SPOTLIGHT: THE DILEMMAS OF PAKISTANI CINEMA
Last week, Sherdil producer Noman Khan addressed his concerns on the timeliness of film reviews in a group made up of producers, distributors and journalists. Khan’s primary contention wasn’t with the negative reaction from reviewers — he accepted that they will help him become a better filmmaker; he just wanted reviews to come out a week after release so the negative press doesn’t hurt ticket sales.
In Hollywood, negative reviews are held back by the press, he argued incorrectly in a bid to endorse his point, so why can’t we, as patriotic Pakistanis, do the same?
Khan’s anger is a cliché by itself; a remake of heard-to-death statements from producers who become self-conscious by the rebuff of critics, and want to lash out without causing an even bigger ruckus.
Industry squabbles, an unwillingness to learn from mistakes and steep ticket prices are making things worse for the country’s cinema industry, already reeling from the sharp reduction in footfalls at theatres after the removal of Bollywood content
Sherdil has already made money, the distributor told me during a phone conversation, a little while after Khan’s audio came out. So why don’t bad reviews influence audience turnout? And why, he asks, does a film like Lal Kabootar, which has received near-universal acclaim, struggle at the box-office?
Sherdil’s success is due to its well-timed release, and certainly not because of its content or craft. The film has, so far, done as much business as any other average entertainer (it should have crossed the 10 crore rupee mark by the time you read this) — and that’s not factoring in ticket price inflation; the footfalls, in comparison, would be fewer.
In honesty, questions such as the one Sherdil’s distributor asked — whether in naivety or out of sly hypocrisy — are tiring. Feigning innocence or lack of understanding has made our film industry what it is today: a burning rubble of behind-the-scenes politics, play-it-safe business strategies and damaging business practices. Amateur filmmaking is just a small cog in this hulky machine, whose glossy exterior is a façade, and whose interiors have rusted beyond repair.
Before reviewers had become the enemy (and let’s be honest, at one time the press was scolded for not carrying Pakistani film reviews), Pakistani filmmakers had been rallying against Bollywood films, or were blaming Indian star power (or even lack of it, in some cases), as the root cause of domestic films not doing business.
Our filmmakers’ ire — mostly a product of their own incompetence in not producing finessed content or box office-drawing star power on a regular basis — is never about what they were not able to achieve. The condemnation is often on the lack of infrastructure or arcane equipment — never on arcane thinking.
Hollywood has been around forever; its drawing power in the subcontinent was always slight yet consistent. It doesn’t, however, have the muscle to erect new cinema complexes. Bollywood, on the other hand, drives footfalls. Exhibitors (read: cinema owners) — especially those catering to the lower class masses — love Indian films; even the duds. An exhibitor once professed to me that he would rather play a flop Indian movie for a week, and change it with a better option, than depend on a dubbed Hollywood film or a Pakistani film that does not have repeat value (only a handful of these exist in any case, as of right now).
If the industry wants to have a consistent state of growth, the audiences’ need to visit cinemas to watch films should be muscle memory. That, of course, isn’t possible with products like Sherdil, Project Ghazi or any of the other 20 of 25 films we produce in Pakistan every year.