Javed Jaffry (left), Karan Johar, Diana Penty, Tamannaah Bhatia pose during the launch of ‘Daring Partners’ in Mumbai, on Tuesday.

The film industry has lost its exclusivity. Now, what we have is a mammoth entertainment industry. And the film trade is just a part of this industry. The way the equations are changing, filmmaking, distributing and exhibition may end up becoming the smaller part of the entertainment industry.  That is not to say that film production will suffer. Far from it, production activity will only mushroom. What producers will be making will be called “Content?” Because, whenever they plan a project, OTT platforms will remain important for them. And the content will come in various forms: episodic serialisation or web series, feature-length films, shorts, and so on. So, many aspiring filmmakers who could not even dream of making a feature film, now do the same but call it ‘content’.

Can you imagine that once upon a time, cinema owners in towns considered any other means of entertainment around them to be an “opposition”? In those days, a distributor whose film was being screened in any town would get a Daily Collection Report (DCR) and prominently listed on top of this report sheet were the oppositions to this particular film.

The report listed not only the other films showing in cinemas, but also the local circus, magic shows, plays and so on! They were considered to be competition that could affect a film’s collections. Initially, there were films and there was radio. And radio complemented the film business. Radio helped film music become popular, which in turn served as a draw for a film. That was an era when viewers would watch a film if they loved the music.

But then came television, which many called the idiot box! Today, the film business is at its nadir, thanks to the idiot box and the avenues it created over a period. What made television tick? Who fed it content? The filmmakers, the film industry itself. What was the USP of Doordarshan? The Sunday feature film, Saturday night award-winning film, or the Adult-certified film, and, most of all, film-based programmes such as Chhayageet or Chitrahar. Then of course the video format started making a dent on the box office, with video piracy hurting the most. Then came satellite television film channels, another parasite feeding off the film industry. Every producer felt blessed selling satellite rights, thinking it was an extra buck.

But this spelt the end of repeat runs of films as well as 16mm business. Many cinemas in commercial areas screened matinee shows of old-time classics as their first show of the day and young people would throng the cinemas. This was followed by the screening of a new film rolled out in three shows a day. That morning screening was called a matinee show and the tickets cost much less than the regular shows. That is how some stars came to be known as matinees idols; their repeat films drew maximum footfalls. This was just the beginning. The film industry was creating its own rivals because all those outlets providing small-screen or home entertainment were fed by cinema. Now, we have OTT platforms, and, like radio, they can again be considered a part of the industry. They complement the business of making films. Initially, the OTT platforms bought films and added to the revenue of production houses without eating into their rights.

What these OTT platforms are doing now is that they are partnering with film and content makers. That is because, for one thing, these platforms did not have enough Indian content, and second, because the cinemas, in their new multiplex version, were greedy. That greed of cinema managements has made things easier for the OTT platforms to add to their subscriber base.

It will include sanctioned as well as licensed products. Besides the sequels to its serials, such as “Panchayat,” “Mirzapur,” “Pataal Lok,” “Bandissh Bandits,” “Suzhal — The Vortex, and so on, there are several big banner films. What is amazing to note is that the sequels to major theatrical hits like “Don” (three), “Housefull” (five) and “Baaghi” (four) have been acquired well in advance by Prime Video! The stars on its roster include the likes of Shahid Kapoor, Varun Dhawan, Anil Kapoor, Abhishek Bachchan, Ranvir Singh, Tiger Shroff, Siddharth Malhotra, Vicky Kaushal, Akshay Kumar, Riteish Deshmukh, Ajay Devgn, Rajkummar Rao, Ram Charan and Pawan Kalyan, along with Nushratt Bharucha, Kriti Sanon, Triptii Dimri, Shraddha Kapoor, and so on.

Indo-Asian News Service