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| Edited By: |Source: DNA |Updated: Apr 10, 2015, 08:29 AM IST
Maharashtra’s cultural minister Vinod Tawde’s decree to multiplexes to devote at least one screen during prime time to showcase a Marathi film has predictably attracted bouquets and brickbats. The controversial move, approved by the state government, is perceived by many as yet another arm-twisting tactic of the BJP-Shiv Sena alliance. But, this time it is the senior partner — the BJP — trying to establish itself as the custodian of Marathi culture — a reputation earlier enjoyed by Uddhav Thackeray’s party. At the same time, there is a significant body of public opinion that endorses Tawde’s decision because of the positive impact the protectionist policy will have on Marathi films. In a multicultural city like Mumbai, which is home to the Hindi film industry, regional cinema comes a distant third in the numerous multiplexes dotting the cityscape — the first two positions are occupied by star-studded Hindi and Hollywood films, respectively. Smaller cities like Nagpur and Kolhapur, too, seem to be enamoured by Hindi films. While Bollywood mostly offers pedestrian fare, it gets away with ‘murdering entertainment’ because of financial clout and a captive audience (a huge migrant population in Mumbai, Thane and Navi Mumbai).
On the contrary, Marathi films have evolved over the years, showing exemplary courage in tackling serious themes that most Hindi filmmakers and producers wouldn’t touch with a barge pole. Made on a budget far less than the amount spent on the publicity blitzkrieg preceding a regular Hindi movie release, majority of them barely complete the seven-day course, depending largely on word-of-mouth publicity. A morning slot in a multiplex robs them of the opportunity to attract footfall since the prime consumer of Marathi cinema is the family audience. Its survival depends on single-screens, which are a dying breed themselves, having failed to survive the onslaught of multiplexes.
Multiplexes, on their part, have always had the best of both worlds. After a tax holiday and several other exemptions, they have now grown strong enough to monopolise the entertainment space and force-feed potboilers.
There is nothing wrong in raking in profits, but their reluctance to lend a helping hand to promote diverse, meaningful, entertaining films should not be condoned, either. Marathi cinema today can boast of an esoteric Fandry or Deool existing alongside stupendous hits — by Marathi industry standards — Duniyadari, Lai Bhaari and Timepass. This is the kind of diversity that needs to be celebrated and showcased because Bollywood has long been the most powerful cultural ambassador of India — a phenomenon that doesn’t do justice to the path-breaking initiatives undertaken by little-known directors and actors with meagre means. It is heartening to know that the once cash-strapped Marathi film industry is showing signs of growth — not least because of the state government’s sops like production grants and waiving off entertainment tax on films on social issues. But, it needs a push at this point to reach out to a support base confined within the state — unlike Bengali films which have a diasporic audience in the US and UK.
However, the state government should also extend patronage to niche Hindi movies like Ankhon Dekhi, which was unceremoniously taken off multiplexes last year, thus scuttling the chances of more such little gems to see the light of the day. Filmmaking at the end of the day is a commercial venture where costs-recovery determines the relevance of a filmmaker working outside the framework of the mainstream.
Tawde’s initiative should be lauded but he could have adopted a democratic process, encouraging a discussion involving the many stakeholders, to arrive at an acceptable solution.
