{"id":285334,"date":"2025-04-19T04:24:28","date_gmt":"2025-04-19T04:24:28","guid":{"rendered":"https:\/\/news.talkwithrattan.com\/index.php\/2025\/04\/19\/no-muqaddar-for-sikandar-why-even-salman-khan-cant-pull-bollywood-out-of-its-crisis-and-series-of-flops\/"},"modified":"2025-04-19T04:24:28","modified_gmt":"2025-04-19T04:24:28","slug":"no-muqaddar-for-sikandar-why-even-salman-khan-cant-pull-bollywood-out-of-its-crisis-and-series-of-flops","status":"publish","type":"post","link":"https:\/\/news.talkwithrattan.com\/index.php\/2025\/04\/19\/no-muqaddar-for-sikandar-why-even-salman-khan-cant-pull-bollywood-out-of-its-crisis-and-series-of-flops\/","title":{"rendered":"No Muqaddar for Sikandar: Why even Salman Khan can\u2019t pull Bollywood out of its crisis and series of flops"},"content":{"rendered":"
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In what seems like a bygone Bollywood era, the trailer launch of Salman Khan-led Bajrangi Bhaijaan (2015) had a Mumbai auditorium packed with fans erupting in applause and wild hooting. This launch was designed to build up momentum a month ahead of this entertainer-cum-tearjerker\u2019s release, coinciding with Eid. Bajrangi Bhaijaan became the superstar\u2019s highest-grossing film worldwide, garnering Rs 918 crore.<\/p>\n

So much has changed over a decade. There was little of that buzz before Salman\u2019s Sikandar<\/strong><\/a> released on Eid. Unlike Salman\u2019s other blockbuster outings, it did Rs 26 crore on the opening day while its box-office collection crawled past the Rs 100 crore-mark on the eighth day of its release. This is symptomatic of the current crisis in the Hindi film industry.<\/p>\n

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The industry is currently striving to re-establish its stronghold after a tepid 2024. The historical drama Chhaava headlined by Vicky Kaushal may have emerged as the top-grosser in the first quarter of 2025 with a domestic earning of Rs 585.2 crore in two months (Rs 806.97 crore worldwide; sacnilk.com), but a spectre of gloom persists. So do the murmurs about the industry hitting a downturn. The old and established order of the Hindi film industry has crumbled. A superstar can\u2019t guarantee a big opening. The tried-and-tested formulas have gone kaput, leaving filmmakers floundering. The audience, spoilt with choices, thanks to the expanding base of streamers, are asking for better content and cinematic experiences.<\/p>\n

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Also Read<\/strong> | Chhaava: Vicky Kaushal\u2019s worrisome streak hits an all-time low; who\u2019ll take responsibility for inciting violence?<\/strong><\/a><\/p>\n

The year 2025 suffered a shaky start as several major movies, including Kangana Ranaut\u2019s Emergency, Shahid Kapoor<\/a>\u2019s Deva and Ajay Devgn\u2019s Azaad failed to attract critical and commercial success. Though Akshay Kumar<\/a>\u2019s Sky Force recorded a domestic net collection of Rs 112.75 crore (worldwide collection Rs 149 crore; sacnilk.com), its theatrical run was tainted by allegations of block corporate bookings to create the impression of a big opening. Jaat marked Sunny Deol<\/a>\u2019s return to the big screen on April 10 after the spectacular success of Gadar 2 (2023), with weekend collections having crossed Rs 49 crore, but its business saw a sharp decline on Monday. Touted to be the fifth top-grosser of the year, John Abraham<\/a>\u2019s The Diplomat took 33 days to earn Rs 50.47 crore worldwide (sacnilk.com).<\/p>\n

\"cinema The audience, spoilt with choices, thanks to the expanding base of streamers, are asking for better content and cinematic experiences.
(Express Photo by Amit Chakravarty)<\/span><\/p>\n

