Connect with us

Entertainment

The curious case of Tubelight, Jab Harry Met Sejal: What 2017 taught us about the box office

This article is part of our 2017: A Year In Review series

A few years from now, when the year 2017 is looked back at, it will be recalled for films such as Anaarkali of Aarah, Bareilly Ki Barfi, Hindi Medium, Newton, Shubh Mangal Savdhan and Tumhari Sulu or actors like Rajkummar Rao, Pankaj Tripathi, Bhumi Pednekar and perhaps Varun Dhawan, who had two Rs 100 crore plus blockbusters.

The list of the year’s top box office earners, if revisited, would feature tent pole films that were labeled flops. Despite being critically panned and shown little love by legions of fans, Tubelight and Jab Harry Met Sejal feature in the list of the year’s biggest money spinners. Earlier in the year while speaking to a filmmaker who had a critically and commercial successful film in 2016, something struck this writer: the director felt that the term ‘hit’ could be interpreted in any number of ways but in the end, it is about ‘perception.’

Tubelight and Jab Harry Met Sejal both earned much over Rs 100 crore, yet were labelled flops

Tubelight and Jab Harry Met Sejal both earned much over Rs 100 crore, yet were labelled flops

No recent Shah Rukh Khan film faced as much flak as Jab Harry Met Sejal. In fact, even before the first show had ended the reactions that were ‘live-tweeted’ had sealed the fate of the film, and despite Khan or Anushka Sharma and Imtiaz Ali the film was a washout. Khan’s Diwale too had faced a lukewarm response, but perhaps being ‘a Rohit Shetty film’ the criticism was not as much. Ali also went on to defend the film by saying that he never intended to make “an intellectual masterpiece”. The film’s box office collection is estimated to be Rs 150 crore (worldwide), of which about Rs 89 crore is said to its India gross. When juxtaposed against its supposed budget of Rs 80 crore, the film is nothing less than a debacle. A few days ago there was a report that Shah Rukh Khan had compensated about 30 percent of the losses to some distributors, which leaves no doubt about how the film fared.

If a ‘hit’ is a perception, then a ‘flop’ is a feeling. Before Jab Harry Met Sejal, the Kabir Khan-directed Salman Khan feature Tubelight too, faced a similar fate at the box office. Even after making a whopping Rs 100 crore in its first week, the film was declared a major flop and the poor word of mouth convinced the trade that be it Salman Khan’s hardcore fans or other audiences, no one was interested in Tubelight. Made on an estimated budget of  Rs 135 crore. Tubelight has managed to make about Rs 211 crore worldwide, which would be termed a disaster. It was Salman Khan who first compensated the distributors to the tune of almost Rs 30 crore, which was half of the total losses suffered by the distributors over Tubelight. Ironically enough, the same distributor, Shreyans Hirawat of NH Studioz would go on to lose nearly Rs 50 crore on Jab Harry Met Sejal.

The chances of a Tubelight of a Jab Harry Met Sejal being rediscovered a la Andaz Apna Apna or a Fight Club that were ‘flops’ when they first released, oscillate between low to none. Looking at the contradiction of films such as Jab Harry Met Sejal and Tubelight being flops and yet ending up amongst the top earners of the year one can’t help but wonder if box office collections even matter anymore?

Perhaps one needs to ask this question — what does box office collection even mean? In his book The Hollywood Economist 2.0: The Hidden Financial Reality Behind the Movies, Edward Jay Epstein — an investigative journalist with teaching experience at Harvard, UCLA, and MIT — notes that in 2007, the combined revenues of major Hollywood studios were around $42 billion, of which only one-tenth came from the theaters. In other words, the major chunk of the money came from the so-called backend that includes DVD sales, multi-picture output deals with foreign distributors, pay-TV, and network-television licensing and such. In Hindi films, too, the bigger the product, the higher the chance of making money even before the film releases. So, while the audience feels let down and the distributors burn their fingers, the stars (also the producers in most instances) still benefit as it’s all about perceptions!


