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COVER STORY |
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COVER STORY |
NEPALESE CINEMA Just as it was beginning to
flourish, Nepalese cinema has been hit hard by the overwhelming speed with which the
political and security situation has deteriorated in the country. Since the imposition of
the state of emergency in November 2001, cinema as an industry has suffered a serious
setback. The number of films released in the last one year decreased by more than 50
percent. Worse, there has not been a film that could be termed fairly hit in the period.
With audiences merely trickling in, the Nepalese film industry is going through the worst
crisis it has seen in its few decades of existence, even as the future of hundreds of
thousands of people employed directly or indirectly by the sector remain uncertain By SANJAYA DHAKAL * Ace director Yadav Kharel is currently
engaged in the production of three mega serials for television. Other prominent directors
like Shambhu Pradhan and Mohan Niraula are directing these serials. Dipak Rayamajhi,
another renowned director, is also directing a tele-serial. * Not a single feature film celebrated 51
days in the capital valley in the last year. Not one film was deemed superhit during the
period. Few were successful and most flopped miserably in the box office. * The leading superstar Rajesh Hamal, who
used to work in various shifts to complete the numerous films he had signed, is currently
hosting a quiz show on television. * Renowned comic-duo and film
producers/directors Madan Krishna Shrestha and Hari Bansha Acharya concede they have been
receiving few invitations to premier shows these days. * The most talked about event in the
Nepalese film sector last year was not about a film. It was the tragic suicide by
new-comer actress Shrisha Karki. Lahana, the much talked about film this
year, is doing badly. This film was directed by Tulasi Ghimire, whose previous film
"Darpan Chhaya" created history a couple of years ago as a mega hit. * Most of the film theaters, particularly
those outside the capital valley, have not been showing night shows for a long time. Even
during the day, audiences have drastically thinned.
The above snippets are enough to
portray how badly the Nepalese film sector has been hit in the last one year. Just as many
people were beginning to hail the advances made by the industry two years ago, when films
like "Darpan Chhaya" and "Tan Ta Sarai Bigris Ni Badri" became big
hits and as many as 60 films were being made in a year, reality came crashing down. The series of incidents culminating in the
imposition of state of emergency last year spelt disaster for an industry that was just
beginning to prosper. "The last one year has been a total disaster as far as the film
sector is concerned," says Ashok Sharma, the president of Nepal Film Producers'
Association. At its height, the Nepalese film industry
churned out as many as 60 films in a year. "But now, the number has come down by more
than a half," says Yadav Kharel, a veteran director (See box). One of the first
victims of the insecurity gripping the country had been the entertainment industry. The
film sector, which was booming impressively, has come crashing down after the imposition
of the state of emergency in November 2001. "The sector has come down by 60-70
percent last year compared to previous years," said Mohan Niraula,
actor-cum-director. As the movements of the people are
restricted, theaters are finding it impossible to lure audiences. "In this situation
of insecurity and constant fear, the last thing on the people's mind is to see a
movie," says a theater-owner. Theaters are running virtually empty. In fact, night
shows have been called off in most theaters. In the capital, some theaters are luring
audiences with 50 percent concession on the ticket price for night shows.
Last June, most theaters, big and
small alike, screened the World Cup football matches live to attract audiences, which
speaks volumes about the movie industry. Such is the situation that a big number of blacks
(who re-sell the tickets of films at a hefty price during house-full screenings) have now
been rendered jobless. "Gone are the days when there used to be serpentine queues in
front of the ticket counter whenever a new film was released," says Santosh Chalise,
a movie buff. Now even the most popular cinema halls like Guna and Gopi Krishna sport a
deserted look. Hindi films, too, are running in empty theaters. The situation outside the capital valley is
hardly better. In places like Chitwan, Hetauda, Birgunj, Butwal, Birtamod and Nepalgunj,
the administration has restricted the movement of people, especially at night.
Consequently, people are staying away from film halls. These cities were proving to be a
burgeoning market for Nepalese films. From the production of "Satya
Harishchandra" four decades ago, the Nepalese film industry had come a long way in
establishing itself among the domestic audience. In the 1980s and early 90s, only four or
five Nepalese films used to be produced annually. In subsequent years, however, output had
soared by leaps and bounds. No film has become a hit in almost a year.
