COVER STORY (Spotlight Weekly)

Moving Images Of An Industry

Nepal's film industry began to flourish commercially less than a decade ago. The industry has seen phenomenal growth in production and distribution capabilities. Last year, 29 films were released. That number is expected to reach 40 this year. Despite the numerical growth, Nepalese films are yet to make significant gains in terms of total market share. The industry continues to face a stiff challenge from technologically advanced foreign films.

By KESHAB POUDEL

If the success of 'Darpan Chhaya' is any indication, the future of Nepal's film industry lies in low-budget productions that tell realistic stories about the country and people.

In the past, many low-budget films reflecting the realities of the nation have proved to be commercially successful.

Four other Nepalese films were released in Kathmandu valley in the last two months. Packed with sexual expositions and gory violence, none could come anywhere close to 'Darpan Chhaya'. Deepak Rayamajhi's 'Angalo Angalo Ma' turned out to be a complete disaster in the valley.

Despite the growing public demand for movies with a powerful social message, a large number of Nepalese producers still follow the C-grade formula of sex and violence.

Artistes of Darpan Chhaya : Taste of success

Acclaimed producer and director Yadav Kharel has brought out films like 'Prem Pinda', 'Adikabi Bhanubhakta' and 'Sree Swasthani' with the wider objective of preserving glimpses of the country's history and culture for posterity.

Although director and producer Nir Bikram Shaha has produced historical films like 'Basanti', he has used sexual exposition and violence as key ingredients.

Although so-called commercial films dominate the Nepalese movie industry, they are unable to draw audiences. Three or four Nepalese films are released every month but only a few are money makers. Most fade from public memory within a few days of their release.

Despite such a volatile market, Nepalese investors continue to pour money into the film industry. But this is a high-risk venture. As most first-time producers are inspired more by the glamour of filmdom than by the artistry of cinema, they fail to properly understand the tastes and demands of the market.

When their films bomb in the box office, the wreckage is often strewn across a wide area, including their personal life. Many failed producers have been driven to desperation. In the last decade, four producers have committed suicide.

Nepalese films face strong competition from more professionally made foreign films. But many new producers make investments without properly studying market trends. This makes is highly difficult for Nepalese films, which are produced with modest investments ranging from Rs. 2 million to Rs. 4 million, to compete with foreign block-busters.

According to an unofficial survey, Nepal has a total of 319 film halls -- 251 big theaters and 68 high-vision halls -- catering to its 23.2 million people. The average capacity of a film hall is 700 seats. There are more than 600,000 seats available in film halls every day, but the total occupancy rate is about 50 percent --300,000 viewers a day.

The average cost of a ticket is Rs. 20, which means the total transaction of a film hall is an average of Rs. 180 million a month. The annual turnover is about Rs. 2 billion.

Kathmandu valley is the largest market for films, with half of its 1.6 million people considered to be regular film-goers. The 41 film halls in the valley provide about 90,000 seats daily.

In terms of the total market, Nepalese films command a share of less than 40 percent. Nepalese film producers can increase their market share if they choose a different strategy. Instead of blindly following the dreary Bollywood formula of alternating rape scenes and sexual exposition with fights and songs, Nepalese producers should start looking for plots that mirror the country's past and present realities.

"If we go on producing Bollywood-type films, it would be difficult for Nepalese audiences to find a reason to spend money on their own films," said renowned producer Tulsi Ghimire. "Our films will just fade away if we copy commercially driven Indian films."

When people fail to see the difference between Nepalese and Bollywood films, they naturally prefer Hindi films because they are of a better quality, say industry analysts.

Although 'Darpan Chhaya' is a simple film made with a modest investment, it has been able set records and freshen up the industry.

A scene from Hatiyar : Cashing in on violence

In terms of diversity of story lines or technical strength, Nepalese films cannot beat foreign productions. But the Nepalese film industry can excel in portraying themes based on Nepalese realities.

Not all producers or directors are as lucky. For every 'Darpan Chaya', there are several stories of frustration and hard luck.

This year's first few weeks provide an interesting example of the industry. It has seen the success of 'Darpan Chhaya' and the failure of 'Angalo Ma Angalo'. 'Sangam' recently hit the screens of Kathmandu and the production team is keep its fingers crossed.