Decline in Earnings<\/strong><\/p>\n

The recent annual box-office report card for 2024 by Ormax shows the depth of the problem. Sanket Kulkarni, Head, Business Development (theatrical), Ormax Media, says: \u201cThe Hindi film industry experienced a 13 per cent decline in box-office revenue in 2024 \u2014 dropping from Rs 5,380 crore in 2023 to Rs 4,679 crore in 2024. Notably, 31 per cent of this revenue came from (Hindi) dubbed South Indian films, concealing a significant 37 per cent decline in earnings from original Hindi content.\u201d<\/p>\n

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After a good run in 2023 with Jawan, Pathaan, Animal and Gadar 2, the industry slumped in 2024. \u201cIf you take out two 2024 releases from the equation \u2014 Stree 2: Sarkate Ka Aatank and Pushpa 2: The Rule \u2014 it\u2019s a scary year,\u201d says Akkshay Rathie, director at Vidharbha Exhibitors. Stree 2, which is about a headless misogynistic monster kidnapping women who dare be \u2018progressive\u2019, earned Rs 698 crore in India (source: Ormax) while Pushpa 2 (Hindi) registered an all time high collection for a Hindi movie at Rs 889 crore (Ormax). \u201cStill, in a year that has 52 weeks, only two movies helping the industry sail through is not a great sign,\u201d says Rathie. Incidentally, for the industry to thrive, there should be \u201caround a dozen tentpole releases, across languages, in a year as well as a bunch of moderate successes,\u201d he says.<\/p>\n

Also Read<\/strong> | \u2018Paid reviews, extortion, negative stories\u2019: Industry insiders reveal possible reasons behind Dharma Productions putting an end to press screenings with Alia Bhatt\u2019s Jigra<\/strong><\/a><\/p>\n

As the industry has become increasingly obsessed with creating perceptions of success with paid reviews, inflated opening day numbers and fudged up collection figures, focussing on what matters \u2014 such as compelling storytelling, originality and creativity \u2014 has taken a backseat. Writer-director Anurag Kashyap recently declared he was leaving Mumbai<\/a>, fed up over the industry\u2019s star-centric ways and scant regard for creativity. Recently, director Hansal Mehta wrote on X that \u201cHindi cinema needs a reset.\u201d Last week, filmmaker Vivek Ranjan Agnihotri wrote an open letter to Minister of Commerce and Industry Piyush Goyal<\/a> saying \u201cthe industry\u2019s decay is evident.\u201d<\/p>\n

The question regarding the industry\u2019s struggle with uncertainties was raised earlier this month at the trailer launch of Raid 2 in which Devgn reprises his role as an honest income-tax officer going after a powerful politician. The actor-producer said: \u201cIt\u2019s not like only Bollywood films are not working today. This is the case with films all over the world\u2026 Right now we are struggling, and not very sure what the audience would come in for.\u201d<\/p>\n

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The Hindi entertainment industry has hit rough patches in the past, especially in the \u201980s and the \u201990s, following a dip in single-screen footfall caused by a burgeoning video rental business. Subsequently, multiplexes threw up other unique challenges as well as created opportunities to tell compelling non-mainstream stories. Streaming services, in recent years, too, offered a platform to showcase off-beat movies before leaning on star-backed projects. At present, the industry\u2019s crisis has dialled up due to an absence of both engrossing blockbusters as well as riveting non-mainstream movies.<\/p>\n

What the Audience Wants<\/strong><\/p>\n

Things were different a decade ago. Kulkarni says: \u201cBetween 2015 and 2019, the Hindi film industry experienced steady growth, with box-office collections increasing each year and reaching a peak of Rs 4,831 crore in 2019. However, the pandemic in 2020-21 led to a sharp decline, with revenues falling below Rs 1,000 crore. The industry began recovering in 2022, culminating in a record-high Rs 5,380 crore in 2023, the highest-grossing year for Hindi cinema.\u201d<\/p>\n

