The former chief minister of Tamil Nadu, J. Thalaivi, based on the life of Jayalalithaa, managed to win many accolades. Not only the creators of Thalaivi, but also the fans of the actress are also counting the role of Kangana as the best. On The Kapil Sharma Show, the creators also revealed why Kangana was cast for the role of Jaya. The main reason was Kangana’s image of a powerful woman like Jaya. There are many similarities between the two women. The creators felt that only Kangana could honestly do Jaya’s role justice. Kangana was seen living up to expectations. Clearly, the image that Kangana had, especially as a woman, was tried to charge with Jayalalithaa.
The feminist side has also come out through Jaya in many places in Thalaivi. In general, women should be more and more attracted and come to theaters with the family. However, talking about Thalaivi’s feminist perspectives would go with a different and new debate. At the moment, it remains to be seen if Kangana and her team have been able to impress the women. Do women come to see Kangana’s movies and if not, what are the reasons for this, if Kangana’s movie is average or for other reasons? If the measure of a movie’s success is audience and box office gross, then in both respects, Thalaivi can be considered a failed movie. On the first day, the movie has made an estimated business of just Rs 1.25 million.
Thalaivi’s earnings are shameful, why the women didn’t even see the movie
Thalaivi has completely collapsed on the Hindi circuit. The highest collection of Rs 80 lakh is from Tamil Nadu. This collection cannot be described as very good but it can be considered satisfactory in the current situation of Corona. The news that only 20-25 percent of the business is reaching the Hindi circuit. Considering the scale of Kangana’s film despite the Mumbai circuit closure, it can be assumed that the collections are also very modest above average. The collections make it clear that in Hindu regions where Kangana was influential, audiences did not come to see the film. Not even middle-class urban girls and women, in whom Kangana is believed to have a solid foundation. In the Hindi areas, I discovered the theater situation myself. The number of viewers is lower and there are real reasons for this. Very few women are seen in that. Where were women expected to go to theaters for Thalaivi because of Jaya and Kangana?
Kangana Ranaut in Thalaivi.
In recent years, even before Modi’s rise, Kangana has created the image of a frank, fearless, and courageous woman. Kangana has been attacking Bollywood’s dominant male structure over the question of whether she is a woman herself. Even in personal controversies involving Aditya Pancholi, Adhyayan Suman, Hrithik Roshan and Karan Johar, she presented herself as an outsider, victim of a struggle without resources. A group of feminists also enthusiastically joined Kangana. Ordinary women were seen accompanying him on all issues. Movies like Fashion, Tanu Weds Manu, and Queen also strengthened Kangana’s image. Kangana’s impetuousness continued in her style and thus she established herself as a powerful woman. Take a look around you, many will be seen giving you the title of the only female “Soldier” in Bollywood. But with Modi’s rise, Kangana also clarified his political stance. In the feminist perspective, Hindutva was also associated with nationalism.
Kangana was seen publicly expressing partisan favoritism. Although she has lost the support of “liberal” feminists, Kangana’s strong female image gained further publicity in the Sushant Singh Rajput case and the subsequent dispute with the Maharashtra government. The actress, who was seen directly toying with the Thackeray government, certainly emerged as a role model for much of the country, especially women. Thalaivi’s performance disappoints with the fan support system for the actors, despite the image of Kangana and the entertaining content pertaining to stardom. The biggest reason behind Thalaivi’s fate is fans turn their backs on him or something.
Thalaivi is on those screens where the audience has been lost
The attitude of the multiplex to the corona epidemic and Thalaivi in the Hindi circuit is important. All Hindi circuits except Mumbai are active with almost 50 percent capacity. The problem with Thalaivi was that multiplex networks like PVR and INOX showed no interest in running Kangana’s movie. Even if Thalaivi gets the screen, it’s a lot less than the Bellbottom and Marvel movies. Sometimes only one or two programs have been found. Somewhere the Tamil version of Thalaivi was also seen to be displayed. In Hindi regions, the movie depends on a single screen. While in big cities or subways, the film business has been emerging through multiplex cinemas. For all the reasons, individual screens are struggling to save existence. Single screen families are not even in the confidence of the audience. The pandemic situation and the 50 percent audience capacity is something else.
Thalaivi’s failure is not here but in its content
It is clear that where the family audience was watching movies for the past few years, there was no Thalaivi screen. The second important thing is the change of mood of the audience and other immediate reasons after the pandemic. Not just Thalaivi, but the less-anticipated Bell Bottom collection also plays a role in this. In fact, the custom of going to the movie theater to see the film has been modified by the aggressive strategies of the OTT platform after the pandemic. Now, the urban family audience has started watching new movies and other content on OTT. The base that has grown for all OTT platforms comes only from the big cities. It clearly shows the changing habits of the audience. The lower middle class, groaning for inflation, is avoiding extravagance in a risky environment. Well, what is the need to spend two thousand two thousand rupees taking out the family for work that can be done at home without any risk spending two hundred to three hundred rupees (for a month) to see new movies? That too when the new content option is continuously available in many ranges on OTT. Audiences also know that after four to five weeks the film will be available on OTT, why risk the epidemic when people freak out at the sound of its third wave.
Who is willing to understand the sign of the times?
OTT platforms are also proving to be almost free to the audience. In the mobile phone companies’ recharge plan, the subscription to the large OTT platform is available with nominal payment. How strong and fast OTT penetration is occurring in cream cities can be measured. The indication of time is that after seeing the fate of many previous films, the scale of distribution of the films and their success will have to change. Businesses will also have to find a way between theaters and OTT.
Now say, can the Thalaivi of Kangana Ranaut be called a failure?