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Hrithik and Deepika in a scene from the film. (courtesy: YouTube)
New Delhi:
Prominent Bollywood trade analyst Taran Adarsh recently took to X (formerly known as Twitter) to share his insights on the current chasm within the Indian film industry. He addressed the distinct performance of star-studded films such as Dunki, featuring Shah Rukh Khan, and Fighter, starring Hrithik Roshan and Deepika Padukone, and how they underscore the growing divide between “urban centres” and “mass pockets”. Taran highlighted, “URBAN CENTRES VS MASS POCKETS: THE BIG DIVIDE… The Box office response to Dunki [December 2023] and Fighter [January 2024] —both driven by star names, on and off screen—clearly indicates the significant divide in the film biz today.”
In his analysis, Taran Adarsh points out that the disparity is not due to the preferences of moviegoers but is a result of the filmmakers’ inability to produce content that resonates outside of metropolitan areas. Taran elaborated, “The fault *doesn’t* lie with the moviegoing audience, but filmmakers / storytellers, who aren’t able to deliver content that strikes a chord with audiences *beyond metros*… The disparity in film business is for all to see, with urban centres embracing the films, but mass centres staying away from it.”
Taran expressed disappointment in the box office results for Dunki and Fighter, labeling their performance as “underwhelming.” He remarked, “Let’s face it, the outcome of Dunki as well as Fighter is underwhelming, despite the merits… The box office numbers should have been much, much better and while the makers will recover the investment thanks to non-theatrical avenues, even book profits, the industry needs to open its eyes to the fact that you need to make films for an all-India audience, not restrict it to a handful of metros.”
Furthermore, Taran drew attention to the vital contribution of mass pockets in driving the film industry’s success and sustainability. He wrote, “The participation of mass pockets in film biz is most vital for the well-being and sustainability in the long run… Even in the 1970s and 1980s, I distinctly remember, the mass circuits were major revenue generators and the contribution from these circuits would take the film to the winning post… Several films would fetch handsome prices for re-issue rights – even after 5/10 years of first release – since these films would attract repeat audiences in theatres… Sadly, the repeat audience is missing today thanks to the stories we choose to narrate, which clearly alienates the mass circuits.”
Taran noted that certain movies have successfully captivated audiences across both urban and mass markets. He shared, “In the past, Pushpa [Hindi version] found takers, despite its presence on OTT… In recent times, 12th Fail and Animal continue to attract footfalls in cinemas, despite the presence on OTT platforms… Additionally, the Nostalgia Film Festival – organised by YRF [Yash Raj Films], showcasing popular titles like Dil To Pagal Hai, DDLJ [Dilwale Dulhania Le Jayenge], Darr, Mohabbatein, Veer Zaara and RNBDJ [Rab Ne Bana Di Jodi] – is a huge success… There’s a strong message for filmmakers here.”
Read Taran Adarsh’s complete analysis below:
URBAN CENTRES VS MASS POCKETS: THE BIG DIVIDE… The #BO response to #Dunki [Dec 2023] and #Fighter [Jan 2024] – both driven by star names, on and off screen – clearly indicates the big divide in film biz today.
The fault *doesn’t* lie with the moviegoing audience, but filmmakers… pic.twitter.com/MMQ8utyTqm
— taran adarsh (@taran_adarsh) February 6, 2024
What are your thoughts on Taran Adarsh’s observations?
FAQs About the “Big Divide” in the Film Industry
What did Taran Adarsh mean by the “Big Divide”?
The “Big Divide” refers to the gap in box office performance between metropolitan areas or “urban centres” and less urbanized regions, known as “mass pockets.” Films are not performing as well in the latter, which are historically significant for a film’s financial success.
Which films did Taran Adarsh discuss in his analysis?
Taran Adarsh discussed the box office collections of “Dunki” and “Fighter,” which both featured prominent actors but did not perform up to expectations, especially in mass pockets.
Why does Taran Adarsh believe box office numbers are not meeting expectations?
He believes filmmakers are failing to create content that resonates with audiences beyond metropolitan areas. This has resulted in lower box office numbers from mass pockets.
Are any films successfully bridging the divide?
Yes, Taran mentioned that some films like the Hindi version of “Pushpa,” “12th Fail,” and “Animal” have managed to draw audiences from both urban centres and mass pockets.
What message does Taran Adarsh have for filmmakers?
Taran suggests that the film industry should focus on making movies that appeal to the all-India audience rather than just catering to metro cities.
Conclusion
Taran Adarsh’s critique opens a significant discussion on the importance of crafting films that resonate with a broad audience base. The box office turnout for “Dunki” and “Fighter” points to a notable challenge in the Indian film industry: bridging the divide between different audience demographics. By examining past and present trends, Taran has offered a clear call to action for filmmakers to prioritize inclusive storytelling that appeals to the entire nation. His insights underline the potential for a more unified and prosperous cinematic landscape, which can be achieved by acknowledging and addressing the preferences of moviegoers across the spectrum.