There are more than half a dozen other films in the pipeline. 'Tan Ta Saraini Bigris Ni Badri' is scheduled for release next week. Among the 31 movie halls in Kathmandu, 16 are showing Nepalese films.

'Darpan Chhaya' and 'Sangam' are being screened in four and seven theaters, respectively. 'Ago' and 'Hatya' are running in two film halls. 'Basanti' is being displayed in one hall.

As in many other sectors, the boom in Nepal's film industry is a direct outcome of the liberalization of the country's politics and economy following the restoration of multi-party democracy in 1990.

Growing Professionalism

The increase in the number of Nepalese films has been accompanied by a growth in professional manpower. According to an estimate, more than 25,000 people are employed in this sector.

Actors, actresses, dancers, stuntmen, musicians, singers and technical assistants have started commanding respectable fees. According to current rates, a top-class actor gets up to Rs. 250,000, with a similarly placed actress commanding Rs 200,000. The fee of dancers ranges from Rs 1,500 to Rs 2,000 a day. Musicians, singers and cameraman also have their own rates in accordance with their market value.

This is a far cry from the early days, when actors had to pay money to get a major film role. Some producers still prefer to hire newcomers and fees are not an overriding consideration.

In any case, the Nepalese film industry, having overcome many challenges in the early stages, is gradually showing signs of greater professionalism.

"Unlike in the early days, we are now in a position to make a living from the industry," said character actress Basundhara Bhusal, president of the National Film Artistes Association. "Almost every actor and actress is paid for their work."

Angalo angaloma : Romantic formula

The growing demand for the more successful artistes has led to the practice of working in shifts. Rajesh Hamal, Niruta Singh, Karishma Manandhar, Bimala Thapa, Ramesh Upreti and Dilp Rayamajhi are counted among the busiest artistes.

"Professional film actors still have many problems. But I think they have good future as the film sector is turning into a real industry," said Bhusal, who is also a member of the Film Development Board.

Sambhujit Banskota is one of the busiest musicians, who often finds himself composing tunes for several films at a time. Singers, too, find themselves busy memorizing new tunes and hurrying in and out of recording sessions.

Before the restoration of multiparty democracy, Kathmandu had only six theaters. The now-dissolved Royal Nepal Film Corporation used to produce a film or two a year. As soon as film-making was opened to the private sector, however, investment surged. The number of productions increased by leaps and bounds. The production cost of a film ranges from Rs. 2 million to Rs. 3.5 million.

Nepalese film producers are widening their focus to include markets in Australia, the United States, Hong Kong, Gulf countries, Brunei and the United Kingdom, where Nepalis live in substantial numbers. If India is included, the market can be expected to grow exponentially.

The main obstacle to capturing this wide market is the lack of an institutional mechanism.

"The Film Development Board has been working to expand the film market in different parts of the world," said Yadav Kharel (see box). "We have developed a concept to exploit external markets, but we don't have any set-up or strategy to do that," he said.

A Federation of Film Trade and Industries has been set up under the chairmanship of Uddav Poudel to help expand the market for Nepalese films.

Many Nepalese films are exported to India and other countries through the personal initiative of producers and directors. In the absence of an official mechanism, the external market cannot be fully tapped.

In 1972, there were only 26 film halls in the country, largely because the government's policy was restrictive. The major part of the theaters' earnings went to India because there were very few local productions to offset the dominance of Hindi movies.

Even the few Nepalese films that were made relied heavily on India during various stages of production.

The RNFC played very important role in building the infrastructure for the industry, which has contributed in no small measure to the current boom.

The situation today is completely different. Nepalese films enjoy tax exemptions and other incentives. Film making has now become the private sector's preserve.

Urbanization and electrification have also played a major role in expanding the reach of Nepalese films.

About 100 Indian films are imported through legal channels. Some estimates put the film industry's value at about Rs. 4 billion.

Thirty films was released last year. These are the kind of numbers that gave Nepalese film producers heartburns. Despite the success of 'Caravan', which receive an Oscar nomination in the category of best foreign film, and 'Basanti', last year was disappointing for many producers.

History of Nepalese Film

The first Nepalese film was produced on the occasion of 42nd birthday of King Mahendra in 1962. But the first Nepalese feature film was 'Harischandra', produced in 1951.

