The most eerie feeling, which I seem to be experiencing with alarming frequency in recent times is paying and watching a film in nearly empty halls. I have watched the ‘first copy’ of films with some makers, luminaries like Mani Ratnam, Mrinal Sen, P.C. Sreeram and B.C. Gowrishanker but that’s a rare privilege. The thrill of watching the carefully crafted creation of revered filmmakers much before the rest of the world is incomparable especially for a cineaste. Some multiplexes have a rule saying there should be a minimum of six tickets sold for the show to start. I have been a victim of this policy a few times (yes, not even six turn up sometimes) and it’s disheartening if you think about the producer other than the money and time spent commuting. Imagine if even six tickets are sold at 200 rupees apiece the producer ends up with 600. A friend had to return after visiting two multiplexes without watching a Kannada film introducing an industry bigwig’s son purely because five good friends refused to accompany him even if he was prepared to pay for the tickets. Thankfully, Cinepolis at Binnypet has relaxed this policy. I watched ‘Omerta’ with four others including a couple who probably didn’t know which film was playing. The atmosphere in the hall lived up to the title.
‘Omerta’ is the talented Hansal Mehta’s weakest film and even the supremely talented Rajkummar Rao’s performance is uneven. Biopics are interpretive like history. ‘Omerta’ is a graphic retelling of relatively recent events well documented but fails to delve into the perpetrator’s mind and the reason for his transformation from a nerdish youth in Southall, London to the devil who deals in death and destruction. It’s strange to see someone wanting to retaliate when he’s not affected personally and for events far removed, even geographically. There has to be a strong motivation for someone in London wanting to help those suffering in Bosnia and Hansal doesn’t even scratch the surface. That’s what makes the film cold and clinical. The protagonist’s interactions with his father obviously imagined by the maker just don’t pass muster. Nor is the justification mouthed for the brutal deeds. The life of this ruthless terrorist just does not deem being immortalised in celluloid. The lives of innocents can never compensate for or correct social evils and injustices.
In Tamil Nadu, after the protracted strike and the deserted halls rendering scores jobless, the success of ‘Iruttu Arayil Murattu Kutthu’ should have pleased many but even those in the film fraternity are unhappy. Young actors like Vishnu Vishal and the veteran Bharthi Rajaa have blamed the makers and the CBFC squarely for allowing the film to be released. Touted as a sex/horror comedy, whatever that means the film is like a drizzle after a drought where the box-office is concerned. The industry’s attitude towards the censors is strange and unreasonable blaming them if certain films are banned and others allowed. I guess it’s more about the lack of consistency. ‘IAMK’ has been certified for adults only. The content is apparently sexually suggestive, deals in homophobia and discriminates women which seem to be working for the distributors but activists are crying foul. It is industry insiders raising a hue and cry against someone from their fraternity that’s ambivalent. When it’s convenient for them they say let the audiences decide what they want to watch. It takes all kinds to fill a cinema hall and if some like cheap thrills, so be it. Publicity of any kind makes people curious and obviously the film has been made by the desperate for the demented.
CHENNAI, TAMIL NADU, 10/02/2018: Poster of the Rajinikanth starrer Kaala.
The industry strike has also resulted in a battle for theatres and convenient release dates. “It’s not according to when the film was certified but arbitrary,” says an affected producer staring at mounting interest costs. The impending release of Rajni’s ‘Kaala’ means a gap of two weeks before and after has to be allowed as respect for the ageing superstar’s seemingly undiminished ‘pulling power’. Distributors are not too ecstatic. They are not falling over each other to grab the film and the exorbitant rates the producer is asking has not helped. For Karnataka the price touted according to reliable sources was twenty crores which is nearly double what was paid for Rajni’s last couple of films, both flops by the way. The asking rate has been reduced drastically but apparently there are no takers. “The producer should keep in mind the fact that the distributor of ‘Kabali’ lost a fortune,” says an industry insider. The Cauvery imbroglio is also a deterrent which makes the few prepared to pay wary. There will be a fresh sucker to take the bait however unrealistic it may be as a business proposal but the harsh reality is even a superstar like Rajni is only as good as his last film. By the way those in the know are whispering that the film has shaped up well and should reiterate the fact that Rajni still rules over Tamil audiences!
