ITV

Tag: Bajrangi Bhaijan

  • Tubelight figures dampen trade

    The failure of Tubelight has affected exhibition trade in two ways. The main one was that — it did not meet the exhibitors’ expectations as the opening day response was disappointing. Peaking of the film on Eid day and Baasi Eid day did not happen.

    In fact, unlike previous Salman Khan movies, which excelled on two days of Eid festivities, Tubelight registered a drop. While Eid day (Monday) figures were below the opening day figures, the next day showed a drop of as much as 40 per cent.

    The collections went downhill from Tuesday.

    The other way how the cinemas suffered was because, when a big star’s film releases, it is expected to carry on for at least 10 to 14 days. In view of a big film release, no other film wants to come in its shadow due to which the following Friday is kept open or, an inconsequential small film gets some limited shows.

    The cinema halls suffered because of Tubelight even in the week following its release. The only release to follow was Ek Haseena Thi Ek Deewana Tha, an indulgent film made to launch a family scion, Shiv Darshan, by its producer-director Suneel Darshan.

    The first half of the year 2017 has been disastrous for the exhibition trade. Only one small budget film, Hindi Medium, has worked. Though the film is a big hit in relation to investment, it is not the money-spinner that the cinemas crave.

    The film that saved the day for cinemas is Bahubali 2: The Conclusion (Dubbed), South’s gift to exhibitors. Save for these two films besides some English features, it has been a bad first half of the year.

    * Ek Haseena Thi Ek Deewana Tha met with ‘No audience No Show’ welcome from its day one. The collection figures for the weekend remained below Rs 50 lakh.

    * Tubelight, which entailed big investments from its theatrical distributors, has put them in distress as they are faced with huge losses. The film’s lifetime business is not even expected to match the opening weekend business of Salman Khan’s last two releases, Rustom and Bajrangi Bhaijan! And, this is a huge setback.

    Tubelight ended its first week with a total of Rs 103.7 crore (Rs 1037 million). The second weekend has failed to pull audience registering poor collections of about seven crore (Rs 70 million) rupees.

    * Rest of the recent releases fared poorly.

    * Hindi Medium has come to the end of its good run at the box office.

    * Bahubali 2: The Conclusion just about ends its glorious, record setting run by adding a symbolic Rs 40 lakh (Rs 4 million) in its ninth week.

  • Sultan…….Means Salman!

    Sultan…….Means Salman!

    The name Sultan fits Salman like a T but the tag of underdog? When was the last time the actor essayed the role of an underdog? Sultan is about wrestling and romance where romance is the cause for wrestling as well as the cause to put an end to it.

    Salman Khan has been the reigning superstar of Hindi cinema since his second film, Maine Pyar KIya, but neither he nor people around him took that status seriously as a result of which, nor did his fans. It is since Wanted (2009) that he has reasserted his status as the top draw which his flowing films consolidated. However, the films so far had Salman fighting others’ wars; for example, Ek Tha Tiger was about patriotism, Bajrangi Bhajan had Being Human as the theme. Sultan is purely personal story and cause for which the hero fights.

    Salman is a waster and romps around his small town of Rewari in Haryana with boys much younger than him. If he is good at anything, it is chasing kites floating towards earth after having lost a dual of survival with another kite. His occupation as such is installing TV discs for his decent clients whose dirty minds extend only till Fashion TV and not porn! As would happen with such lads, he is his father’s main worry and grandmother’s apple of her eye! Salman while chasing a kite has his first encounter with Anushka Sharma and, for him, it is love at first sight. She has studied in Delhi, is a state level women’s wrestling champion and aspires to win an Olympic Gold someday. She finds Salman simple and a fun person and accepts his friendship. His dream is soon shattered when Anushka cuts him down to size making him realize that he did not amount to anything and she was only being friendly to him. As all such lads do, Salman decides to amount to something. Seems like in his town, where every second block houses an Akhada, wrestling is the only source or opportunity for a boy to amount to something. He joins one run by Anushka’s father. Thereafter, Salman’s strides are huge and soon is the champ. Now, Anushka is ready to accept him. While both, Salman and Anushka, are preparing to go to the Olympics, Anushka’s dream ends due to her pregnancy. Salman earns the Olympic medal but loses his head in the bargain. He behaves like a star, become arrogant and also misbehaves with people. While Salman is busy pocketing medals, Anushka delivers and loses her baby. The baby was anemic, needed blood of a very rare group which only Salman had. But, he was away, is blamed for baby’s death and Anushka decides to part ways with him. This is strange as Anushka herself is a sportsperson and would be expected to understand why Salman was away. Here onwards, the film tries to incorporate some commercial ingredients for the love story has lost its shine. Anushka has sulked permanently while Salman has a job and raises money to launch a blood bank in memory of his lost child. This is when Amit Sadh approaches him. He runs pro-fighting, a sort of free style, no holds barred fighting which has little to do with wrestling. However, Salman is talked into joining it. Randeep Hooda, a coach with a hangover of being an American coach shown in such boxing movies first refuses and then, seeing that Salman is the hero of the film, agrees to train him. After initial hurdles and taking some punches, Salman masters this fight genre. The last fight is tough so Anushka decides that Salman needs her support and breaks the ice.