That was followed by 'Ama' (1965), 'Hijo Aja Bholi' (1967) and 'Paribartan' (1970). All were made by Indian producers, directors and technicians. After the establishment of the RNFC in 1972, many steps were taken to improve technical capabilities of film making, including recording, editing, dabbing, processing and printing.

In the 1970s and 1980s, the people could expect to see Nepalese films only every couple of years. Today, a local production is released almost every week.

Although the RNFC was privatized in 1993, it is still one of the important bodies supporting the Nepalese film industry. The RNFC also helped to establish a film laboratory, which helped to reduce dependency on India to process films. Although the corporation produced a relatively small number of films, it helped to create the large pool of technical manpower that is driving today's industry.

As the number of Nepalese films increased, the need for more theaters was felt. "The number of cinema halls increased rapidly because of the large audiences for Nepalese films," said Laxminath Sharma, in a paper titled "Problems and Solutions of Nepal's Film Industry. "The market and professionalism in the film industry has expanded tremendously over the years."

When the government designated the film sector as an industry, private entrepreneurs came to invest in large numbers.

In the beginning, some private-sector investors produced joint ventures with producers from Pakistan, Bangladesh and Sri Lanka. Although that trend popularized some Nepalese artistes in those countries, it could not last long because joint-venture films failed to earn profits.

Nepal has witnessed phenomenal growth in the number of studios, recording theaters, music and dance training centers. In the battle for the box office, size doesn't matter. What connects with the people will work.

But bringing a film to the market is not easy. Sometimes producers have to wait for years to process their films in the laboratories of Mumbai.

This year will see a new boom in the Nepalese film industry. Whether it will prove financially profitable is a different matter. The enthusiasm of Nepalese producers remains undiminished. At a time when their own market is half-filled with foreign films, Nepalese producers have mustered enough confidence to eye audiences abroad.

‘Profit Opportunities Drawing Private Investors’

— DEEPAK RAYAMAJHI

DEEPAK RAYAMAJHI, one of the prominent directors of the country’s film industry, sees great potential for Nepalese movies. Although Rayamajhi, who has directed 13 films, failed to receive an encouraging response to his first production, he is optimistic about achieving success in the future. Excerpts:

What are the reasons for the boom in Nepal’s film industry?

In the 30-year history of film making in Nepal, this is one of the most interesting times. A large number of investors are coming into this sector. In early days, investment in films was limited, as one has to wait years to release films. Film budgets were very low in the early days and one did not need to worry too much about the returns. Producers have seen the possibility to invest. The cost of making Nepalese films is going up because of growing production costs. People are spending up to Rs5 million per film. Private investors are coming because they see the potentials for profit in the film sector.

How big is the market for Nepalese films?

A decade ago, the market was small and it was very difficult to maximize profits. Now the market has grown and can accommodate Nepalese films. The number of cinema halls has increased. Nepalese films have a good market now. Commercial films are making good profits. In Kathmandu valley alone, there are more than three dozen film halls.

What percentage of the market do Nepalese films occupy?

Nepalese films are occupying less than 50 percent of the market. More and more films are in the production line. It is said that Nepalese films are yet to attract middle-class audiences despite the increase in the number of professional producers and directors.

What is the reason?

To attract middle-class audiences, we need to produce films with a message. More than 90 percent of today’s audiences are from the lower class. However, we cannot ignore the preferences of the lower class just to lure the remaining 10 percent. Gradually, middle-class audiences are increasing.

What are your experiences as a producer? Are you satisfied with the performance of your new film ‘Angalo Angalo Ma’?

This is the first time I have been involved in film production. It has helped me to understand distribution patterns, market realities and other areas. Earlier, my sole concern was with film direction. Frankly speaking, I have been unable to attract the audiences. The film was good but publicity was not satisfactory.

Do you think the film will make a profit?

I can say that it will bring money to cover my investment if it captures the market outside Kathmandu valley. The performance within the valley has been unsatisfactory. My investment was not big; I spent Rs3 million. I have lost 50 percent of the return. Some of my other films were very successful.

How do you evaluate your performance?

I am quite happy with my performance. I am proud to have introduced some of today’s prominent actors. I have been directing a couple of films annually, which make me busy round the year. We need to devote five to six months to bring out a new film.

