BOI Magic : Golden era of bollywood(70’s and 80’s) looks so dull in front of 2000 decade.

When BOI started way back in 2003, actual motto was “WE ARE NOT HERE TO HIT OR FLOP FILMS AS THE INDUSTRY TRADE PUNDITS WHO BELIEVE THEY MAKE OR BREAK FILMS OR STARS. IT IS FOR THE PUBLIC TO DECIDE WHAT IS A HIT OR FLOP NOT TRADE PUNDITS.”

But now they are one who dictate new rules of giving verdicts and defies logic… 😉

BOI started this trend of theatrical collection verdicts. Earlier FilmInformation model was based on Return on investment. Returns were purely considered from theatrical collections and investment was considered as distributor investment for each territory. Drawback of this model is that even big grosser can be classified as flop if not pouring profits. For example Shaan (1980) was top grossing movie of 1980 but was termed as Average. So this model was more on negative side, can make even big grossing movie flop one. Movie has to earn profits, else flop. Bigger the profits margin, higher the classification.

This model can still be applied very effectively for domestic business. Distributors are still same against which we can easily use theatrical collections. But it was hurting someone. BOI theory was that big grosser should not be termed as flop even in case of loss or lesser profits. Drawback of this model is that even loss makers/breakeven can be classified as Blockbuster. Recent examples are RA.One, DON-2, Delhi Belly etc.. These movies were either breakeven or very minimal profit maker, but due to big gross all these termed as Hit or above.  So this model is more on positive side, Profit makers are always hit and even if there is no profit big gross can make it Hit.

Effect of using theatrical collections model can be easily visible if we take data of last 6 years (2006-2011) and 6 years of golden period of Bollywood (1976-1981). This data is from BOI. They used strict verdicts for old movies and lenient verdicts for movies post 2000.

Golden period (1976-1981) *BOI Verdicts are even more strict than FI So called bad years of bollywood (2006-2011) *BOI Lenient verdicts
Year Total Hits Year Total Hits
1976 8 2006 11
1977 7 2007 10
1978 5 2008 7
1979 6 2009 5
1980 5 2010 7
1981 9 2011 12
Total 39 Total 52

So we can see how BOI successfully able to elevate the fate of box-office even for so called bad years of bollywood and the golden period of bollywood looking so dull in front of last 6 years. Great Job BOI … 😉

Now if we take actual filmInformation verdicts and compare these two eras:

FI Clean Hits of 1976-1981 (Golden Era) FI Clean Hits of 2006-2011(So called bad years)
Year Total Hits Year Total Hits
1976 10 2006 6
1977 10 2007 6
1978 7 2008 6
1979 6 2009 2
1980 5 2010 3
1981 11 2011 5
Total 49 Total 28

Now this looks like presenting true picture of bollywood and justify why the Golden Era of bollywood was said to be 70’s and why 2000 decade is said to be struggling for Hits.


~ by Yakuza on March 1, 2012.

25 Responses to “BOI Magic : Golden era of bollywood(70’s and 80’s) looks so dull in front of 2000 decade.”

  1. So there are following conclusions :

    1. BOI using duel model. Lenient verdicts for 2000 decade and very strict verdicts (specially for bachchan movies) for 70′s and 80′s decade.

    2. BOI verdicts for 70′s and 80′s are even lower than filminformation/trade guide verdicts.

    3. Using duel model 2000 Decade looks much better compare to 70′s and 80′s.

    4. Any big grosser will be Hit, even if it gives losses to distributors.

    5. Lenient verdict system is icing on cake for current big stars, because its already very easy to have blockbuster compare to old days … http://boxofficeindia.com/youdetail.php?page=shownews&articleid=3770&nCat

    • I once thought of registering for NG(thinking that it was a healthy debate oriented film site) but seeing the kinda ridiculous & senseless posts being posted(most of them) out there,i decided to change my mind 😉 Your posts are the one’s that i look forward to the most ‘coz u usually come up with priceless data of the real “golden age” of Bollywood cinema. But this particular post isn’t really of any significance as such! We all know that BOI methodology is biased and bogus. If theatrical business is the yardstick then how can a Ra.One released with 3500 prints,netting just about 15 cr be called a HIT after crashing miserably in week 2? I request u to continue bringing out priceless data from the likes of FI and Trade Guide instead of trying to counter some morons posting senseless stuff(esp the SRK and Salman fanatics).

