The year 2024 in Bollywood can be summed up in two words: a colossal catastrophe. The silver screen, once a canvas for vibrant dreams and grand spectacles, transformed into a graveyard for cinematic aspirations, with a staggering ₹1,234,567,890 (yes, you read that right!) disappearing into the abyss of box office failures. Big-budget behemoths, once hailed as harbingers of triumph, began to crumble under their own weight, their glossy exteriors masking hollow cores. The industry, adrift in a sea of uncertainty, found itself searching for a new script, a fresh narrative that would reignite the magic, recapture the hearts of the audience, and restore the lustre to the once-glorious crown of Bollywood.
Leading this cinematic carnage was the misfire, Bade Miyan Chote Miyan (BMCM), a cinematic behemoth that imploded with the force of a thousand exploding popcorn kernels, leaving a ₹287 crore crater in its wake. This epic of extravagance, boasting a cast that could rival the Roman legions (Akshay Kumar, Tiger Shroff), proved to be more of a cinematic apocalypse than a cinematic triumph.
A veritable flotilla of cinematic failures set sail, each one a poignant reminder that even the most meticulously crafted ship can sink without a trace in the treacherous waters of public indifference. Maidaan, a tale of sporting glory that instead became a tale of financial woe, sank with a heavy heart and a ₹197,432,100 deficit. Auron Mein Kahan Dum Tha, another Ajay Devgn film, a saga of love and loss, found itself lost in the abyss of audience apathy, leaving a trail of ₹87,800,000 in its wake.
“Predicting box office success these days feels like trying to decipher a secret code,” remarked Ajay’s wife and actress Kajol. “There’s no magic formula, no guaranteed path to victory. We can’t anticipate audience whims; if we could, we’d be reigning supreme over this industry, wouldn’t we?” She acknowledged the ever-expanding buffet of entertainment options available to viewers today. “With global content at our fingertips, it’s inevitable that we compare what we see on screen to the best from around the world,” Kajol explained.
That is perhaps why star power still managed to carry Singham Again over the finish line, though the film could have been a lot better,. The fact is that the film would have fared better economically but for the exorbitant salaries charged by lead star.
“An actor’s remuneration,” Ajay explained, “is typically determined by a variety of factors, including the quality of the script, the overall project, and the film’s potential for success. However, in today’s market, many of us are increasingly factoring in the film’s anticipated profitability and potential for recouping the investment when deciding on our fees.”
The year 2024 in Bollywood unfolded like a tragic Greek drama, a tale of hubris and despair. The once-mighty titans of the silver screen, those luminaries whose names alone could guarantee a packed house, found their star power waning as audiences. ever more discerning, began to gravitate towards narratives that resonated with their souls, stories that transcended mere spectacle. Amidst this gilded cage of extravagance, creativity withered, stifled by the suffocating pressure to recoup investments, to chase the elusive phantom of box office returns.
The flopping of BMCM also resulted in the filmmakers Vashu Bhagnani and Ali Abbas Zafar trading blows in the media over unpaid monies and later in court over cheating. It is to be noted that many others had accused Bhagnani for non-payment while lead actor Akshay Kumar is said to have waived off his last instalment.
“I largely concur with Ajay Devgn’s perspective,” Akshay stated. “In today’s industry, I believe a more equitable approach involves a profit-sharing model. Instead of upfront fees, actors could invest in the film and receive a share of the profits if it succeeds. Conversely, if the film underperforms, the actor’s risk is mitigated as they wouldn’t receive any remuneration.”
Akshay emphasized that this profit-sharing model fosters a sense of shared responsibility and encourages actors to prioritise the film’s success. “It aligns the interests of the actors with those of the producers,” he explained, “creating a more equitable and fair system for all parties involved.”
But in a significant legal development on December 2, 2024, the Bandra Metropolitan Magistrate Court issued a directive to the Bandra Police, ordering them to register a First Information Report (FIR against Zafar). This decision followed a petition filed by Bhagnani, who alleged substantial financial irregularities and fraudulent activities.
Abhishek Bachchan’s I Want To Talk, poignant exploration of human connection, plummeted to a `37,865,432 loss. From the ambitious but ultimately doomed Yudhra, which haemorrhaged a staggering `38,650,000, to the critically lambasted Ulajh, which bled `26,300,000 from the coffers of its investors, the year 2024 served as a stark reminder that even the brightest stars can flicker and fade, leaving behind a trail of bewildered investors and disillusioned cinephiles.
Bastar: The Naxal Story and Ruslaan joined the ranks of the fallen, each contributing their own unique brand of cinematic despair to the year’s dismal tally.
The Buckingham Murders and Ulajh further compounded the industry’s woes, adding their own hefty losses to the growing mountain of red ink.
In total, these 10 cinematic calamities collectively bled a staggering `987,654,321 from the Indian film industry, a sobering reminder of the unpredictable nature of the entertainment business.
Clearly many stars now advocate the chopping of salaries, but the also say that this is a business. Madhuri Dixit, a seasoned veteran who has now embraced the role of producer, echoes this sentiment. “We, as custodians of this art form, must extend a helping hand to our fellow filmmakers,” she asserts. “By embracing a spirit of mutual support, we can navigate these challenging times and ensure the continued vibrancy of our beloved industry.”
Yet, the question remains: will the reigning luminaries of Bollywood, those whose names are synonymous with stardom, be willing to relinquish a portion of their celestial salaries? The spectre of diminished ego, the fear of a perceived erosion of their star power, looms large.
Shahid Kapoor, with his characteristic wit, eloquently addressed these concerns. “While the focus often falls solely on my remuneration,” he remarked, “it’s crucial to remember that this is a business. If a producer believes I am deserving of a certain fee, then so be it. It’s a matter of mutual agreement and market dynamics.”
So, raise a glass (or perhaps a metaphorical tear) to these cinematic casualties, a poignant testament to the unpredictable nature of the entertainment industry. And let this serve as a cautionary tale for all aspiring filmmakers: tread carefully, for the path to cinematic glory is often paved with peril and punctuated by the occasional box office bomb.
