Transitions in Indian Cinema and its Audiences

Movies are the most fruitful ways in which people keep themselves entertained and the time just flies by, but there are certain films that make us count every minute, every second of it. Such films bore the audience.

Bollywood has always been great, with the Khans delivering yearly entertaining hits, but this year (2017) only their name grabbed the audiences and not the story. Since Happy New Year (2014), SRK starring movies have only earned money and not praises; Mr Perfectionist has been delivering yearly hits and the Bhai of Bollywood couldn’t really beat Bajrangi Bhaijaan with his latest Tubelight.

We waited for long and had high expectations from several films but they were rather disappointing. The year began with duds like Haraamkhor (Nawazuddin Siddiqui, alone, cannot save a film), Ok Jaanu and Coffee with D. Then came Kaabil, Raees and Jolly LLB 2 which allowed the crawling Bollywood to limp and with the most awaited Baahubali 2: The Conclusion, in April, the Indian film industry was back on its feet, later to be dragged down again by Munna Michael and Mubarakan.

Due to this condition of Bollywood, people opted to watch films with a rather lesser-known star cast and a different storyline. That is the reason why films like Lipstick Under My Burkha, Newton, Secret Superstar, Hindi Medium etc. were a commercial success. They were not blockbuster films neither did they earn enough but they were enjoyed, people liked the way these films were carried-out and delivered their message.

So, it is plausible to say that 2017 was not lucky enough for Bollywood but there is still a silver lining here: the audience got a chance to broaden their mind and venture into the neglected sector of Bollywood and understand that these films were masterpieces that were never praised.


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