Readmore

Continue Reading
Advertisement

Entertainment

Diljit Dosanjh on picking projects in Hindi films: ‘Unlike in Punjab, I’m not in a position to choose roles in Bollywood’

A few years ago people would wonder whether a turbaned sikh guy could be a mainstream Bollywood hero but Diljit Dosanjh has put those doubts to rest. Not only is the singer-actor having back to back releases in Bollywood but is also being cast opposite A-list heroines. After making a promising debut and an earnest performance in Udta Punjab opposite Kareena Kapoor, he was seen with Anushka Sharma in Phillauri. In his upcoming release, Welcome To New York, he will be seen with Sonakshi Sinha and then with Taapsee Pannu in Soorma, a biopic on hockey player Sandeep Singh, which will hit the theatres in June. He is currently shooting with Kriti Sanon for Arjun Patiala.

Diljit Dosanjh. Image from Twitter/@diljitdosanjh

Diljit Dosanjh. Image from Twitter/@diljitdosanjh

Naturally, Diljit’s confidence has taken a boost. In his initial days, he would have probably wondered in self doubt when asked if there was a limitation to the kind of roles offered to him, but today he confidently states in a mix of Hindi and Punjabi, “Isn’t there a turbanator in every field? Sikhs are there in Navy, Army, the police force…there is no profession left where there is no sikh. So how can I have any such limitations?”

He further adds, “In the beginning when I started with music in Punjab and was keen on acting as well, people would dismiss me saying it wasn’t possible as no sikh had ever been seen as a Punjabi film hero and that I should be restricted to music. My first Punjabi film didn’t but I slowly started delivering hits, some of which even became top grossers. (Diljit has been appreciated for his versatile performances in Punjabi films like the Jatt & Juliet series, Punjab 1984 and Ambarsariya). Later, people said that I won’t be successful in Bollywood because I wear a turban, but my turban helped me get films here.”

Not easily accessible and also considered media-shy, Firstpost tracks him down on the sets of the singing reality show, Rising Star, where the jovial and happy go lucky jatt is the centre of attention. He is in the midst of young singers and some big names from the music industry – Shankar Mahadevan and Monali Thakur. Sporting a shiny yellow jacket and black turban, Diljit seems to be enjoying every bit of it. “I am enjoying both, acting as well as singing, I just wanted to do some good work which I am doing, let’s see where my life takes me. I enjoy each day of my life. Sometimes I have my mood swings but I still try to maintain a balance,” says the singing star, who candidly talks about his upcoming stage-show reality film, Welcome To New York which is based on an award show. “There are so many actors in it, and I, too, have a small part. But if you ask me the experience of doing the film, I really didn’t understand anything. I don’t know how they shot the film in so much chaos. I have no idea. It was difficult to shoot but I kept taking orders from the director and went on doing what I was told,” he laughs.

Known for his rustic charm and simplicity, Diljit might have a lot in the pipeline, but he isn’t someone who would succumb to stereotypes. He wants to do roles that are integral to the story. “I won’t do as many films now. It is just that I had lesser commitments and hence I can be seen in so many films. Last year I refused three to four films. If I don’t like anything I say no to it. Even in Punjab, I did just one film a year and I will follow the same in Bollywood provided I am offered one. I am in no hurry, no greed, as I am getting more than what I am capable of. I would like to use the remaining time on my singing and churn out more Punjabi films for my fans. I also have fans in the US, UK, Canada and I would like to continue doing stage shows for them. Whatever I have to say from my heart, I do it through Punjabi music,” he says without displaying an ounce of stardom.

“I enjoy making music more because there are no limitations as compared to movies. You have a team with who you gel and make music. But the film is not under your control. You listen to the story and script but what finally comes on the canvas could be different, whereas in music you can reject your own composition if you don’t like it and try something different. But films are huge projects; a lot of money is invested and directors have their own point of view,” he adds.

Secondly, Diljit says, he finds more freedom in the choice of movies back home. “I am not in a position to choose roles right now in Bollywood but in Punjabi films I have that choice. Producers are friends there but in Bollywood whatever is being offered I am taking up. My upcoming Punjabi film, Rangroot is on World War I which was something I was passionate about,” he says.

