So as of now, at least, OTT seems a great avenue either way. Public memory is short and a flop may continue to garner followers and have a longer shelf life on OTT.
Credit: Pixabay Photo
It was a kind of ‘escape route’ during the lockdown — selling completed movies to various OTT platforms that had begun to boom in the absence of theatre-watching for the film aficionado. Cutting losses then was vital for survival.
While filmmaker Rohit Shetty doggedly held on to Sooryavanshi for 18 months until theatres reopened, Akshay Kumar released Laxmii on a streaming platform. Salman Khan even released Radhe — Your Most Wanted Bhai simultaneously in theatres and on OTT as an experiment.
But after the lockdown was called off and theatres limped back to normalcy, another phenomenon came up — direct-to-OTT releases. Shershaah, Mimi, Mission Majnu, Darlings, Cuttputlli, Gehraiyaan and Jalsa were among the films involving big names (there were many other smaller films) that streamed online. Not all were initially planned as digital releases.
By 2023, the trend burgeoned. Nitesh Dangal Tiwari’s Bawaal, Sujoy Ghosh’s Jaane Jaan, Ritesh Sidhwani, Farhan Akhtar and Zoya Akhtar’s Kho Gaye Hum Kahaan and The Archies, all released on the ‘small’ screen. In 2024, we have already had Karan Johar’s Ae Watan Mere Watan with his Bad Newz on the way, as also Imtiaz Ali’s Amar Singh Chamkila. There will be more hitherto-unannounced movies added too.
Raj Bansal, theatre owner and distributor, says, “It’s about being sure of some profit and a safe passage to make money when very few films are working in theatres. Somewhere down the line, OTT is the next big thing. And this way, ghar mein kuch to aayega! (some profits can be made).”
Trade analyst Taran Adarsh agrees and says, “Ideally films should first be screened in theatres and then on TV or OTT. But uncertainty about people turning up makes OTT a safe option. Also, you are assured of a wider reach. This year, ‘Shaitan’ and ‘Article 370’ are the only definitive hits. So releasing even big-scale movies on OTT prevents those sleepless nights every producers go through before release.”
How long will this ‘trend’ last, or do they see this as a permanent change? Bansal bluntly says, “The film producers are looking at OTT as a goose laying golden eggs! In the recent past, OTT platforms that offered massive money to them realised that they were being cheated and began offering restricted sums. I think this trend will be short-lived because prominent filmmakers like Aditya Chopra have never released a film on OTT and the industry isn’t exactly full of fair-minded people. They want it all, and the other party can fend for itself.”
“A genuine hit happens when all sectors, including distribution and exhibition, make money. The three trump cards of a good film are direction, script and music. With each of these creative fields compromised, and actors charging exorbitant fee despite inability to pull in audiences, I do not find things encouraging. To begin with, actors’ fees should be cut down to size. They should only get a percentage of the profits on top of their fixed remuneration,” Bansal adds.
Adarsh, however, sees the trend declining due to a polar opposite reason. “Theatrical experience is something everyone wants, as proven by the stupendous business of some films,” he says.
And how does one assess the performance of a direct-to-digital film? “There is no way,” admits Bansal. What, then, is the economic sharing between producers and the platforms? “It varies,” says Adarsh. “There are some cases where an OTT platform comes on board from the beginning to share production costs, but it’s all about individual deals,” he continues.
Pointing out another trend, Taran says that it is easier to hype an OTT release which were first released in theatres without much promotion. Last year’s releases like ‘Dhak Dhak’ and ‘Shastry Viruddh Shastry’ are examples of movies claimed to be very successful on OTT after pathetic theatrical runs, thanks to zero face-value compounded with sub-zero promotion.
So as of now, at least, OTT seems a great avenue either way. Public memory is short and a flop may continue to garner followers and have a longer shelf life on OTT.