much water has flown under the bridge since Gulabo Sitabo was announced for an OTT premiere in May 2020. At that time, the Inox multiplex chain had issued a veiled threat to the producers of the Amitabh Bachchan and Ayushmann Khurrana starrer that multiplexes would teach them a lesson when they would be ready with their next film and would want to release it in the cinemas. The threat was viewed as a signal to other producers to wait for cinemas to reopen and not rush to premiere their films on streaming platforms. However, more producers emulated the Gulabo Sitabo example in the following weeks and months despite official and unofficial appeals and threats from multiplexes, single-screen cinemas and their associations. The logic put forth by the producers’ lobby was that huge investments of producers were blocked in completed films, and the OTT route was the only way to liquidate those investments, more so because the reopening of cinemas was pretty uncertain in May and June or, for that matter, till even September-end. Speaking of Bollywood films, the ones which have already been premiered on OTT platforms after Gulabo Sitabo (in June) are Dil Bechara, Shakuntala Devi, Raat Akeli Hai, Lootcase, Yaara, My Client’s Wife (all in July), Gunjan Saxena: The Kargil Girl, Khuda Haafiz, Mee Raqsam, Sadak 2 (all in August), Dolly Kitty Aur Woh Chamakte Sitare (September), and Khaali Peeli (October). That’s not all! Besides the aforementioned 13 films, several more like Laxmmi Bomb, Coolie No. 1, The Big Bull, Bhuj: The Pride Of India, Ludo, Torbaaz, Ginny Weds Sunny and Bombay Rose have also been committed for premiere on one or the other streaming platform.
Every film that has been either premiered or committed for a premiere on OTT will not have a theatrical release. So, as the above list reveals, 21 films will not see release in cinemas — not because their producers do not want to release them in the cinemas but because multiplexes and single-screen cinemas will not allow such films to release theatrically. But why?
Looking to the lack of playing programmes available to cinemas, it would only be prudent for them to extend a hand of friendship towards the producers of such films. For this, the exhibitors will have to forgive and forget. Yes, at first sight, this may seem to be an impractical solution but if the multiplexes and single-screen cinemas truly want a feasible solution to the problem of shortage of playing programmes, this would seem to be the most achievable and, may we add, also the most practical one. Let’s analyse.
Yes, at first sight, this may seem to be an impractical solution but if the multiplexes and single-screen cinemas truly want a feasible solution to the problem of shortage of playing programmes, this would seem to be the most achievable and, may we add, also the most practical one.
Since most of the ready and almost-ready films have been committed to OTT platforms, cinemas will be hard-pressed for content to screen from 15th October when they have been permitted to reopen. Shootings have started but only sparingly. Many heroes and heroines are still not willing to risk it out and hence are still not ready to face the cameras. This is bound to delay the completion of films. That is one aspect. The other one is this: nobody expects the public to rush to the cinemas from the first day itself. Keeping in view the large number of daily cases of coronavirus in the country, it is anybody’s guess that people will be fearful of visiting cinemas. If there are not enough films to choose from, the attraction to visit cinemas will be further reduced. Although multiplexes and single-screen cinemas are contemplating relying on Hollywood fare, dubbed Hollywood films, regional films, old films (like, perhaps, Baaghi 2 and Angrezi Medium) and the few new Hindi films which are ready for release, they also know that such fare (except for big Hollywood films, their dubbed versions, and the few new Hindi films) will hardly succeed in attracting people to the cinemas. If the audience doesn’t come in large numbers, producers of big films will not feel inclined to release their films in the cinemas. And the public will be hesitant to return to the cinemas for safety reasons, more so if there are not enough new Hindi films on display. It’s going to be a Catch 22 situation for the cinemas. So the best option for the cinemas, after reopening, would be to release all those films which have already been premiered on OTT platforms. Multiplexes and single-screen cinemas will have to adopt the forgive-and-forget policy for their own good. These are extraordinary circumstances, and holding grudges is only going to further harm the interests of the cinemas. The sooner the public starts returning to the cinemas, the faster will the exhibition trade revive.
So the best option for the cinemas, after reopening, would be to release all those films which have already been premiered on OTT platforms.
Frankly, if the landlords were to adopt the same confrontationist attitude with the cinemas, they would never allow multiplexes and single-screen cinemas constructed on leased land to reopen till the rentals for the seven months of lockdown are paid in full, cinema employees would never return to work till their deducted salaries are paid for the seven months. Multiplexes and single-screen cinemas also resorted to cost-saving measures, didn’t they? Then why grudge the producers who went to OTT platforms to liquidate their locked investments? Why these double standards? What cinemas are trying to say is that their cost-cutting measures were justified whereas the investment-recovering measures of the producers were unjustified and, therefore, they (producers) can’t and shouldn’t be forgiven.
What cinemas are trying to say is that their cost-cutting measures were justified whereas the investment-recovering measures of the producers were unjustified and, therefore, they (producers) can’t and shouldn’t be forgiven.
The fear of the cinemas that this may become the norm if cinemas agreed to screen films already streamed on OTT platforms during the pandemic, and may, therefore, prompt more producers to premiere their films on streaming platforms can be checked by fixing a cut-off date. For instance, all those films, deals for which were signed before 15th October would be released in cinemas in spite of contracts for OTT premieres. Also, the fear that producers would even in the future behave in a similar fashion should not be allowed to trouble the exhibitors because such a horrendous situation hopefully will never come in the lifetimes of the people who are doing business today. Besides, who knows that in the new normal, the window between the digital/satellite release of films and their theatrical release itself might have to be reduced. Instead of the current eight weeks, the industry may have to decide and agree upon a window of, say, four or six weeks. For multiplexes and single-screen cinemas to think that nothing will change in the new order is far removed from reality. The sooner the exhibition trade accepts the new reality, the faster will the film trade get back on track.