How professional is the film sector today?

It has become very much professional today. Actors and technicians are well paid. For actors who have been around for a while, there is very promising market. New actors have tough competition. Producers have had difficult times. Many have gone bankrupt because of their failure to draw audiences.

What fees are you paying your actors and actresses?

For senior actors, we have to pay up to Rs. 200,000 per film. The rate for actresses is up to Rs.150,000. Dancers charge a minimum of Rs.1,500 for a group performance. The average budget for Nepalese film today is between Rs.3.5 million and Rs.4 million.

Why don’t educated people want to become actors, directors or producers?

Highly educated people are also entering the industry. An educated person can easily understood what the director tells him or her to do. One needs to have a minimum educational background to be an actor, director or producer but education is not always the sole qualification.

‘People Want Simple And Well-Told Stories’

— TULSI GHIMIRE

Producer and director TULSI GHIMIRE has once again proved that it is the film’s story — not the budget — which draws audiences. Almost all of Ghimire’s films have been hits. However, his latest presentation ‘Darpan Chaya’ has set records. Ghimire spoke to SPOTLIGHT on various issues related to his films. Excerpts:

Do you have sufficient equipment to produce good films?

We don’t have adequate equipment available in the country — things like crane and dolly steady camp and wind machines, cameras in good condition and lights. Because of lack of equipment, we are unable to produce film with our own concept and vision. We don’t have studios to develop a new set in keeping with the concept of the film. We have largely depended on outdoor shootings. There is no place for indoor shooting. In our country, the film industry has already taken the shape of an industry, but we still lack basic things. Even without basic facilities, our people are making new films. We need to improve our technical capabilities. We have ideas about equipment and the talent.

At a time when many big-budget films have not done well, what do you think has helped to popularize your relatively low-cost films?

Actually, we are presenting vulgar and violent scenes to audiences in the name of action films. Nepalese audiences do not need illogical scenes and unbelievable dramatic sequences. What they want are simple and well-told stories. If we see the history of Nepalese films, only musical emotional films stimulate the market. Our audiences need musical, emotional and good stories. Women-oriented subjects always hit the market. I don’t see any future for illogical and vulgar films. Maybe some violent Hindi film succeeds in attracting the audiences. We have to have a clear definition about what commercial film means. Many Nepalese producers believe commercial films are those that have five fight scenes, two rape scenes interspersed with dances. Commercial films are those that make money. In Nepal, bad and illogical films are known as commercial films.

How do you see the preferences of Nepalese audiences?

Frankly speaking, the taste of Nepalese audiences is better than in many countries of the region. Nepalese have a standard of taste. We have very good ground to make high-quality films. We throw positive thoughts. Basically, we always agree to develop pure and high-quality films. But only a few producers do so. Most of our films are irritating rather than entertaining.

If there is no market for violent films, why are people coming out with such films?

‘Darpan Chaya’, ‘Lahure’ and ‘Dakshina’ have clearly shown that audiences like films based on Nepalese realities. I don’t think anybody likes to see violent films. There are many producers who do not have knowledge about film. Interestingly, 12 film producers have committed suicide following the failure of their films. The so-called commercial film producers are employing technicians.

What is the structure of the market?

We have a market of about 10 million people. When we make a film on the basis of a simple formula, it can generate more than Rs100 million. However, it needs to be a Nepalese film.

How do you assess ‘Darpan Chaya’?

It is just an average hit film. We need to have the tendency to develop experimental films. We have never tried to produce such films, because we do not have foreign markets.

What is the possibility of tapping the Indian market?

Yes, there is a possibility to do so, but we have not been making any effort through the proper channels. We should have an institutional set-up to deal with Nepalese film. We hope the Nepal Film Development Board will do something to create markets for Nepalese film. Since prominent director and producer Yadav Kharel heads the board, we are expecting positive results.

Why haven’t you been able to draw the middle class?

It is because we don’t have standard films. As long as we don’t have quality film halls, it is impossible to lure the middle class. Many films hall do not have basic facilities like toilet.

How do you see the role of actors?

The success of a film depends on the whole product. We have not built actors that can pull crowds on their own. No one can claim to be doing that today. We need more and more educated actors who can really make a difference. People like Yadav Kharel, Nir Shaha and Rajesh Hamal, among many others, who are changing the face of the film industry.

