There used to be a common joke in the business that a flop movie producer would say, “But my movie is doing super hits in Bihar!” But as in the proverbial “howling wolf” tale, there was an occasional grain of truth in a film that did region-specific good business, such as Dil Ka Rishta (2003) only do well in Gujarat or some action thrillers do well in the northern circuits. Singh Is Kinng (2008) and the recent Jug Jugg Jeeyo also did well in Punjab, but failed to impress elsewhere. There was also the issue of local identification, like a gangland movie satya (1998) fared well on the Mumbai circuit and underperformed elsewhere.
What makes a Hindi film an ‘international’ hit? Trade analysts weigh in on public reception India versus Indians abroad
However, there have been many movies, especially in the millennium, that flopped in India but performed well abroad, especially in certain specific countries.
The latest movie rumored to have achieved this is Laal Singh Chaddha, which is a colossal disaster in India. Yusuf Shaikh, Percept Pictures’ Director of Distribution, Acquisition and IPR Management for Feature Films: “Laal Singh… has become the highest-grossing Hindi film of 2022 abroad. It has done a business of Rs 60 crore. But that’s not much, especially by Aamir Khan’s movie standards.” Trade analyst Taran Adarsh agrees: “The fact is, even abroad, Laal Singh Chaddha underperformed.”
Secret Superstar (also produced by and starring Aamir Khan), Kabhi Alvida Naa Kehna, My Name Is Khan, RA.One!, Dilwale, Baabul, Jab Harry Met Sejal, Blue, Main Prem Ki Deewani Hoon and tube light are among the films that did good business abroad after ‘refueling’ in India.
What explains the difference between Indians at home and NRAs when it comes to film reception? Shaikh says: “There is a captive audience there waiting for Hindi movies! They are hungry for Indian cinema and also associate with certain brands such as Yash Raj Films, Dharma Productions, Rajshri Productions and even Excel Entertainment. On weekends, audiences would love to watch the latest Hindi movie, and they prefer star-studded movies with songs and family values.”
Vinod Mirani, a senior trade analyst, refutes the claim, saying: “The Indian public abroad, whether in the US, UK, Dubai or anywhere else, is being straitjacked by budgets. The price of tickets abroad starts around $50. And there is a lot more to do there – in Indian entertainment alone, there are also shows. So they only watch movies with a good buzz. Families have many other things to do, even starting with good English movies!”
Taran Adarsh also contradicts Shaikh’s claim of a “captive” audience willing to gobble it up, saying, “First of all, it’s the content that matters – an action-oriented Dilwale will never do as well as a Kabhi Alvida Na Kehna, for example. Then it is also certain stars – all Khans, Hrithik Roshan, Ranbir Kapoor and Ranveer Singh, who are their favourites. However, Akshay Kumar and Ajay Devgn are only rated based on the content of their movies like good newszz has done brilliant business.”
But he does mention that the audience there is a so-called “class” audience. “The subject of a film like Kabhi Alvida… was rejected by the public in India. But there the audience went for the substance – they understood the view of marriages and divorces. The same applies to My name is Khan and secret superstar, who was doing brilliant business in China in an interesting way. The audience there therefore also looks beyond the typical Hindi film, to adult subjects.”
A senior trade analyst, on condition of anonymity, mocks the collection figures, especially in China, of secret superstar, dismissing them as “Aamir Khan’s PR machine, because no media or public can control them, even if they tend to. But I only look at actual numbers.” However, Adarsh insists the film had great success, even doing extremely well in the US and Australia, to give just two examples, despite underperforming in India.
This analyst argues that the dull phase is also because the novelty of a star has worn off. “If stars are seen everywhere and can be accessed even on a mobile phone, how can people maintain the desire to view them. Everyone used to be interested in their life, now it’s all known!”
Shaikh notes that Yash Raj Films, Dharma Productions, Rajshri Productions and Excel Entertainment “tailor most of their films for foreign audiences.” Again, Adarsh denies this, explaining, “Any banner cannot afford to alienate the huge Indian market. Let me tell you that business done abroad, no matter how good – and exceptional in some films, cannot change the judgment of a film! Indian business is what matters. Yes, maybe some filmmakers are experimenting with certain themes that our audiences ultimately don’t appreciate or identify, but in the end it’s the Indian business that matters!”
In most cases, therefore, there is a confluence of thoughts among viewers. “When 83 flopped here, it underperformed even abroad. But while Happy New Year was a ‘plus’ movie here (it made nominal profits), it fared much better abroad,” notes Adarsh. He does accept that certain banners and filmmakers have branding there. But again, it’s about the content. A movie like Gangubai Kathiawadic (dismissed by some authorities as a flop in India in terms of return on investment – the vital index everywhere) was fantastic, especially because of Sanjay Leela Bhansali’s branding.
Raj Kapoor used to be a filmmaker who had a ready audience (na awara) in Russia and was also known elsewhere. His movies like Jagte Raho (1956) and Mera Name Joker (1970), which failed miserably at home, did great business abroad, while his Indian blockbusters Sangam, Bobby and Ram Teri Ganga Mailic went on to do epic business abroad. Shaikh points out, “I remember when Rajesh Khanna’s superstardom ended, he remained a powerful force overseas for several more years!”
In the final analysis, we come across certain indisputable facts:
90 percent of Hindi movies abroad are only watched by the Indian diaspora (Indians, Pakistanis and some other South Asians). The markets to a global audience are still not open.
Content rules and family entertainment with songs, dances and stars have the highest priority.
And yet, “class” content like Kabhi Alvidaa Na Kehnone or My name is Khan, those who are outright rejected in India are also loved.
Certain stars and top filmmakers have a branding there and a higher appeal. Yet an Aamir Khan can be rejected for Laal Singh Chaddha after a good opening, and shamshera can be discarded despite the combination Yash Raj Films-Ranbir Kapoor.
The biggest truth is that, ultimately, foreign companies cannot change the business judgment of a film. Ultimately, there is only a quantitative difference.
And as always, a few exceptions prove the rule!
Also read: While Laal Singh Chaddha, Raksha Bandhan and Liger fail, theater owners close the screens until Brahmastra is released; Manoj Desai temporarily shuts down Galaxy cinema
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