Considering the fact that Diljit never played any sport earlier in his life, one would expect the Shaad Ali-directed Soorma to be one of his most challenging roles of that of a hockey champion. Diljit says jokingly, “When I was a kid, I didn’t get the opportunity to play much sports as my parents would tell me to study. And now when I am getting paid to play so why not? (laughs) But I didn’t face any difficulty while shooting for Soorma. I didn’t have to do much training in the sport, I just had to play the game. I am very happy that in the second year of my acting career in Bollywood I got to do a biopic. Actually, I don’t find my work difficult. Just that when I am acting, I try to feel for the character I’m portraying but every take of mine tends to be different. I don’t treat myself as an actor who has a process, I perform with instinct.”

And even as Bollywood is showering love on him, Diljit prefers to meet people only for work as he doesn’t like “bothering people unnecessarily”. “I don’t stay in touch with industry folks much. I am here only to work. I never got work because of networking or meeting producers in parties. I don’t believe in PR,” signs off the endearing star.

Published Date: Feb 22, 2018 08:57 AM | Updated Date: Feb 22, 2018 08:57 AM


Readmore

Continue Reading

Entertainment

The Joker origin film, directed by Todd Philips and produced by Martin Scorsese, to roll from 1 May

IANS

Feb,22 2018 09:29 23 IST

Los Angeles: Filmmaker Martin Scorsese’s untitled The Joker origin film is scheduled to start production in May.

Jack Nicholson as the Joker. Image courtesy: Facebook

Jack Nicholson as the Joker. Image courtesy: Facebook

The production house Tracking Board’s Jeff Sneider announced the news on social media. Sneider posted what appears to be a part of a press release which featured the project’s logline and listed a start date of 1 May, reports aceshowbiz.com.

The post, which was shared by him on Wednesday, also revealed the status of three-time Oscar-nominated actor Joaquin Phoenix, who was recently revealed to be in talks with the studio for the role of the Clown Prince of Crime, as “interested”.

Sneider, however, wrote that the details are subject to change. Details on the upcoming Joker origin movie’s plot are currently unknown though the film is set in Gotham City in the early 1980s and has more of the look of a gritty crime drama than comic book movie.

It is also said that the film will be separate from the DC Extended Universe in an effort to create new and unique storylines.

Acclaimed filmmaker Scorsese will serve as a producer for the project. Todd Phillips is set to direct the standalone film from a script he co-wrote with Scott Silver. Release date has not been locked for the Joker stand-alone film yet.

Published Date: Feb 22, 2018 09:29 AM | Updated Date: Feb 22, 2018 09:29 AM

Readmore

Continue Reading

Entertainment

‘Beyonce needs to auto-tune’, says TV host Wendy Williams; Twitterati roast her for remark

Los Angeles: American TV host Wendy Williams has faced backlash from fans for criticising singer-actress Beyonce Knowles and saying she needs auto-tune.

Beyonce. Image from Twitter.

Beyonce. Image from Twitter.

Williams criticised the singer on her show on Tuesday, where she said, “There are only a few people who can sing raw dog and Fergie is not one, she needs autotune. Jennifer Lopez needs autotune. Janet Jackson needs autotune. Beyonce needs auto-tune.”

Her remarks sparked rage on social media. While one user tweeted, “Wendy Williams, Beyonce has autotune where?”; another posted along with a clip of Beyonce flawlessly hitting high notes during a live performance.

Another shared a clip of the singer at a cappella performance of ‘Halo‘ and wrote, “Wendy Williams: ‘Beyonce needs auto-tune to sing.”

Beyoncé the ONLY!! And I repeat ONLY bitch we got that sounds better than her studio recordings live. And NO I DONT want to hear about your out of breath ass, throat surgery needing, can’t hold a note for dear life faves!!!! I SAID WHAT I FUCKING SAID!!!! pic.twitter.com/Dlw9VlKfRm

— 💎 (@KnowlesCarta) February 21, 2018

With inputs from IANS.

Readmore

Continue Reading

Member of The Internet Defense League

Subscribe to our Newsletter

Trending