The Holy Grail of the film industry

Film-making is as much about marketing as it is about cinematic acumen, but is that a good thing?

'Jaane Tu Ya Jaane Na' and 'Love Story 2050' could not be any more different from each other. And this I don't mean just in terms of concept, but also the way audiences have reacted to each film.

Jaane Tu's being loved for its honesty and simplicity, whereas Love Story 2050, well, it would be safe to say now that the film is on its way out. One's been panned by critics, the other seems to be on everybody's must-see wish list.

But more importantly, it's the marketing of the two films and the effect it had on its prospects that stands out. Yep, in times where the PR machinery finds itself with more work than ever before and the opening weekend decides the fate of the film, the big M has become the Holy Grail of the film industry today.

'Love Story 2050' was marketed as an ambitious, big budget extravaganza (which, fairly, it was), portraying Harman as the quintessential 'star'- one with the perfect body, macho looks, who dances like a dream and does everything thing else you expect from a Hindi film hero.

Harman, to his credit, also has an alleged affair with one of the top heroines today, a feat rarely achieved by someone who hasn't had even his first film released. The couple kept denying the romance, but was giving joint interviews nineteen by the dozen. This, along with the film's futuristic theme and the controversy about Kareena Kapoor walking away from the project after shooting for a few days had won the film enough publicity before release.

'Jaane Tu'…, was a different story altogether. People were oblivious to the film when they first heard about it. Imran Khan was the 'other boy', making his debut along with Harman.

Secondly, there was no blitzkrieg in terms of promos, interviews and gossip initially. Yes, Aamir's name being attached to the project did manage to get the film some attention and Aditi had started to work wonders, but compared to the other 'Big One', it was still a low key affair.

All that, of course, changed a week before release. Pappu can't dance saala was rocking the charts. Imran interviews started appearing in print. Aamir Khan was all over news channels (helps to be a superstar producer).

D-day came and by then Harman had become the other boy. Reading interviews about how every big filmmaker was signing on the Baweja boy, countless interviews with Piggy Chops and the superstar-in-the-making tag had nauseated audiences.

Rather, everyone flocked to see Aamir's nephew, the boy who looked 'not like a hero' in his first promo but had slowly grown on people. The film, which was not been spoken about at all till a few back was increasingly part of everyone's conversation.

Harman, of course, has his own share of fans who did give the film a watch, but by Saturday, television reports and critics had ensured that a major Harman fan base defected to Imran. Love Story 2050 and Harman became everybody's favourite punching bag and Imran, the new blue-eyed boy.

It can't be denied that in the end Jaane Tu… was the much better film and hence did better. But there are lessons to be learnt. Portraying Baweja as the next superstar wasn't the best idea.

People had humungous expectations, and to expect a first-timer to live up to them is unfair, even on the part of the makers (read: Daddy Baweja).

Yes, a certain Hrithik Roshan took Indian cinema by storm with his first film eight years back. But he wasn't projected as a star even before the film released. People went in to see just another newcomer and came back with more than their money's worth.

Jaane Tu…, on the other hand, benefited from the marketing acumen and vast experience of a man called Aamir Khan. He knew that his nephew had his shortcomings (Imran isn't the conventional good looker and is quite a Pappu on the dance floor). He did not promote Imran as a star, but as an actor who could deliver the goods. What audiences got in return was not just a good actor, but a boy whose affability and charming demeanor had an impact immediately.

Funnily, the promotion of the film was greatly upped around and after release. When I
spoke to the film's director Abbas Tyrewala only two days back, he was neck-deep in promoting Jaane Tu… a good ten days after the film released. This obviously is an effort to not let Jaane Tu… out of people's minds soon enough.

And it's working. Just like an intelligent marketing campaign should.

g_aniruddha@dnaindia.net