By Enkayaar, Glamsham Editorial
Within a time period of six years, Hindi cinema seems to have exorcised the ghost of IPL of its back and has started daring it in its eye. Well, the maxim is being put forward as during the time when the sixth version of the IPL (Indian Premier League) which is being rolled out from 03 April 2013, world of Hindi cinema has become audacious enough to dare it in face and release six high profile movies. The films lined up during the IPL 6 include high profile films like NAUTANKI SAALA, EK THI DAAYAN, ZANJEER reamke, COMMANDO, AURANGZEB, CHASHME BADDOOR and BOMBAY TALKIES.
From the time when the first version of the IPL was unveiled six years ago to the present times, now rather IPL is riding piggy back on Bollywood to create buzz, generate eye balls for the television viewing public and as a logical step maximize revenue as well. In the first season panicked by the buzz around the IPL the distributors had arranged for cricket matches in the cinema halls, and new releases were kept on hold, but now it has become a thing of the past and the exhibitors are also not that much enthused to show matches in the cinema halls, and are rather content in showing films, which obviously generates larger revenue.
It goes without saying that in India cricket and cinema have organic links and IPL could not have survived without reaching out to the world of cinema to create synergy. The synergy was also facilitated by the fact that one of the team owners is King Khan and the other owner is Shilpa Shetty who has been catalyst in bringing along the fraternity to the matches, and this model has been followed by other franchise owners as well.
The moot point is, how much cricket can one watch, and associated with it is the fact that if the content is good public would indeed throng the cinema halls. It was in the second season of the IPL that JANNAT set the tone, when it emerged as a big hit at the peak of the IPL, and this trend has been followed over subsequent versions of the IPL. May be, JANNAT was able to find favor with the audience as the content of the film had smartly sewed in cricket into the content. It was followed by HOUSEFULL, HOUSEFULL-2, LOVE SEX AUR DHOKHA, VICKY DONOR, ISHAQZAADE, etc., followed suit and demonstrated with conviction that if the content is good then the public would lap it up.
One could see a new paradigm of advertisements promoting films during the IPL in the current season, its contours being defined by situation specific contents of films being released in the IPL 6 season. So we could see ZANJEER remake being promoted heavily in all the matches being played at Hyderabad - it being Ram Charan Teja's first film and also being promoted heavily in Mumbai as it could be the first film to be released after Sanjay Dutt's jail term, in the same way CHASHME BADDOOR's original version could be advertised in Delhi to create a buzz as it was a Delhi centric film and as PVR which is re-releasing it on the same day when the remake is being released, is headquartered out of Delhi so original version could piggy ride on IPL6.
It indeed is interesting times for the world of Hindi cinema and IPL has again underlined that in India cricket and cinema can only exist together and not in antagonism to each other.