Bollywood

Box Office Collection Report 2019 proves ‘Content Is The King’

Box Office Collection Report 2019 proves ‘Content Is The King’

With films like Kabir Singh, Uri: The Surgical Strike, Luka Chuppi making it big, the content has emerged as a true winner at the box office in 2019.

Going by the 2019 trend, there have been some immense surprises and shockers alike in terms of Box-Office results for Bollywood movies.

Some films that were completed in a shoe-string budget have managed to rack in huge profits while big banner and multi-starrers have failed to even cover costs. The Box-Office success report of 2019 is a testament to our changing tastes and preferences in Bollywood movies.

There are movies like Gully Boy, Uri: The Surgical Strike and Manikarnika: The Queen of Jhansi that have broken records, critically outshined the Khan movies and will likely bag a couple of awards at the upcoming award shows.

Then there are movies like Kalank, RAW and Student of the Year 2 that disappointed us leaving a sour taste in our mouths as we exit the theatres. Do you see a pattern here? Do we have some learning for the filmmakers of the future?

The year 2019 has seen a lot of new and upcoming talent stealing away the show run by Khans for 2-3 decades. The younger bunch of actors like Ranveer Singh, Vicky Kaushal, Kartik Aryan, Kriti Sanon, Alia Bhatt and Tapsee Pannu has surpassed all expectations of the makers and audience alike.

They have proven that now they are far more bankable than any of the old legends. These newbies are more experimental when it comes to choosing films and characters. They are far more relatable to the young audience that spends most at the movie theatres.

Most of them CAN ACT. Altogether, they put up a good entertainment package which stirs emotions, tickles our funny bones and sometimes leaves us asking for more.

Are we really going through a paradigm shift in our Bollywood movie taste? Well, here’s a quick overview of 2019 Box-Office report of 2019 which proves that the Indian audience is no more gullible, naïve and foolish-entertainment seeker.

Uri: The Surgical Strike is the second highest-grossing Bollywood film of 2019. Not just great acting but par excellence direction, story-telling and writing made it such a huge success. Made on a budget of 42 crores, the movie is has had a lifetime collection of 245.36 crores.

Article 15, Kabir Singh, Kesari, Gully Boy and Badla are some other movies that impressed us with amazing story and direction. Besides being lauded for critically acclaimed performances, these films happy danced their way into the 100-crore and 200-crore club at the Box-Office.

Simply put, the cinematic journey of Indian audiences has gone from ‘love-making behind the flowers’ to ‘saas-bahu atyaachaar’ to ‘strong characters with exemplary stories’. We’ve evolved to a point where stardom doesn’t affect our film selection criteria.

We don’t chase star power instead, we make smart choices. Earlier audiences could be lured to the theatres with a Khan or a Kapoor in the lead role but fortunately the same doesn’t hold true anymore.

The star influence isn’t completely gone as ‘Total Dhamaal’ and ‘Bharat’ didn’t entirely disappoint. They were great Box-Office success and made handsome profits overseas too. But is that all we want? Do we still want to see the hero dancing, swinging punches and kicks and romancing a much younger actress? NO!

The Indian audience now wishes to see compelling stories, light-headed comedies and fine acting prowess topped with a strong story. The trend so far has rightly proved the power of ‘great content’. Also, the audience wants the value for their buck as the ticket prices aren’t getting any cheaper.

In the times of Netflix, Amazon Prime and Hotstar, the makers must put in serious hard work, research and time in creating 3-hour stories that are good enough to fill in the theatre seats. The video streaming services are a whole lot cheaper and entertaining.

Besides, a Filmfare award or a Vogue cover is no parameter to judge a movie’s success because ultimately it’s the crackling sound of money bills that seals the deal for filmmakers.

What are your thoughts on the changing preferences of the Indian audience?

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