    Sultan is a routine story showing passable scripting. The film sags for a long while at places. Direction complies with the script offering no flash of genius. It is only Salman all the way because of whom, the weak aspects are overlooked by enthusiastic initial audience. The film has good music which blends with the subject. For popular appeal, it has a romantic number, Jag ghoomeya…. Dialogue penned for Salman is claptrap. Editing is slack. Cinematography is good. This a Salman film all the way and his very presence is the savior. He has only Anushka to share his burden with as rest of the cast consists of unfamiliar faces. With the Eid week- Salman combine striking once again, Sultan has drawn unprecedented advance booking in a long time. Having opened today (Wednesday) the film should cash in on the festive period till Sunday.

    Producer: Aditya Chopra.

    Director: Ali Abbas Zafar.

    Cast: Salman Khan, Anushka Sharma, Amit Sadh, Randeep Hooda, Parikshat Sahni.

  • Sultan…….Means Salman!

    Sultan…….Means Salman!

    The name Sultan fits Salman like a T but the tag of underdog? When was the last time the actor essayed the role of an underdog? Sultan is about wrestling and romance where romance is the cause for wrestling as well as the cause to put an end to it.

    Salman Khan has been the reigning superstar of Hindi cinema since his second film, Maine Pyar KIya, but neither he nor people around him took that status seriously as a result of which, nor did his fans. It is since Wanted (2009) that he has reasserted his status as the top draw which his flowing films consolidated. However, the films so far had Salman fighting others’ wars; for example, Ek Tha Tiger was about patriotism, Bajrangi Bhajan had Being Human as the theme. Sultan is purely personal story and cause for which the hero fights.

    Salman is a waster and romps around his small town of Rewari in Haryana with boys much younger than him. If he is good at anything, it is chasing kites floating towards earth after having lost a dual of survival with another kite. His occupation as such is installing TV discs for his decent clients whose dirty minds extend only till Fashion TV and not porn! As would happen with such lads, he is his father’s main worry and grandmother’s apple of her eye! Salman while chasing a kite has his first encounter with Anushka Sharma and, for him, it is love at first sight. She has studied in Delhi, is a state level women’s wrestling champion and aspires to win an Olympic Gold someday. She finds Salman simple and a fun person and accepts his friendship. His dream is soon shattered when Anushka cuts him down to size making him realize that he did not amount to anything and she was only being friendly to him. As all such lads do, Salman decides to amount to something. Seems like in his town, where every second block houses an Akhada, wrestling is the only source or opportunity for a boy to amount to something. He joins one run by Anushka’s father. Thereafter, Salman’s strides are huge and soon is the champ. Now, Anushka is ready to accept him. While both, Salman and Anushka, are preparing to go to the Olympics, Anushka’s dream ends due to her pregnancy. Salman earns the Olympic medal but loses his head in the bargain. He behaves like a star, become arrogant and also misbehaves with people. While Salman is busy pocketing medals, Anushka delivers and loses her baby. The baby was anemic, needed blood of a very rare group which only Salman had. But, he was away, is blamed for baby’s death and Anushka decides to part ways with him. This is strange as Anushka herself is a sportsperson and would be expected to understand why Salman was away. Here onwards, the film tries to incorporate some commercial ingredients for the love story has lost its shine. Anushka has sulked permanently while Salman has a job and raises money to launch a blood bank in memory of his lost child. This is when Amit Sadh approaches him. He runs pro-fighting, a sort of free style, no holds barred fighting which has little to do with wrestling. However, Salman is talked into joining it. Randeep Hooda, a coach with a hangover of being an American coach shown in such boxing movies first refuses and then, seeing that Salman is the hero of the film, agrees to train him. After initial hurdles and taking some punches, Salman masters this fight genre. The last fight is tough so Anushka decides that Salman needs her support and breaks the ice.

