Most female-led films struggle to get a good opening at the box office. The latest two releases, Thank You for Coming and Dhak Dhak, failed miserably. Earlier releases like Shabaash Mittu, Saina, Kangana Ranaut’s Chandramukhi 2 and Thalaivi; Dhaakad, to name a few, flopped too. Even films that tackle grave social issues such as Chhapaak, Thappad and Saand Ki Aankh had lacklustre openings. Some say it’s got to do with star power. But Deepika Padukone and Kangana Ranaut are A-listers, yet their solo films struggle to breach the Rs 5-crore mark at the box office. Only Alia Bhatt’s Gangubai and Raazi were exceptions to the norm. But their success was a steady climb, they didn’t have a mega opening, unlike, say, a Salman Khan film or an Akshay Kumar which may flop ultimately but have huge openings.
Producer Rhea Kapoor (her Thank You For Coming may have flopped, but her earlier Veere Di Wedding with Kareena Kapoor and Sonam Kapoor was a hit) took to Instagram to question the term ‘woman-centric’ films. “What’s a ‘woman-centric’ film, anyway? Can someone define it? Why not a ‘man-centric’ film for a change? Or is that assumed?” she asked. Her point is clear: she’s not in the business of making gender-centric films. Women, she asserts, just happen to play bold, fun roles in her movies, while male heroes often appear too sensitive and emotional.
Rhea Kapoor’s views sparked a social media storm, with various actresses chiming in.
Deepika Padukone tweeted, “The focus should be on great stories and unforgettable characters, regardless of gender.”
Kangana Ranaut, always one to speak her mind, posted, “Let’s celebrate roles that challenge conventions and entertain simultaneously.”
Vidya Balan, a champion of change for Hindi cinema’s heroines, once remarked in a discussion that today’s women are the real catalysts for on-screen reinvention. Adah Sharma who stunned viewers with her role in The Kerala Story, said, “I think a good film gets people flocking to the theatres. Women have the power to make a film a blockbuster success and have a great opening. And I don’t mean only the heroines. I mean the women audience. When people of all genders, age groups, emotionally connect with a character, then I think the movie travels by word of mouth.”
Star power and good content
In a male-centric industry, women are slowly breaking moulds and drawing audiences back to theatres. Hichki and Veere Di Wedding owe their triumph to the stories themselves. These films have proven that stories without a formulaic mould can succeed. These characters tackle issues without the crutch of a strong male presence.
Then how does one explain this: Deepika’s Pathan, with SRK as lead, is a super hit but her Chappak failed. On the other hand, Piku was a hit, but it picked up slowly, it didn’t have a great opening.
Nithya Menen says, “I have always believed that this notion is outdated. It’s a habit, perpetuated by repetitive statements. The truth is, good content connects with the audience, regardless of the lead’s gender. Series like Kumari Shreemati disprove this notion. History shows successful female-centric content. In Telugu cinema, actresses like Savitri, Vijay Shanti and Anushka have excelled.”
Actress Dia Mirza succinctly sums up the situation: “A well-promoted, engaging film that excites the audience is what drives an opening. Female-centric solo films may struggle because the purchasing power still largely rests with the male audience, and they are the primary theatre-goers.”