The world of entertainment has witnessed several changes in recent years. \u201cWhile some films have thrived in this new landscape, the industry must align itself with shifting audience expectations by offering fresh, compelling content that stands out in an increasingly competitive market,\u201d says Sanjeev Kumar Bijli, executive director, PVR INOX Ltd. Instead of calling the current state a \u201cslump\u201d in business, Bijli believes that the industry is \u201cundergoing a transformation driven by evolving audience preferences\u201d.<\/p>\n

\u201cIndian viewers today are more discerning, valuing authentic storytelling over mindless big-budget<\/a> spectacles. While star-studded films still generate initial buzz, smaller, content-driven movies like Laapataa Ladies (2023), 12th Fail (2023), and Srikanth (2024) have proven that relatable narratives resonate with audiences,\u201d Bijli says.<\/p>\n

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Long Post :
Hindi Cinema Needs a Reset<\/p>\n

For those predicting doom for Bollywood\u2014pause. The industry isn\u2019t dying. It\u2019s waiting to be disrupted. The problem isn\u2019t the audience losing interest. It\u2019s that investment is being funneled into the safe, the recycled, the formulaic.<\/p>\n

The\u2026<\/p>\n

\u2014 Hansal Mehta (@mehtahansal) March 10, 2025<\/a><\/p>\n<\/blockquote>\n

In the aftermath of the pandemic, viewing patterns have undergone significant changes. \u201cThe pandemic disrupted production schedules and altered viewing habits, but the industry is now grappling with larger systemic changes. The audience today is more selective. OTT platforms have provided them with diverse entertainment options, raising the bar for theatrical releases,\u201d says Bijli. On the audience\u2019s behaviour, Devgn said: \u201cWe are adapting to the change in audience preferences and that\u2019s how we are also changing. But nobody is very sure as yet.\u201d<\/p>\n

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The fact that the industry is \u201cnavigating a period of transformation\u201d and \u201cincreasing competition from diverse entertainment formats\u201d, believes Ashish Saksena, COO \u2014 Cinemas, BookMyShow, shows how it is geared towards \u201cdelivering fresh narratives, high-quality content and immersive experiences to re-establish its stronghold\u201d. Amidst these changes, the silver lining, says Saksena, is that theatres continue to be preferred destinations for large-scale movies and shared experiences.<\/p>\n

Ormax Media\u2019s \u2018Sizing the Cinema\u2019 report points out that Hindi theatregoers watched an average of 4.6 films in 2019, a number that declined to three in 2023. \u201cThese metrics indicate that moviegoing among the Hindi audience is increasingly becoming an event-driven activity rather than a habit, resulting in a steady decline in theatrical engagement,\u201d says Kulkarni. The cost of multiplex tickets and snacks is often cited as the primary reason why it has become an \u201cevent-driven activity.\u201d<\/p>\n

\"bollywood The box-office performances of Bade Miyan Chote Miyan, Baby John and Auron Mein Kahan Dum Tha are proof that star-power does not translate into crowd-pullers without good content.<\/span><\/p>\n

The Stars are Down<\/strong><\/p>\n

\u2018Content is king\u2019 may be a universally accepted truth but ironically \u2018weak content\u2019 is often cited as the primary reason for a film\u2019s poor show. Cases in point are Sikandar and Jaat. At the recently-held annual conference of Screenwriters Association (SWA) in Mumbai, consensus was that while fresh content can pull the industry out of this vortex, its over-dependence on stars has been an obstacle. Remembering her early years in the industry, producer-writer Kanika Dhillon says: \u201cIt was made clear to me that it\u2019s a star-driven system. The decision regarding a mainstream film depended on the surety that a certain star will ensure a certain kind of footfall. That has gone for a toss (today).\u201d<\/p>\n

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The box-office performances of movies with A-listers in 2024 \u2014 including Bade Miyan Chote Miyan featuring Akshay Kumar and Tiger Shroff; Varun Dhawan<\/a>\u2019s Baby John; and Auron Mein Kahan Dum Tha featuring Devgn and Tabu \u2014 are proof that star-power does not translate into crowd-pullers without good content. The heavy dependence on stars often means lesser amount spent on writers. \u201cOut of 25 remakes made post-pandemic, 23 are flops. Everyone has realised, the only way to succeed is to create original content. That will not come from a director or producer but from a writer,\u201d said Niren Bhatt, writer of Stree 2 and Sky Force, at the SWA meet.<\/p>\n