    Sultan is a routine story showing passable scripting. The film sags for a long while at places. Direction complies with the script offering no flash of genius. It is only Salman all the way because of whom, the weak aspects are overlooked by enthusiastic initial audience. The film has good music which blends with the subject. For popular appeal, it has a romantic number, Jag ghoomeya…. Dialogue penned for Salman is claptrap. Editing is slack. Cinematography is good. This a Salman film all the way and his very presence is the savior. He has only Anushka to share his burden with as rest of the cast consists of unfamiliar faces. With the Eid week- Salman combine striking once again, Sultan has drawn unprecedented advance booking in a long time. Having opened today (Wednesday) the film should cash in on the festive period till Sunday.

    Producer: Aditya Chopra.

    Director: Ali Abbas Zafar.

    Cast: Salman Khan, Anushka Sharma, Amit Sadh, Randeep Hooda, Parikshat Sahni.

  • Q3-2016: Eros revenue down

    Q3-2016: Eros revenue down

    BENGALURU: The Sunil Lulla led Eros International Media Limited (Eros) reported a 31.7 per cent YoY drop in consolidated Total Income from operations (TIO) at Rs 335.35 crore in the quarter ended 31 December, 2015 (Q3-2016, current quarter). The company had reported TIO of Rs 490.73 crore in the corresponding prior year quarter. Operating revenue in the current quarter declined 33.6 per cent as compared to Rs 504.91 crore in the immediate trailing quarter (quarter on quarter or QoQ).

    Note: 100,00,000 = 100 lakh = 10 million = 1 crore
    All numbers in this are consolidated unless stated otherwise.

    Profit after tax (PAT) in the current quarter declined to almost a third (down 65.5 per cent) year on year (YoY) to Rs 37.77 crore (11.3 per cent margin) as compared to Rs 109.34 crore (22.3 per cent margin) and fell 58.2 per cent as compared to to Rs 90.30 crore (17.9 per cent margin) in the immediate trailing quarter.

    The company says its revenues vary quarter on quarter based on release slate. In Q3-2016, there was only one high budget film compared to three high budget films in Q3-2015 with only partial revenues of Bajirao Mastani.

    In Q3-2016, Eros says that one high budget, four medium and 10 low budget films were released as against three high budget, one medium and eight low budget movies in Q3-2015. During the quarter, 15 movies were released consisting of seven Hindi and five Tamil/Telugu films and three Regional film as compared to 12 films during Q3-2015, which included eight Hindi and four Tamil/Telugu films.

    Eros further informs that apart from the new release slate, a significant part of its revenue is contributed by monetisation of its valuable film library, and generally has a second half skew. Since catalogues revenues have longer payment cycles associated with them the company has decided to defer sales for couple of quarters until its receivables position normalises.

    Receivables

    As on 31 December, 2015, Eros says that its total receivables stood at Rs 6,358 million as compared to Rs 6,300 million as on 30 September, 2015. Receivables not due as of 31 December, 2015 was Rs 339.3 crore as compared to Rs 389.9 crore as on 30 September, 2015. Receivables over 365 days old were Rs 38.8 crore as of 31 December, 2015.

    Between 1 January, 2016 to 7 February, 2016, the company has seen a further collection of Rs 52.5 crore of receivables of the period up to 31 December, 2015. The company says that it remains confident to bring the overall receivables down to Rs 525 crore by the end of FY-2016.

    Company speak

    Eros executive vice chairman and managing director Sunil Lulla said, “I am pleased to announce yet another profitable quarter from Eros International driven by the blockbuster success of Bajirao Mastani and a string of regional releases. Our results for the nine months ended December 2015 reflect the strong performance of our film slate with total domination of the box office charts withBajrangi Bhaijaan, Tanu Weds Manu Returns, Welcome Back, etc.; and strong television, ancillary and overseas revenues to complement the box office. We are very proud that our films have been dominating the Bollywood awards declared for CY2015. We continue to pride our green-lighting process and build on our portfolio strategy of films across varied budgets and languages backed by strong pre-sales to de-risk the business model.

