BENGALURU: In an era dominated by streaming, cinema, particularly theatrical releases, seems to be fulfilling the bleak predictions made post-pandemic. New films – big budget, star-studded projects and debut vehicles alike – are all facing uncertainty at the box office. Most films are now made with streaming platforms in mind.
So, is the cinema experience as we once knew dead? Far from it. Walk into a cinema hall today, and you might find it packed – not for new releases, but for old films. These might be former blockbusters, cult classics, or even romantic dramas, all available on streaming platforms, yet still drawing audiences back to theatres.
One notable example is Tumbbad (2018), a horror-thriller praised for its haunting visuals and atmosphere. After a modest initial run, grossing Rs 13.25 crore at the time, it recently earned approximately Rs 10 crore in just one week of its re-release – and is still going strong.
Other films that have had similar revivals include Veer-Zaara (2004, Hindi), 3 (2012, Tamil), Upendra (1999, Kannada), Rehnaa Hai Terre Dil Mein (2001, Hindi), and Premikudu (1994, Tamil). But why are people paying to see films they can easily watch at home?
Filmmaker KM Chaitanya believes it’s the magic of the big screen. “Many of these films were made for theatres. Watching Tumbbad at home isn’t the same as experiencing it in a cinema,” he explains. Chaitanya also emphasises the importance of the collective experience: “It’s about sharing emotions, all being immersed in the same story.”
He suggests that while today’s films may have visual grandeur, they often lack the emotional depth of older films. “Audiences are revisiting these films to rediscover what’s missing in modern cinema,” Chaitanya says.
Several movie-goers echo this sentiment. “I had watched Tumbbad before, but not in the theatre. When I saw it was screening in theatres, I thought it would be fun to go and watch,” says Anjan, a film enthusiast.
Nostalgia and Familiarity
According to filmmaker Nagathihalli Chandrashekar, nostalgia plays a big role in the success of re-releases. “Re-releases are becoming more significant because current films aren’t drawing big crowds. They allow people to relive memories,” he says. Chandrashekar recalls meeting a family at an airport who thanked him for America! America!, a film he directed nearly 30 years ago.
“People hold these films close to their hearts, and the industry benefits from that emotional connection,” notes Chandrashekar, who plans to re-release his hits Amruthadhare and Mathad Mathad Mallige.
While nostalgia might explain older audiences returning, what about younger viewers who never saw films like Upendra or Rehnaa Hai Terre Dil Mein in cinemas?
Pawan Kumar, whose 2013 hit Lucia celebrated its 10th anniversary with a re-release, says, “On streaming platforms, we often watch films we’ve already seen for the comfort of familiarity. Re-releases offer that same comfort.”
Kumar also points to the power of word-of-mouth. Films like Tumbbad have grown in stature since their initial release. Re-releases, he says, provide something new films can’t always offer: trust. “There’s a gut feeling that you can’t always trust what’s made today. It’s like going to a restaurant and being unsure of the food – you end up choosing something familiar. Disappointment with new releases has led people to turn to trusted films instead,” he adds.
Ratan, a city-based film buff, supports Kumar, saying, “I watched Rockstar and Tumbbad, both re-releases. I chose to see them in theatres to make up for the regret of missing their original releases on the big screen.” The tickets for these films, largely released in multiplexes, are priced as low as Rs 100.
Filling a Gap?
The resurgence of old films raises some questions: can re-releases become a sustainable business model for theatres? And what does this trend mean for OTT platforms, once seen as the future of cinema? Chaitanya is sceptical about streaming fully replacing cinemas. “People once said television would kill theatres, but eventually, they returned to cinemas. OTT is just another phase,” he adds.
Hollywood actor Matt Damon remarked some time ago that OTT platforms have changed the profitability model for films. Where DVDs once provided a secondary revenue stream, streaming doesn’t offer the same returns.
Additionally, streaming is often blamed for the decline of independent, mid and lower-budget films. “In the past, indie films could share shelf space with blockbusters like Titanic in DVD stores. Now, with OTT, that space is harder to come by,” Kumar adds.
The revival of older films might offer a fresh perspective to an industry grappling with increasingly disinterested audiences. It suggests that while streaming is here to stay, the magic of cinema, with its immersive, collective experience, still has its place.