Missing the mark

In 1995,the maverick filmmaker’s son Aditya Chopra made his directorial debut with Dilwale Dulhaniya Le Jayenge. The film earned over Rs 580 crore in India and continues to run successfully at Mumbai’s popular theatre Maratha Mandir even today. “It was the first Indian movie that opened the doors to the lucrative overseas market,making YRF one of the strongest players in film production and distribution,” points out trade analyst Taran Adarsh.

According to exhibitor Manoj Desai,who runs both Maratha Mandir and G-5 multiplex in Mumbai,it is the dilution of sensibilities and loss of focus four years ago that has affected the brand’s image. “There was a time when watching a YRF film was considered a family outing. But YRF,over the years,mastered the art of wooing the overseas markets with beautiful international locales,song-and-dance extravaganzas and festive costumes. As they established that connect with the NRI audience,they lost the Indian public. Films such as Ta Ra Rum Pum,Jhoom Barabar Jhoom and Tashan failed to strike a chord with Indians despite the star cast,” he suggests.

Also,earlier,YRF backed select movies in a year. The number of films coming out of its stable went up to five or six ever since it became a studio. However,the success doesn’t match the number of productions.

Mahindra Soni,a West Bengal distributor,attributes much of YRF’s success to the music sensibilities. “The songs were a huge draw. But the last musical hit was Rab Ne in 2008 but not enough to rival their past successes such as Mohabbatein,Saathiya and Bunty Aur Babli.”

The YRF management,however,feels that the change in image is not as significant as it is being made out to be. “The only difference: every time the audience goes to see a YRF film,they are not watching a movie directed by Yash Chopra or an Aditya Chopra. YRF has moved on from being a production house to a studio. Hence,as is with any other studio,not every film will be a hit,” says Rafiq Gangjee,V-P,Marketing and Communications,YRF. He also clarifies that even those tagged as “box-office failures”,such as Lafangey Parindey and Badmaash Company,brought in revenue since their cost of production was low.

Sanjay Gadhvi,who directed Dhoom for YRF,seconds Gangjee. “Being a studio means looking beyond in-house talent. YRF is looking beyond love stories — earlier their forte — and experimenting with genres through films like Chak De! India,New York and Rocket Singh: Salesman of the Year.” Scriptwriter Jaideep Sahni,who wrote both Chak De! and Rocket Singh,feels the name bears credibility. “I doubt any other big production house would have gotten Shah Rukh Khan and Ranbir Kapoor to act in films like mine.” However,according to Desai,it’s the studio system that has affected the brand YRF. “Yash and Aditya Chopra should be at the helm of filmmaking,” he says.

This,in the industry’s opinion,is the reason why Yash Chopra is planning a comeback next year. Imran Khan and Katrina Kaif will also be seen together in 2011 for debutant director Abbas Ali Zafar’s rom-com Mere Brother Ki Dulhan. Meanwhile,Band Baaja Baarat awaits release on December 10. Though Gangjee claims the response to the film is moderate,he does request the media to give it a fair viewing before writing it off. “Industry opinion is based on a seven-day cycle. It would be incorrect to build the future of our studio based on this. One blockbuster Friday and all will be forgotten.” We hope YRF is proven right.