    “We are upbeat about our film slate for FY-2017, which includes a string of high-octane releases such as R. Balki’s Ki & Ka, the hit franchise comedy Housefull 3, the highly anticipated rock musical franchise Rock On 2, the action drama, Shivaay and a host of regional releases amongst others,” continued Lulla.
    “We firmly believe that the company has a conservative capital structure and a well-funded balance sheet and we are proud to bring down our Net Debt/Equity ratio to just 0.11 with a free cash flow of Rs 1,320 million in the 9M FY2016. I am confident that with our clear strategic focus, differentiated revenue streams and regional strategy execution, we will continue to deliver solid results in the future and we thank all our shareholders and associates for their continued support,” added Lulla.

    Eros International Plc Group CEO Jyoti Deshpande added, “Calendar year 2015 has been nothing short of brilliant for Eros International operationally with a higher than average box office success of our entire film slate along with critical acclaim and awards to go with it. This year also marked the beginning of the monetisation of the 30 million plus registered users of Eros now our OTT platform and our foray into what could be potentially ground breaking Indo – China co-productions. We continue to support Eros International Media in every possible way with our strong balance sheet and are thrilled that Eros International Media has achieved a free cash flow (FCF) of Rs 1,320 million in the 9M-2016. We look forward to announcing Q3 results of Eros International Plc later in February with a further update on other related matters. once again we thank our shareholders, business associates, the Indian film industry and other partners who have helped us strengthen our resolve even in tough times.”

    Revenue breakup: Eros breakup of revenue for 9M-2016 (nine month period ended 31 December, 2015): Theatrical Revenue – 44.2 per cent; Overseas Revenue – 29.3 per cent; Television and others 26.5 per cent.

    Total Expenditure in the current quarter declined 21.6 per cent YoY to Rs 270.59 crore (80.7 per cent of TIO) as compared to Rs 345.34 crore (70.4 per cent of TIO) and declined 27.1 per cent QoQ as compared to Rs 370.97 crore (73.5 per cent of TIO).

    The company’s EBIT (Earnings before Interest and Taxes) declined 53.9 per cent YoY to Rs 67.65 crore (20.2 per cent margin) as compared to Rs 146.63 crore (29.9 per cent margin) and declined 51.3 per cent QoQ as compared to Rs 139.01 crore (27.5 per cent margin).

    Employee Benefits Expense (EBE) in the current quarter increased 47.2 per cent YoY to Rs 14.12 crore (4.2 per cent of TIO) as compared to Rs 9.59 crore (two per cent of TIO), but declined 1.2 per cent QoQ from Rs 14.29 crore (2.8 per cent of TIO).

  • Q3-2016: Eros revenue down

    Q3-2016: Eros revenue down

    BENGALURU: The Sunil Lulla led Eros International Media Limited (Eros) reported a 31.7 per cent YoY drop in consolidated Total Income from operations (TIO) at Rs 335.35 crore in the quarter ended 31 December, 2015 (Q3-2016, current quarter). The company had reported TIO of Rs 490.73 crore in the corresponding prior year quarter. Operating revenue in the current quarter declined 33.6 per cent as compared to Rs 504.91 crore in the immediate trailing quarter (quarter on quarter or QoQ).

    Note: 100,00,000 = 100 lakh = 10 million = 1 crore
    All numbers in this are consolidated unless stated otherwise.

    Profit after tax (PAT) in the current quarter declined to almost a third (down 65.5 per cent) year on year (YoY) to Rs 37.77 crore (11.3 per cent margin) as compared to Rs 109.34 crore (22.3 per cent margin) and fell 58.2 per cent as compared to to Rs 90.30 crore (17.9 per cent margin) in the immediate trailing quarter.

    The company says its revenues vary quarter on quarter based on release slate. In Q3-2016, there was only one high budget film compared to three high budget films in Q3-2015 with only partial revenues of Bajirao Mastani.

    In Q3-2016, Eros says that one high budget, four medium and 10 low budget films were released as against three high budget, one medium and eight low budget movies in Q3-2015. During the quarter, 15 movies were released consisting of seven Hindi and five Tamil/Telugu films and three Regional film as compared to 12 films during Q3-2015, which included eight Hindi and four Tamil/Telugu films.