After the mega success of Tulsi Ghimire's "Darpan Chhaya" there has not been any
big hit. Yuvraj Lama's "Muskan", Deshbhakta Khanal's "Pijanda", Ugyen
Chhopel's "Badalparee" and Anish Koirala's "Superstar" made some
waves, but failed to make it big. Akash Adhikary's "Panchee", too, did average
business. Films like "Afno Ghar Afno
Manchhe", "Triveni" and "Grahan" are running in the capital.
Trade analysts, who were expecting Tulsi Ghimire's latest venture "Lahana" to
break the jinx, were disappointed. The only hope seems to be on "Je Bho Ramrai
Bho", a comedy by Kiran KC, featuring Madan Krishna Shrestha and Hari Bansha Acharya.
According to Acharya, the film will hit the screens of the capital valley after a month.
Film Business Film-making is regarded a high-risk
venture. According to trade insiders, a film is produced at an average cost of between
Rs.4 million and Rs.5 million. Around 60 films are (or used to be) produced annually. Out
of which only two to three become mega hits, recording turnovers in the excess of Rs.10
million. Two years ago Ghimire's "Darpan Chhaya" and Acharya's "Tan Ta...
Badri" grossed more than Rs.10 million. Ten films recorded profits of around Rs.1
million. Five just recovered their costs, while the rest went bust. Some producers even committed suicide after
losing millions of rupees in films. "This is because naive producers are waylaid by
cunning people who portray themselves as good directors. They first ask the unassuming
producers, who become lured by glamour, to invest, saying they would complete the film for
one to two million rupees. But by the time they complete the movie, the producer will have
invested five to six million rupees. And if the film does not click, the producer will be
the only victim," says Acharya. According to a producer, there are at least
80 people directly involved in the production of a film. That apart, more than 100 are
involved in the distribution, including theater-owners and staff. Audiences support many
more people, including those running small shops in front of theaters. In Nepal, at least
400,000 to 500,000 people are directly or indirectly employed by the film industry. This
also includes Hindi films. There are around 430 theaters in the
country, including multiplexes and small high-vision halls, catering to 23.3 million
people. The average capacity of a film hall is 700 seats. But the occupancy rate has been
less than 50 percent. The average ticket price is Rs.20. Kathmandu valley is by far the
largest market, occupying around 40 percent of the total market share. The rest is
distributed across the country.
As far as the remunerations of
artistes are concerned, there are very few who demand their own price. Actors like Rajesh
Hamal, Dilip Rayamajhi, Uttam Pradhan and Shri Krishna Shrestha and actresses like
Karishma Manandhar, Bipana Pradhan, Niruta Singh and Jal Shah are in the top bracket.
"Rajesh Hamal leads the pack. He charges up to Rs.300,000 per film. For the rest, the
remuneration fluctuates, depending on the time they have and banners involved," says
one director. Though the number of productions has dropped, the demand of these few
superstars have not dipped to sharply, say producers. Recently, Outlook magazine, published from
India, reported in its November 25 issue that Bollywood - the Mumbai film industry - had
lost NRs 4,600 million in the last one year. It reported that out of 132 films released,
124 flopped. While the scale and economics of Bollywood cannot be compared to those of the
Nepalese film industry, the fact that such a global industry, too, could be so vulnerable
speaks volumes about the difficulties of sustaining small industries. "Even a minor
disturbance in law and order could ruin the film industry. A few days of Nepal bandh can
turn a hit movie into a flop," says Madan Krishna Shrestha. Just when the Nepalese film industry was
beginning to look impressive, the country was hit by a succession of unfortunate events.
