Why do Bollywood films fail at the box office? Read the analysis

Social media is filled with statements like Bollywood is over, Bollywood has lost MoJo, the South has taken over the North among many others. The data is a result of the continuous box office failure of Indian films in the past eight months with the exception of Sooryavanshi and Gangubai. While the public and the media have the right to question the Hindi film industry, these allegations are far from true.

The films fluctuate left to right, and the middle is the result of content that is not exciting enough for the audience. Movies like Bell Bottom, Bunty Aur Babli 2, Antim, Satyameva Jayate 2, Chandigarh Kare Aashiqui, Tadap, 83, Badhaai Do, Bachchhan Paandey, Attack, Jersey, Runway 34, Heroopanti 2, it wasn’t very much in their favour. While some had good trailers, but very bad music led to a lack of audience interest, some were mortal from the word go. None of the films reached their peak among the audience to ensure a big screen experience.

Yes, in pre-pandemic times, the numbers were higher than they are today, but the outcome would have remained the same. Antim would have made Rs 60 crore, Bell Bottom and Bachchhan Paandey could have finished around Rs 85 to 95 crore. 65 crores. These numbers are higher than the current sets, but the verdict for most films remains the same, ie FLOP. Instead of blaming the epidemic and the change in audience taste, the industry needs to reflect and create content that actually excites the audience to visit the big screen.

Yes, in pre-pandemic times, the numbers were higher than they are today, but the result would have remained the same… Instead of blaming the epidemic and the change in audience taste, the industry needs to reflect and create content that really motivates the audience to visit the big screen .

Hemish Mankad

While audiences gave some not-so-sexy movies a chance in pre-pandemic times, they got tough and made up their minds right after watching the play’s first trailer. Reducing the OTT premiere window is another factor that keeps audiences away from cinemas for movies that don’t guarantee exact viewing on the big screen. why? They can experience it at their convenience within four weeks. There has been the multiplex revolution since 2003, which led to the birth of single-genre cinema, but with the growth of OTT platforms, single-genre cinema will now be consumed in the digital world in a multi-genre format from the 70s, 80s, and 90s. Glory to the consumption of the big screen.

There was a fan base for this single genre of cinema as there was no other medium in which audiences could experience the world of a single genre, but with the surge in OTT it seems that the 15-year honeymoon period for this single genre is over. There will always be some exceptions every year, when single genre films are unusual, but a large segment of the audience for that genre has now switched to OTT. At the moment, the single-genre format is created in abundance with a multi-genre version once in a blue moon. Both the world needs to coexist, but one must just strike the right balance between the species. But course correction must occur in the opposite direction. The multi genre can be anything – be it Action Comedy Emotion, Action Romance Emotion, Romantic Comedy Emotion, Comedy Family Drama, Horror Thriller Comedy, Action Thrill Emotion, Comedy Emotional Drama, Romantic Dramatic Drama or all of the above. Even the music aspect adds an element to the movie that gives it a multi-genre vibe and the music is a genre in itself. But it is all the concepts of multiple genres that will ensure a collective cinematic experience and a height that demands excitement.

There has been the multiplex revolution since 2003, which led to the birth of single-genre cinema, but with the growth of OTT platforms, single-genre cinema will now be consumed in the digital world in a multi-genre format from the 70s, 80s, and 90s. Glory to the consumption of the big screen.

Hemish Mankad

The Hindi film industry has been an expert in multi-genre cinemas, which has lost one genre in the greed for such critical recognition and audience satisfaction as PVR Juhu and Versova. But it is the audience itself who is now exposed to global content due to the explosion of OTT and has abandoned this cinema altogether. Globally, the film makers have experience making a movie of one genre — dark horror, intense romance, human journey of the underdog, event documentaries — but the challenge is a mixture of multiple genres.

The trend is not limited to India only. A look at global films and all-genre cinemas that do wonders at the box office – whether it’s the fantastic cinematic world that fuses comedy with supernatural powers and thrillers, or spy movies that are a mix of action, thriller and some comedy. In short, one feeling can be experienced at home in comfort, while many feelings are always for the big screen where you smile, cry, interact and root for characters. And remember, even multi-genre cinema needs to be good to survive and survive at the box office. A decent multi-genre movie always beats scores even over a well-made, critically acclaimed single-genre movie.

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