You are known for having introduced many actors. What kind of education have you given them?

I teach every new actor or actress how to survive with decency. Tripti was one of my students who spent all her professional life with decency.

What is your formula for success?

I always choose topics based on the realities of Nepal. So the people love it.

What has encouraged some Nepalese producers to copy the Bollywood formula?

It is very strange. In Bollywood, one has to spend about Rs. 50 million to complete a film. I don’t think any Nepalese producer has the capability to spend that kind of money. As you know, our market is very small. We must make films in accordance with our own needs. It is difficult for us to get a return Rs. 3 million. If we make films on our own, we don’t have to spend too much money. We Nepalese have our own culture and heritage. But few producers have the goal and vision of drawing upon our own strengths.

What does the Nepalese film industry have to do to compete with Western and Indian films?

When the Film Development Board is able to open foreign markets, we will have to produce films to influence international audiences. We have films like Caravan. Mukondo and Basudev, which are based on our own realities. Such films can easily get international markets. We have already proved that Nepalese films can compete for the Oscar Awards. We have the knowledge and capability, but what we don’t have is equipment.

How is the response of theater owners?

They are very cooperative. I don’t have anything to complain about them

‘Mandate Of Film Board Is Unclear’

— YADAV KHAREL

For many, the name Yadav Kharel is synonymous with Nepalese films. One of the highly acclaimed directors of the Nepalese film industry, Kharel is chairman of the Film Development Board. He spoke to SPOTLIGHT on various issues. Excerpts:

What steps is the board taking to develop the country’s film industry?

One of the major problems of the board is that it does not have by-laws to become a truly functional organization. We have already sent the draft by-laws to the ministry, but it has not approved them. We don’t have staff and other things. At the moment, we are involved in these preliminary things.

Do you have any plan to expand the Nepalese film market?

We have already developed our plan and potential market. As long as we lack by-laws, we cannot do anything. The ministry has to move as quickly as possible. The people have their own expectations from the Nepalese film industry. We recently organized a national seminar on Nepalese films that endorsed a list of 20 recommendations. We have already set up six task forces based on those recommendations. We have been doing something.

How do you evaluate the Nepalese film market?

More than 50 films are going to be produced this year. The numbers continue to go up. On an average, we capture less than 50 percent of Nepalese market. We don’t have exact numbers now. Within a month, we would be in a position to give details. An investor has to spend at least Rs. 4 million to complete a film. A successful film can earn up to Rs 10 million.

Does the board have any plan to stop the vulgarization in Nepalese films?

As there is a censor board to see that, we cannot do anything. If the censor board is effective, such tendencies are checked. We need to have a centralized censorship board. At present, we have censor boards in 75 districts. We should have a censor board like the one in India.

Is there a possibility of exporting Nepalese film? What role can the board play in this direction?

The position of the board is unclear. The definition of the act shows that the board is neither an autonomous body nor a branch of the government. The act needs to be amended. There needs to be a system to expand the external

market. At a later stage, we will do something about this.

Do you see any viable market abroad for Nepalese film? Definitely, there is market abroad for Nepalese films. We can export our films to Hong Kong, India, Brunei, Gulf countries, Australia and the USA. We need a systematic strategy to expand the market, as we don’t have an administrative structure.

What steps is the board taking to regulate the film industry?

First of all, we need the authority to work. If we are allowed to work under the act, we will create a different situation. We don’t have any detailed study on the entertainment market. As we have more than 100 film halls, the turnover will be higher. There are 65 high vision halls and 251 cello-light halls. Every film has three shows that are attracting tens of thousands of audiences. Annually more than 90 Indian films are coming to Nepal along with 50 Nepalese films. There is a huge annual turnover.

As one of the pioneers of Nepalese films, how do you see the development of the industry?

When I was appointed chairman of Royal Nepal Film Corporation in 1972, there were only 26 film halls in Nepal. At that time, Nepal had a restrictive policy. There were no dimensions in Nepalese film. We didn’t have manpower. We had to depend on the Indian film industry. Now the situation is completely different. Today the private sector is involved. The preconditions of the film industry have increased. There are big cadres of distributors. There is a growth of manpower and investment. This is a well-grown industry.