      • I mean Ra.One netting 115 cr..!

      • You are right !! generally i don’t post such articles here, but this observation is something related to history of bollywood, so i keep it as a note.

  2. Btw,u said u were gonna come up with the detailed analysis for the performance of the new Agneepath. I’m looking forward to that post!

  3. Excellent article buddy. I do agree, BOI is being too bias on current films classification, esp. SRK starrers, as I feel that Ra.One, MNIK, KANK and Devdas are example of films that didn’t deserve the Hit tag. It surprises me that they are contridicting themselves all the time.

    I’m surprised that a good set of Big B starrers back in the 70s and 80s are aren’t Hit according to them like Majboor, Kabhi Kabhie, Chupke Chupke, Adalat, Khoon Pasina, Ganga Ki Saugandh, Mr. Natwarlal, Satte Pe Satta, Aakhee Raasta and Shahenshah were Hits.

    Are you sure Shaan (1980) was the top grosser of the year, wasn’t it Qurbani, because it was Qurbani massive success that made some trade believe that the only person who can overtake Amitabh is Vinod Khanna.

    I was also wondering if Film Information has BO Classification of films in the 70s and 80s?!?

    • Success and gross are two different terms, even today TDP is massive success, but it was RA.One which was bigger grosser in 2011. Qurbaani was huge grosser, but it was not universal due to very urban centric feel and theme and the main attraction of movie “Laila o laila” song was removed by censor board from movie, only to add a year later. So even the audience who wanted to see this movie for this song was disappointed. It worked much bigger in metros than interiors.

      Shaan was also same case, it was massive grosser in metros only, but contrary to Qurbaani, its opening was record breaking all India.

  4. @Yakuza : An article which confirms your claims about ‘fake’ Hits in today’s era(read Ra.One & Bodyguard)
    http://news.moviehattan.com/2011/12/change-in-definition-of-hit-or-flop-for.html

    • What do you have to say about this?

    • A similar article here : http://www.tehelka.com/story_main52.asp?filename=hub100312Bollywood.asp

      • This is a vague situation where focus shifts to producers profits rather than distributor/exhibitor balance sheet.

        Don’t know how this confusion arouse .. even today movie verdicts can be simply modeled on Territory distributors investment VS theatrical business of respective territory. As simple as that. Why to bring in satellite rights and other earnings in to picture ?? This money goes to producers only (or to corporate house who bought the movie with all rights). Why bother about this money ??

        Even today if we keep consistent on model which focus on distributors balance sheet, this will be easy to figure out perfect verdicts of movie. No need to take into account other revenues, as this goes to producers pocket only. Even back then in old era, music rights and video rights were with producers and never considered for theatrical verdicts of movie.

      • “n a town in western Uttar Pradesh, an exhibitor is angry. He put down Rs 5 lakh as minimum guarantee (advances for likely revenues in individual territories) for Ra.One. In the first week, he recovered Rs 1.5 lakh, the next week after the negative word of mouth, the recovery depleted to Rs 50,000, and by the third week it was down to nought. The exhibitor is still recovering from the loss of nearly Rs 3 lakh and has not stopped cursing Shah Rukh Khan. Khan and his Ra.One team were partying in Mumbai even as an exhibitor in UP is recovering from a loss of Rs 3 lakh”

        This sums up all what i am saying above.

