We wanted to redefine the parameters of Marathi cinema, says Nittin Keni, producer of Sairat
By Manishaa R
The Marathi film, Sairat continues with its box-office conquest even as audiences flock to the theatres to catch a glimpse of the film. The total collections of the film stood close to Rs 55 crores at the end of the second week. The ones who are smiling their way to the bank are the producers of Sairat. According to Nittin Keni, producer of Sairat and Founder- CEO of Essel Vision, “The close to Rs 55 crores business of the film so far, has introduced the trade to the limitless possibilities of Marathi cinema and how far it can go. It has redefined the parameters of Marathi films. If Marathi films continue at this rate, it will be a flourishing industry like the Telugu industry or the Tamil industry and can co-exist with the Hindi industry too,” Nittin revealed adding that with every film they take up, Zee has always tried to push the envelope further be it production or distribution, “The idea is always to be high on content and explore something different each time.
It is very important to be novel and innovative. For instance when we did Katyar Kaljat Ghusli, it was a completely different subject. Time Pass was a very different kind of a theme too. Now that we have done Sairat, we will not attempt something similar for a very long time. We will look for another subject and another pool house of talent.
Our talented team at Zee headed by Nikhil Sane, is taking a keen look at every possibility, even when it comes to acquiring the right films,” he adds. Nittin feels that the so-called law and order problem experienced by some exhibitors at their theatres due to the film, should be handled firmly, “If it is a law and order problem it should be handled accordingly.
I remember when I released Gadar, there were disturbances at several places, particularly Indore. We had to call in the police and we had to talk to collectors. In Indore there were riots. It all depends on the situation.” However he feels that the problem also has a lot do with the way single screens are packing their theatres with audiences, “I am told that in many single screens, theatre owners are selling more tickets than the available number of seats. Some of them are packed upto 130 percent occupancy. In a lot of these single theatres, the money doesn’t come back to the distributor. I did witness in some multiplexes in Mumbai where 30-40 people came in the front and started dancing to the tunes of some numbers but the moment the song was over, I saw them go back to their seats. There is a fervour and frenzy which happens once in a way for movies but that’s part of the game,” he smiles.