What Big Brother Bollywood should learn before venturing into Marathi cinema
With blockbusters like Sairat and Natsamrat changing the way Marathi films are perceived, Hindi film producers too want a share of the pie. But can they deliver the goods?
Andhra Pradesh, Tamil Nadu, Kerala, Karnataka and West Bengal are some of the states in India where the local language gets precedence in cinema over any other language. Hindi films have only recently begun to penetrate these language markets.
Maharashtra was a stark opposite until recently. Here Hindi was the most preferred language in cinema. Now, this has begun to change, with Marathi films like Court, Sairat and Natsamrat making big bucks and providing wholesome entertainment.
Nagraj Manjule’s Sairat, a story of forbidden love, has redefined box-office success in Marathi cinema. In about 5 weeks since its release in April, the drama has made more than Rs 80 crore and is roaring at the box office even now. It has beaten the businesses of films like Natsamrat, Katyar Kaljat Ghusali, Timepass 2 and Lai Bhaari.
It’s no surprise then that more than a dozen big and small Bollywood producers have jumped on to the bandwagon to produce Marathi films.
“Why do you think Bollywood big shots now want to make Marathi films? Even they can’t run away from the fact that a film made on a shoe-string budget of Rs2.5 crore has made almost 30 times that amount,” says Kiran Shantaram, the force behind Mumbai Plaza cinema which is the hub of Marathi cine-goers.
Sanjay Leela Bhansali rode on the crest of Sairat and released his production Laal Ishq on May 26. However, the famed filmmaker couldn’t enjoy similar success in Marathi cinema. Despite boasting of Marathi superstar Swapnil Joshi, the film tanked with less than Rs 5 crore collections in 5 days.
Girish Wankhede, a leading Marathi film distributor, says, “Even within Marathi cinema, it’s content that rules. Swapnil Joshi and Sanjay Leela Bhansali are names. But their film lacked the soul Sairat has. If the film lacks content, it won’t work.”
Trying to ascertain the reason behind Laal Ishq’s failure, Shantaram says, “Marathi movies are not like Hindi movies. Project films don’t work in Marathi cinema. Films that have a cultural connection or a human connection with the Marathi manoos work.”
The dismal performance of Laal Ishq, despite heavyweights being attached to the project, is surely an alarm for big banners like Eros, Balaji Telefilms, Viacom 18 and producers like Priyanka Chopra who are ready with their dose of Marathi cinema.
Another Bollywood producer Boney Kapoor is testing the waters with Lalbaugchi Rani. The fate of the film, which hit the screens yesterday, will be decided over the weekend.
Content is cautiously being segregated from faff! And hopefully, this time, the wave will stay a tad bit longer. Rahul Haksar, a leading distributor in Marathi cinema, says, “Thanks to social media, there’s massive awareness. People are venturing out all over in search of good content against a ticket and two-hours of their time. If worked around carefully, this could mean a new awakening in Marathi cinema.”
At the moment, out of every 100 films that release in a year, only 10-12 seem to work. The rest die down in history, which clearly means the scope for anyone making Marathi films at this moment is wide, with ample to play with.
A wave of similar nature of Bollywood eyeing Marathi cinema had started in early 2000s. Shwaas, the 2004 National Award winner, was also India’s entry to the Oscars. Harishchandrachi Factory came only five years later in 2009.
Several large scale companies then showed investment interests in Marathi films. Companies like Eros, UTV, UFO Moviez and even AB Corp that had distributed Vihir, had promised major action in Marathi cine world. But not much came of it with just one or two companies actively campaigning for the cinema.
There came a time when Marathi films had begun to give Bollywood some severe jolts. In 2007, Saade Maade Teen beat Dhan Dhana Dhan Goal and ate into Madhuri Dixit’s comeback Aaja Nachle. De Dhakka’s (2008) big dhakka to Bhoothnath has not been forgotten. Ek Daav Dhobi Pachhad gave stiff competition to Ghajini.
Next, films like Natarang (2010) had started giving biggies like Avatar and 3 Idiots a tough fight for revenue. Jogwa (2009), Me Shivajiraje Bhosale Boltoy (2009), Fandry (2013), Killa
On the other hand, with smaller numbers of box-office hits, big brother Bollywood continues to be a slave to the star system, which makes it averse to risks.
Last year, Cultural Minister Vinod Tawde’s announcement asking multiplexes in the city to run a show of a Marathi film compulsorily in a said slot had raised eyebrows in the Hindi showbiz circles. Ironically, now, it’s the Hindi filmmakers who are eyeing Marathi films as the easy-profit machinery.
“Less investment, tax exemption and subsidies mean higher returns. So, it’s natural for filmmakers to be excited. And when one makes a film, everyone wants to make one and take home the money,” laughs Nanubhai Jaisinghani, a top industry watcher in Marathi cinema.
He has a word of caution for Bollywood biggies venturing into this domain. “But remakes like Mr and Mrs Sadachari, Vrindavan and Shuttle don’t work in Marathi cinema. Influenced cinema, movies with no connection with a Marathi audience, copies and subjects of Hindi films are a big no-no. Films aimed at families work in this part of showbiz. And that is what people from Bollywood must remember while stepping into Marathi cinema,” he concludes.
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