Films were not only expanding their domestic market but were also exploring possibilities
abroad. Many producers had started taking their films to places like Hong Kong, Gulf
countries, USA and UK where there are sizeable Nepalese populations. As things stand, producers are keeping
their fingers crossed that better days are just round the corner. They hope that herds of
viewers will once again flock the theaters, lifting their sagging morale. MEGA SERIALS Ace director Yadav Kharel
is making three mega serials for television By SANJAYA DHAKAL For those couch potatoes surviving on the
staples provided by daily soap operas of Star Plus like "Kasauti Zindagi Ki" ,
"Kyunki Saas Bhi Kabhi Bahu Thi" and many more, there is a good news. Prominent director Yadav Kharel is
producing three mega-serials that will be telecast within the next month. Kharel's
Creative Movies and Spacetime Network's Channel Nepal have joined hands to produce these
serials. "These are family dramas with familiar plots to lure TV audiences,"
says Kharel. The three serials include "Katha Sukha
Dukha Ko", "Jeevan Chakra" and "Phu Mantar". The former two are
strictly family soap operas directed by Shambhu Pradhan and Mohan Niraula respectively,
whereas the third is a comic show to be directed by Kharel himself. All three will have
more than 125 episodes. "Katha Sukha Dukhako" will begin shortly on Channel
Nepal. Although tele-serials are not new to Nepalese audiences, this is the first time a
big banner is involved in making them. "Our effort is designed to reduce
tensions in the urban family as well. There are families where members have to sulk at not
being able to watch news due to Indian serials whose timing coincide. We will be providing
quality serials so that everybody will end up with a smile," says Kharel. "This is the first time that I am
directing a tele-serial. I used to think making serials was a child's affair, but no more.
It has its shares of challenges. I am sure my serial will be liked by audiences as there
has been no compromise regarding the budget or locations," says Shambhu Pradhan, who
has directed a number of hit feature films such as "Sampati". Niraula, who is himself a good actor, says
his serial "Jeevan Chakra" showcases the common problems faced by average
people. "My serial is a mixture of female emotions, youth voices and conflict between
traditional and modern family values," says Niraula. Both family dramas will be
introducing a number of new comers. The third serial "Phu Mantar" is
an out-and-out comedy and has a number of well-known artistes. "It is an incisive
serial that will be bitter to some but enjoyable to the rest of the people," says
Kharel.As the film sector is in the doldrums, producers and directors have turned their
attention to television. With half a dozen new private television channels set to start
shortly, there will be a huge demand of software that could be supplied by the film
industry. 'The Film Sector Is Almost
Collapsing' — Hari Bansha Acharya Hari Bansha Acharya is a
well-known comedian. A member of the famous MaHa duo, Acharya has also been involved in
producing and directing films. His film "Tan Ta Sarai Bigris Ni Badri" was a
superhit two years ago. His new venture "Je Bho Ramrai Bho" is shortly hitting
the screens in Kathmandu valley. He spoke to SANJAYA DHAKAL on various issues surrounding
the present situation of Nepalese films. Excerpts:
How do you evaluate the last
one year in the Nepalese film sector? Not only the film sector, the whole country
has been down in the last year. Due to political confusion and instability, business,
trade, education have been severely affected. The film sector, too, has been hit hard. It
is on the verge of collapsing. As far as the state of film sector is concerned, people
will tend to spend on entertainment only after they have met the costs for basic needs
like food, clothing, health and education. Right now, people do not have money even to buy
food, so it will be stupid to expect them to spend on entertainment, like watching films.