The Regional Edge<\/strong><\/p>\n

With Hindi movies floundering at the box-office, there is an increased competition from dubbed South Indian films. Bijli says, \u201cThe Tamil, Telugu and Malayalam film industries have consistently captivated audiences nationwide through their strong storytelling, rooted authenticity, and innovative filmmaking. Films like KGF: Chapter 2 (2022), RRR (2022), Kantara (2022) and Pushpa: The Rise (2021) have transcended linguistic barriers to become nationwide sensations.\u201d<\/p>\n

While Hindi cinema \u201closing mass connect\u201d has been a major concern, \u201cthe biggest challenge\u201d, according to prominent producer Siddharth Roy Kapur, has been \u201cfinding a story that would appeal to the wider section of the audience\u201d. The Dangal co-producer says: \u201cWe (Hindi filmmakers) have to cater to a much wider audience. The regional industry has the benefit of catering to one market. We have to go back to the basics \u2014 go back to telling stories that we understand and believe in.\u201d<\/p>\n

\"Pushpa Pushpa 2 dominated the Hindi box office as well.<\/span><\/p>\n

There are many reasons for the audience of Hindi films feeling alienated. Rathie says, \u201cThe setting (of a Hindi film) might be small town India but the storytelling is urban. The audience in Tier 2 and 3 towns enjoys Salman\u2019s shirt coming off more compared to the social cause-driven narrative in an Ayushmann Khurrana film. To be able to cater to them, we have to be aware of their realities.\u201d He adds that the ratio of films made for urban audience is around 90 per cent while 10 per cent is for the masses. To fix the scenario, the industry\u2019s key stakeholders have to take relevant steps instead of sitting on the fence. He finds it worrisome that Ranbir Kapoor hasn\u2019t had a release since Animal (2023); Ranveer Singh<\/a> hasn\u2019t appeared in a lead role in two years; and after his last release Dunki (2023), Shah Rukh Khan\u2019s next, King, is yet to go on floors.<\/p>\n

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To turn around Bollywood\u2019s fortunes might entail taking a few risks. Actor Saif Ali Khan<\/a> says, \u201cYou want to take risks but at the same time people don\u2019t want to lose money. You want to be successful in giving the audience what they would enjoy. However, if you repeat yourself, then that can be destructive. It\u2019s a challenge to figure out how we can give the audience what they really want.\u201d<\/p>\n

Also Read<\/strong> | Kesari Chapter 2 Movie Review: Akshay Kumar stars in a film of its time, for its time, with dollops of patriotic fervour<\/strong><\/a><\/p>\n

The Future is Disruption<\/strong><\/p>\n

What might help is content that is original, rooted and engaging. \u201cIf you don\u2019t take risks, that\u2019s the riskiest thing of all,\u201d believes Roy Kapur. Mehta, director of films like Shahid (2013) and Aligarh (2015), believes in disruption. \u201cThe industry isn\u2019t dying; it\u2019s waiting to be disrupted\u2026 The future lies in betting on raw talent, bold storytelling and directors who can take a script and direct the hell out of it.\u201d<\/p>\n

Though the worst is evidently not over for the industry, Bijli believes 2025 \u201cpromises to be a landmark year\u201d with a stellar lineup of releases. This includes Housefull 5, the next instalment of the popular comedy franchise; War 2 that casts Hrithik Roshan<\/a> and Jr NTR together; legal drama Jolly LLB 3; Aamir Khan<\/a>\u2019s next Sitaare Zameen Pe; and Thama that\u2019s likely to feature Khurrana as a vampire. Saksena takes heart in the fact that the audience is open to different genres. \u201cFilms across genres are resonating with the audience. It\u2019s safe to say that the theatrical business in India has a resilient foundation,\u201d he says.<\/p>\n<\/div>\n