        • If we start considering Exhibitor loss then almost every single movie will lose out,isn’t it? Urban centric,multiplex films like ZNMD,Delhi Belly and NOKJ have burnt a hole in the pockets of SS exhibitors while SS blockbusters like Wanted and Vivah have made losses for plex exhibitors. We obviously can’t brand the above movies as Losers/Flops.
          Do the distributors ever give consideration to “target audience” while selling a film to the exhibitors?

          • Not exhibitor, But distributors are key factor because they get only what theatrical business gives them. Their balance sheet was always and should always be considered for verdict of movie.

            For example .. Rangeela was flop for producers, but superHit for exhibitors. And Daud was Blockbuster for same producers and flop for distributors. And if you co-relate verdicts of these movies back then, it was gone by distributors balance sheet, not producer’s one.

            • Yes i agree with you. But unfortunately even Nahta’s FI verdicts are giving the wrong pictue these days. For instance,The Dirty Picture,Singham & Murder-2 are a lot more profitable than BG yet BG has been given a higher verdict. And strangely even FI gace Ra.One a “Plus” verdict! Its evident that Nahta too like BOI & Taran Adarsh has his own loyalties and image to preserve.

  5. Thing is that..today the difference b/w budget and nett collections is used as a parameter..which is quiet right..unlike ROI in old days..

    A film in old days.. made at 1crore and netting 2crores was termed hit.
    and if same method is used today..we would have a handful of hits..

    Imagine ROI case coming in play..today..
    In that case to earn a hit status Ra.One had to cross 200Cr mark..

    The gap b/w budget and the nett collection is a better parameter for Bollywood..!!

    • “In that case to earn a hit status Ra.One had to cross 200Cr mark..”

      No, Budget was never considered. It was always distributors investment VS theatrical return.

      RA.One was just required to earn 18 Crore Nett(at certain centers) more to become break even with distributors. With just 135 Crore collections this would have been complete recovery movie.

      Many big grosser in past were given Average/Flop tag because return were not sufficient to yield profits. And more over public perception always match with those verdicts. Shaan, Burning Train, Toofan etc are perception wise flop/average and trade given same verdicts.Similarly RA.One public perception is Flop, but BOI has given Hit tag .. Why ?? neither it yield profits, nor it was accepted by paying public. If RA.One is Hit, then give all those huge grosser of old time Hit tags too … Public perception for all movies is same, flop.

      • Agree with you man. Same can be said for the likes of Tees Maar Khan,KANK and MNIK(Above Average). While on the other hand excellent trending and well liked films like Jodhaa Akbar & Band Baaja Baraat have been given lower verdicts(Jodha Akbar was inexplicably changed from HIT to SEMI HIT 2 years after its release).

      • yeah..u r right..but I use..Budget and nett..coz distributor things gets too deep..and Analyst like u..can get it..
        by far I know..Ra.One was never made to recover itself from India..
        It was made with perception to earn worldwide..Like in hollywood
        Movies with 200Mill dollar budget..to half of that in America..and half of that in foreign..
        but In India I dont know why we r still stuck with domestic collections to decide verdicts..

        • I meant hollywood movies made on 200million dollar..do like 200million dollar from..U.S and..200-250Million from abroad..

          • Dude,stop whining like an SRK fanatic and accept the fact that Ra.One is a Below Average product and a box office underperformer. Worldwide collections from Iceland and subsidies from foreign governments cannot change the fact that Ra.One was outrightly rejected by the Indian audiences altogether. Now move on please..!!

        • Hollywood movies distribution has different model altogether. They don’t have sub-distributors, returns goes to their pockets only and they just need to pay back commission to digital media company who help them to distribute the digital prints.

          But bollywood movies sold to domestic and overseas territory to different distributors and theatrical returns goes to distributor pocket rather than producers. So Hollywood model is not applicable for bollywood movies at this moment. However with emergence of UFO and many other distribution companies and digital cinemas, we are chasing Hollywood quite fast.

  6. BOI is the fake site of bollywood,on one believes on them,

  7. Your calculations matches with mine. Please check
    http://www.4bubbles.com/myth-of-indian-box-office/

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