With tourism, garment and other sectors plunging deeper into crisis, hundreds of thousands
of people have lost their jobs. These middle class people are the ones that watch our
movies. Surely, they do not have spare money to support the entertainment industry at
present. Why did you produce a film last
year, then? Our last film "Tan Ta.. Badri"
was received very well by all. The flood of positive response from the public stirred us
to move ahead. We couldn't just fold our hands and sit still. Anyway, the film market has
deteriorated much further compared to the time we launched our new film "Je Bho
Ramrai Bho". We had already invested a huge amount and it was impossible for us to
back out. Fortunately for us, though we may not be able to reap much profit from our film,
we are not going to lose money either. What has been the extent of
deterioration in the film market? Well, from more than 40 films a year till
few years ago, the situation has come to such a pass that currently less than ten films
are on the shooting floor. Thousands of people associated with the film industry have been
rendered jobless. The extent has been comprehensive. Artistes are cursing the political
leaders responsible for this instability. Being the children of Goddess Saraswati, the
curse given by artistes could turn true. Therefore, the responsible political leaders must
rectify their mistakes soon. All kinds of leaders, whether they are carrying guns or pens
should realize this. Why did you release your new film
in the USA? Is there a good market for Nepalese film overseas? It is a myth that Nepalese films have big
market overseas. Though some producers have been heard claiming that they have made money
by showing films abroad, I feel it is all rubbish. We Nepalese have a tendency to
exaggerate anything. When I took my film "Je Bho Ramrai Bho" to USA recently, my
company made profit of merely three hundred thousand rupees after deducting our traveling
and other expenses even as we saved our lodging and fooding expenses as they were provided
by some Nepalese friends. In USA, too, there are only certain pockets like New York and
Washington where we can get fair number of Nepalese audiences. How do you find the future of the
Nepalese film industry? At present I can only say that it all
depends on what is written on the palms of Baburam, Prachanda, Girija and what is written
on the fate of Nepalese people. 'There Are Few Film-Related
Activities These Days' — Madan Krishna Shrestha The other member of the
famous MaHa duo, Madan Krishna Shrestha is a noted singer as well. He has been involved in
Nepalese films for the last two decades. A veteran of Nepalese performing arts, Shrestha
has acted in a number of films. Together with his other half Hari Bansha Acharya, Shrestha
is involved in MaHa Sanchar, which has produced many tele-films in the past and is
planning to produce feature films shortly. He spoke to SANJAYA DHAKAL on various issues
concerning Nepalese film sector. Excerpts: How was the last one year for the
Nepalese film sector?
Definitely, the film sector has been
severely hit. But it is not surprising given the confusing situation that is prevailing in
the country. The state of people's mind has been affected. The only thing is how long will
this kind of situation persist before we will return to the right track. Currently it is
all an anarchic situation. How is the morale of artistes? Nobody's morale is high these days.
Artistes, too, are feeling depressed. There are few activities going on these days. In the
past, we used to receive so many invitation to film premieres. I have not been receiving
such invitations for long. Instead, invitations to funerals have been streaming in. Before the current crisis, how was
the sector progressing? It was moving on the right track.
Attractions to this sector were growing by leaps and bounds. Even reputable businessmen
and industrialists were beginning to show interest in investing in films. They were
finding that film sector could also give them a good return on investment. But the
political instability in the last few years has been so overwhelming that now nobody is
willing to risk their money on films. Hardly one or two films did fairly well in the last
one year. Such minuscule successes cannot sustain the sector. What are your new projects? We are currently engaged in producing three
telefilms. The MaHa Sanchar will be making these telefilms. But these telefilms are based
on social problems and their stories are laden with social messages. One revolves around
the Kala-azar, the second on the Vitamin A and the third on safe motherhood. Besides, we
are also planning to produce few feature films through MaHa Sanchar itself. Though films
are not doing well at present, we are happy to say that people still have shown that they
like to see films by MaHa. Besides, the initial response of "Je Bho Ramrai Bho"
was exciting when it was shown to Nepalese audiences in the USA recently. Likewise, the
feature film "Sukha Dukha", in which I have acted, has celebrated 51 days of
screening at five places in the country. Definitely, we are excited by the positive public
responses. How do you look at the emergence of
many private television channels? Well, the film sector and television
channels are separate. Though the process of making films and telefilms are similar, I
think emergence of more television channels will not negatively affect the film industry.
The scale and commercial aspects of film making are very high compared to that of
producing television programs. Anyway, the emergence of television channel will provide
more opportunities to artistes. What are the prospects for the film
industry, then? You will have to ask the Maoists. You will
have to ask the government. We are not in a position to reply to this question right now. 'The Law & Order Situation Is Mostly
Responsible For Current Depression' — Yadav Kharel Yadav Kharel is among the
most respected senior directors of the Nepalese film industry. Director of such movies
like "Prem Pinda" and "Aadikavi Bhanubhakta", Kharel is known as the
director with the rare talent of straddling both serious as well as commercial subjects
with equal success. Kharel resigned as the chairman of Nepal Film Development Board last
year citing differences with the manner the government tried to influence it. He spoke to
SANJAYA DHAKAL on the present situation of Nepalese film industry. Excerpts:
How do you rate the last one
year vis-a-vis the Nepalese film sector? It was not encouraging. The number of
productions came down sharply from the height of 65 films a year to less than half.
