Mother of all theatres

Mohan V. Raman looks at what the arrival of Amma Theatres truly means

October 18, 2014 07:39 pm | Updated May 23, 2016 07:31 pm IST

Cheering crowds at the entrance of a cinema hall screening a Tamil film

Cheering crowds at the entrance of a cinema hall screening a Tamil film

It would be interesting to analyse the underlying assumptions that have prompted the Chennai Corporation to start Amma Theatres, a chain of low-cost theatres. As far as audiences go, yes, there is a large population of film-goers that cannot go to cinema halls frequently as tickets are prohibitively expensive. This audience will pay a sum “lower than the cost of a pirated DVD” to watch a movie. However, it must be noted that commercial star-driven movies are not what the low-cost theatres promise to screen, but only films that are struggling to find a release.

The phenomenal success of the Amma Canteen is premised on the fact that it serves the same stuff that you would find in an expensive Udupi restaurant — idli, pongal, etc. Only, like the low-cost airline, it offers no frills like ambience or luxury. The low-cost theatre, however, plans to serve not pongal but porridge, a healthier option. That’s how the film-going public views experimental, non-star driven, non-commercially viable cinema — as the nutritional but less tasty version of masala movies. I am not suggesting that all films struggling to find a release are ‘arty’. Many are commercial themes with the usual quota of song, dance and fight, but featuring lesser known or newbie actors and directors.

Why do regular film theatres refuse to provide these films screen space? If these are films that will draw enough of a crowd to sustain a run for a week or part thereof, why should cinema halls refuse to screen them? Obviously, then, these films are not a viable proposition, as they are not expected to attract enough people at Rs. 120 per ticket. The assumption is that at Rs. 30-odd per ticket, such films could get a crowd. That might well be right but will the filmmaker see any return on his investment? He must have spent several lakhs or even a few crores of rupees in making the film. On what basis will the government share revenues? Will it follow a fixed rental plan and allow the film producer to hire the theatre and release his film there or will it be on a profit-sharing basis? Will the government buy these films at a fixed price? If so, who determines the price? How will films be selected for screening?

The makers of many of these films awaiting release also owe money to various film craft unions, financiers and so on, and the films cannot be released because they cannot get a no dues clearance. How will the low-cost theatre address this problem?

In cinema halls today, air-conditioning has become a necessity, as has adequate car parking and some sort of café. The biggest cost of a theatre owner is land, which drives up the price of tickets. The government does not have to bother about the opportunity cost of land, and as for snacks and beverages, it can use the services of the nearest Amma Canteen. It can also get subsidised electricity. However, even so, the loss in an Amma Canteen is borne by the Corporation from taxes collected. Will the Amma Theatre also be run as a financial loss proposition that will be subsidised by the ordinary taxpayer? Roads, water, electricity, even food are basic needs that a government must provide but subsidised entertainment? If it is not going to be subsidised, what will the economic model be?

One likely scenario is that the government, keen to ensure that the experiment is as big a success as the Amma Canteen, will probably arm-twist the film industry into releasing some star movies in these theatres as well. This is bound to create a problem with existing theatre owners and distributors. The government has the biggest weapon up its sleeve — the tax exemption certificate.

If, on the other hand, the experiment succeeds, then it will spawn a generation of young filmmakers and actors who will challenge the hegemony that a few enjoy. It will also exponentially increase the reach that films have. In a way, the Amma Theatre will replace the old “touring talkies”. In the pre-shopping mall days of standalone theatres, we had cinema halls that targeted specific sections of society.

Thus, while Safire and Casino catered to the English film fan, Shanthi, Chitra and Gaiety were for the Tamil film fan, and Kamadhenu and Kapali specialised in re-runs at much lower rates. This increased viewing options and that is something any film lover will always welcome.

In any case, the doors are being thrown open. As a film fan, I can only hope that what they are opening up is not Pandora’s box.

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