    Eros further informs that apart from the new release slate, a significant part of its revenue is contributed by monetisation of its valuable film library, and generally has a second half skew. Since catalogues revenues have longer payment cycles associated with them the company has decided to defer sales for couple of quarters until its receivables position normalises.

    Receivables

    As on 31 December, 2015, Eros says that its total receivables stood at Rs 6,358 million as compared to Rs 6,300 million as on 30 September, 2015. Receivables not due as of 31 December, 2015 was Rs 339.3 crore as compared to Rs 389.9 crore as on 30 September, 2015. Receivables over 365 days old were Rs 38.8 crore as of 31 December, 2015.

    Between 1 January, 2016 to 7 February, 2016, the company has seen a further collection of Rs 52.5 crore of receivables of the period up to 31 December, 2015. The company says that it remains confident to bring the overall receivables down to Rs 525 crore by the end of FY-2016.

    Company speak

    Eros executive vice chairman and managing director Sunil Lulla said, “I am pleased to announce yet another profitable quarter from Eros International driven by the blockbuster success of Bajirao Mastani and a string of regional releases. Our results for the nine months ended December 2015 reflect the strong performance of our film slate with total domination of the box office charts withBajrangi Bhaijaan, Tanu Weds Manu Returns, Welcome Back, etc.; and strong television, ancillary and overseas revenues to complement the box office. We are very proud that our films have been dominating the Bollywood awards declared for CY2015. We continue to pride our green-lighting process and build on our portfolio strategy of films across varied budgets and languages backed by strong pre-sales to de-risk the business model.

    “We are upbeat about our film slate for FY-2017, which includes a string of high-octane releases such as R. Balki’s Ki & Ka, the hit franchise comedy Housefull 3, the highly anticipated rock musical franchise Rock On 2, the action drama, Shivaay and a host of regional releases amongst others,” continued Lulla.
    “We firmly believe that the company has a conservative capital structure and a well-funded balance sheet and we are proud to bring down our Net Debt/Equity ratio to just 0.11 with a free cash flow of Rs 1,320 million in the 9M FY2016. I am confident that with our clear strategic focus, differentiated revenue streams and regional strategy execution, we will continue to deliver solid results in the future and we thank all our shareholders and associates for their continued support,” added Lulla.

    Eros International Plc Group CEO Jyoti Deshpande added, “Calendar year 2015 has been nothing short of brilliant for Eros International operationally with a higher than average box office success of our entire film slate along with critical acclaim and awards to go with it. This year also marked the beginning of the monetisation of the 30 million plus registered users of Eros now our OTT platform and our foray into what could be potentially ground breaking Indo – China co-productions. We continue to support Eros International Media in every possible way with our strong balance sheet and are thrilled that Eros International Media has achieved a free cash flow (FCF) of Rs 1,320 million in the 9M-2016. We look forward to announcing Q3 results of Eros International Plc later in February with a further update on other related matters. once again we thank our shareholders, business associates, the Indian film industry and other partners who have helped us strengthen our resolve even in tough times.”

    Revenue breakup: Eros breakup of revenue for 9M-2016 (nine month period ended 31 December, 2015): Theatrical Revenue – 44.2 per cent; Overseas Revenue – 29.3 per cent; Television and others 26.5 per cent.

    Total Expenditure in the current quarter declined 21.6 per cent YoY to Rs 270.59 crore (80.7 per cent of TIO) as compared to Rs 345.34 crore (70.4 per cent of TIO) and declined 27.1 per cent QoQ as compared to Rs 370.97 crore (73.5 per cent of TIO).

    The company’s EBIT (Earnings before Interest and Taxes) declined 53.9 per cent YoY to Rs 67.65 crore (20.2 per cent margin) as compared to Rs 146.63 crore (29.9 per cent margin) and declined 51.3 per cent QoQ as compared to Rs 139.01 crore (27.5 per cent margin).

    Employee Benefits Expense (EBE) in the current quarter increased 47.2 per cent YoY to Rs 14.12 crore (4.2 per cent of TIO) as compared to Rs 9.59 crore (two per cent of TIO), but declined 1.2 per cent QoQ from Rs 14.29 crore (2.8 per cent of TIO).