Likewise, the number of applications seeking permissions for film production as well as
the number of releases took similarly deep plunge in the last one year. These are some
indicators depicting how film sector suffered in the period. The second aspect is the
disturbing and abysmal business this sector did in the period. Most films that released
did not succeed. Few of them could manage to break even. The films that actually profited
were next to none. Apart from recession in the film business, the Film Development Board
that the government formed to look after all aspects of film-making could not function
well due to many controversies thanks to wrong policies of the ministry and appalling
attitude of some of its officials. Overall, it was really frustrating to all. What are the main reasons behind
this situation? There is not only a single reason. Factors
are multiple. But the political situation and the law and order remained the greatest
obstacle. The terrible state of law and order due to Maoist problem kept most audiences
away from theaters. Many theaters even had to cancel their night shows altogether. As
success of film depends on the number of audiences that throng to theater, it is sensitive
to any kind of disturbance in law and order. The second reason is the prevalent economic
recession. The clientele that patronizes film sector include middle class people as well
as labor-class people who depend on industries. Thanks to overall instability, many
industries have suffered and so do have these people. Definitely, this had had a serious
affect on entertainment industry. The third reason is the apparent lack of novelty in the
stories and presentation of Nepalese films. The fact that the films could not upgrade the
level of their quality is also one reason behind the current slack. There were recent reports that
Indian film industry, too, is not doing well at present. How do you look at it? Yes, it is true that Indian film industry
is also going through a rough phase. But it cannot be compared with what we are witnessing
here. Their market is gigantic. Not only the internal market, they also have a big market
overseas that is patronized by a huge number of non-resident Indians. So, even if they
suffer in one front, they can fall back on the other. We don't have that luxury. Our
market is marginal and very limited till now. There may be several reasons why the Indian
film industry is not doing well. They are facing serious challenge from the booming
television industry there. Many producers have been taking out
Nepalese films for release in overseas markets like the USA. Do you think we have a
sustainable market out there? No, there is no sustainable overseas market
for Nepalese films yet. Those who have taken it out have done so because of their personal
longing. The thing is rather than for the business motive, these people take their films
to Europe and America so that they can also visit those places. The mere travel to USA and
Europe is their sole objective. I don't think an average producer takes films there with
the view to do business. You can't run a sustainable business just by screening films to
select audiences and by taking free lodging and food at places of Nepalese acquaintances.
Besides, the Nepalese audiences are still not organized there. Maybe in future this market
can be tapped, but till now I cannot say it is a viable one. However, these private trips
could pave way for future prospects. How serious is the problem of
piracy here? It is a big problem indeed. The piracy of
CDs and VCDS has become a great headache. The unscrupulous people engaging in piracy of
video cassettes and VCDs have dealt a big blow to genuine producers. Likewise, the boom in
the television industry is also having some effect. When people can see movies within the
comfort of their homes, they would naturally not venture out to the theaters especially at
a time when law and order situation is so bad. What are your current involvement
and future projects? Since I was involved with the Nepal Film
Development Board, I could not divert my attention to anything else last year. Currently,
I am involved in the production of three mega-serials together with Channel Nepal. These
three serials each with over hundred episodes will be telecast in Channel Nepal. How do you find the development of
what you call the parallel cinema here? There have been few cinemas that were made
without sticking to traditional formula. Just recently, films like "Numa Fung"
and "Bir Ganeshman" were made. These films were not based on the formula.
Likewise, I had made "Aadikavi Bhanubhakta" a few years ago. Films like
"Basain" and "Muna Madan" that are currently being made also cannot be
termed as strictly commercial ones. There have been these kinds of films. But they are
very limited. |
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