Hrithik and Deepika in a still from the film. (courtesy: YouTube)
Bollywood trade analyst Taran Adarsh has expressed his views on the significant divide in the film industry. In a detailed note posted on X (formerly known as Twitter), Taran discussed how recent releases, including Shah Rukh Khan's Dunki and Hrithik Roshan and Deepika Padukone starrer Fighter, have highlighted a noticeable gap between "urban centres" and "mass pockets." He began the note by stating, "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."
Taran Adarsh emphasised that the responsibility for the divide doesn't lie with the audience but with filmmakers, who fail to create content that resonates beyond metropolitan areas. The film critic stated, “The fault *doesn't* lie with the moviegoing audience, but filmmakers / storytellers, who aren't able to deliver content that strike 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 Adarsh has labelled the outcome of Shah Rukh Khan's Dunki and Fighter, headlined by Hrithik Roshan and Deepika Padukone, as “underwhelming.” He said, “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 all-India audience, not restrict it to a handful of metros.”
The film critic also spoke about the crucial role that mass pockets play in the success and sustainability of the film industry. Taran Adarsh 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 Adarsh has also picked the movies that attracted audiences in both urban centres and mass pockets. He expressed, “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 the full note below:
What do you think about Taran Adarsh's opinion?