By Anant Mathur (April 03, 2012)
The first annual Golden Kela award ceremony took place on 7 March 2009 in New Delhi (India).
The intention behind the Golden Kela is to ridicule the Hindi film stars and acknowledge the worst of Indian Cinema. Since, several award ceremonies each year celebrate the best of Hindi Cinema, Random Magazine and the Sundaas Film Institute chose to be different by giving away the Best of the Worst of Indian Cinema. The winners are selected each year by an online poll.
Winners of the 4th Annual Golden Kela Awards... Cream of the crap:
Imran Khan
for Mere Brother Ki Dulhan
Deepika Padukone
for Aarakshan
Prateik Babbar
for Dum Maaro Dum and Aarakshan
Kangana Ranaut
for Kites, No Problem, Once Upon A Time In Mumbai
Ra.One
(Director: Anubhav Sinha)
Anubhav Sinha
for Ra.One
Chirag Paswan
for Miley Na Miley Hum
Amitabh Bhattacharya for Pyar Do Pyar Lo, Jigar Ka Tukda and The Mutton Song
Teri Meri
from Bodyguard
Pankaj Kapoor
for Mausam
(for Worst Attempt at a Comeback)
Esha Deol
for Tell Me O Kkhuda
(for the Worst Treatment of a Serious Issue)
Aarakshan
Shakti Kapoor Award
(for Misogyny)
Pyar Ka Punchnaama
F.A.L.T.U. Award
(for the Most Aptly Named Film)
(for the Most Aptly Named Film)
F.A.L.T.U.
The Bas Kijiye Bahaut Ho Gaya Award
4 comments:
This is the wrong place for this comment but wth. I have been through most of your blog and found the hit/flop analysis esp interesting. However, I feel that you make a couple of mistakes while analyzing.
1. Production cost is not the same as distributor's cost. ex. Ra.One production cost was 175cr while distributor cost will be much less. No distributor would buy the all India rights for 175 cr. Similarly, You had put Raavan (one with Bachchan family) as having distributor's cost at 130 crore. Again not plausible.
2. For a producer/film maker, while considering the financial success of the movie, you cannot exclude satellite, music rights. They plan their budget accordingly. They know that money will come in from these channels and that is why they spend the extra budget. Such a significant revenue stream cannot be looked over.
In reply to Anonymous (April 9, 2012 3:34 PM):
Sorry, I must disagree with you when you say that filmmakers plan their budget according to how successful the film is going to be. Firstly, no one can predict the success of a film. Secondly, if they took all this into consideration then more than 90% of big budget films wouldn't be flopping yearly. When Ra.One was announced the highest grossing Shahrukh Khan film was My Name Is Khan which earned 75 cr worldwide in nett collections - so you tell me when a stars potential is 75 cr how can anyone announce a film with a 175 cr budget and say that they've taken into consideration the success of the film. In Hollywood, when a $150 million film is announced they know it’s going to return 5 times that in nett collections. In India they're constantly trying to compete with Hollywood, god knows why, and are not thinking about the potential earnings of a film - if a film costs 100 cr to make it should return at least twice as much in profit if it can't they're spending too much. Filmmmakers give the excuse they're trying something new and it doesn't matter if they lose money because they've started a new thing - that's BS. I don't know anyone who works hard so they won't make money. People work hard so they can earn as much money as possible and each film should earn its money back or not be made - excuses will always be there. I've said many times in my posts, in India, when a film has a budget of over 35-40 cr chances are it's fighting an uphill battle. The real problem today is no one is willing to admit there's a huge problem with the way the industry is operating. Filmmaking has changed drastically in the last ten years but not for the better. Corporates (Reliance, T-Series, etc.) that are making the films today don't care if they lose money, for them its pocket change and possibly a tax write-off. Other production house (UTV, YRF, etc) are using public money, so it's not a personal loss to them. Ten years ago things were different - producers would lose their homes if a film failed. Today producers don't lose anything they sell films and recover their cost from the various sources you mentioned, but it's the distributors who lose out.
Films are made for the BIG SCREEN. Most of the revenue generated is from the Indian Box office. Satellite rights depend on who's getting the money, sometimes all the revenue goes to the producer and sometimes they sell them to distributors. The most a film has received from satellite rights is 35 cr and 10-15 cr for music rights. Even if we take this out of the 175 cr cost of Ra.One, its distributors still had a cost of 125-130 cr to recover. In order to recover that the film would still have to earn approximately 250 cr Gross at the box office. In the overseas market, you have to remember that Trade Analysts only mention the gross collections - a film that collects 30 cr gross overseas doesn't give 30 cr revenue to its distributor - Ra.One collected 32.5 cr gross overseas and at most earned 20 cr for distributors.
Ra.One collected approx. 115 cr from the Indian Box office, giving distributors 58 cr in revenue - add to this satellite (35 cr) and music rights (15 cr) and the total is only 108 cr - the distributors loss is still over 20 cr. This is of course if we go by numbers you're suggesting, Eros has claimed they paid 150 cr for the worldwide distribution rights of Ra.One. Ra.One collected 128 cr nett Worldwide giving Eros a loss of 22 cr (this includes all the rights). Any way you look at it. Ra.One was a flop.
In the Case of Raavan, it was such a disaster that Colors Channel didn't want to pay the agreed upon satellite amount and ended up renegotiating the deal with Reliance.
I am not saying that RaOne or Raavan made money or Bollywood movies in general dont lose money. All I am saying is you are overexaggerating. RaOne's all india distribution rights were sold for half of what you are claiming (arnd 77 cr).
and I honestly dont understand how you can say that satellite and tv rights should be neglected. Rest its your blog and you are free to write whatever you want. But it will be better if the figures are a little more believable. Otherwise its just gives me the feeling that you have some hidden agenda that you want to achieve using these wrong figures.
In reply to Anonymous (April 11, 2012 2:57 PM):
How am I over exaggerating. The figures I have posted are released by Eros Entertainment and Red Chillies Entertainment (the distributor and producer of Ra.One). The 150 cr figure is for worldwide rights not just India. I don't know where you are getting your numbers from but Ra.One did not cost Eros only 77 cr in India, just the marketing cost of Ra.One was over 40 cr. I think you're confusing distribution cost with the cost of film rights. Distribution cost includes the cost of film rights plus the cost of prints, plus the cost of marketing/publicity.
This is exactly how the media and trade analysts confuse people, they throw a number like 77 cr out there without explaining what it's for, Eros also has to pay for print and publicity which they have to recover from the revenues generated by the film but, the 77 cr does not reflect these costs.
You must also remember that I wrote the Ra.One post long before the film was released - producers give one figure before the release to make it sound like the film cost more than it has just to hype up the film and when it fails miserably after the first weekend the number usually comes down to half. Post the release of Ra.One - Eros released a figure of 150 cr for worldwide rights. I can only write an analysis based on the most accurate figures available at the time, I can't control when the producer and/or distributor will change his mind and release new figures. If you want to believe all the media hype and lies, which are paid for and spread by the producers of a film, go ahead that's your choice. But, when people want the truth they come to read my posts.
As for Raavan the figures are from Reliance (the distributors).
Post a Comment