In
the
journey
from
my
first
international
film
release
three
and
a
half
years
back,
to
my
eighteenth
film
five
weeks
back,
the
landscape,
whilst
continuing
to
exhibit
consistency
in
terms
of
its
behaviour
on
certain
aspects,
has
concurrently
gone
through
a
metamorphosis.
While
some
new
territories
and
rights
are
emerging,
some
of
the
existing
ones
are
dwindling.
The
result
of
which
is
that
marketers
and
distributors
must
wake
up
to
a
new
reality
every
morning.
As
the
profile,
behavioural
traits
and
media
consumption
habits
of
the
movie-going
audience
abroad
is
in
sharp
contrast
to
that
of
India,
it
is
hard
to
assume
that
what
has
worked
/
will
work
in
India,
will
automatically
work
abroad
and
vice
versa.
Given
the
prevailing
recession
and
therefore,
the
limited
disposable
incomes,
even
the
audience
is
becoming
increasingly
discerning
about
the
kind
of
films
that
they
want
to
watch.
This
coupled
with
the
glut
of
content
in
the
market,
is
leading
to
conventional
fare
(featuring
popular
faces)
enjoying
precedence
over
new
concepts
and
genres,
and
propositions
that
are
devoid
of
face
value.
I
don't
suppose
it's
unfair
to
say
that
the
international
movie
business,
being
more
knowledge-intensive,
uncertain
and
eccentric
than
its
Indian
counterpart,
holds
a
far
greater
enchantment
and
challenge.
The
year
gone
by
has
witnessed
an
unfortunate
economic
downturn
consequently
hitting
admissions
in
the
US.
That
said,
the
gradual
elimination
of
sole
proprietary
ownership
of
the
select
exhibition
outlets
and
their
take-over
by
a
corporate
entity
will
hopefully
result
in
greater
transparency
on
the
reporting
of
gross
figures.
In
the
UK,
the
sharp
depreciation
of
the
pound
sterling
has
been
translating
into
relatively
lesser
returns
than
before,
though
the
number
of
screens
that
are
willing
to
show
tent-pole
Bollywood
has
gone
up
marginally.
In
contrast,
the
Middle
East
has
been
rock-steady,
robust
and
lucrative,
generating
almost
equivalent
(if
not
more)
revenues
than
the
UK
&
US.
The
year
2008
was
disappointing
for
Bollywood
Inc.
internationally,
but
this
does
not
have
as
much
to
do
with
the
markets
per
se
as
it
does
with
the
overall
quality
of
output
being
sub-par.
Several
big-star
vehicles
crashed
(partly
due
to
miserable
promotion).
The
starless
ones
were
either
unreleased
or
tanked,
when
someone
was
brave
enough
to
give
them
a
theatrical
outing.
Titles
that
went
straight
to
DVD
dwindled
in
number
given
the
rapid
shrinkage
of
the
home
video
market,
as
a
direct
result
of
the
rampant
physical
and
online
piracy.
Only
a
handful
of
films
ticked
at
the
overseas
box
office
this
year.
Jodhaa
Akbar
opened
the
innings
with
a
solid
run
in
the
US
and
some
other
markets,
while,
in
the
UK,
it
scraped
into
the
millionaire's
league
(£1m)
by
a
few
pennies,
aided
by
an
uninterrupted
run.
That
thrillers
don't
fare
well
overseas
was
dispelled
by
the
jubilant
marathon
of
Race,
notwithstanding
the
lucrative
Easter
factor.
Kajol's
presence
lent
incredible
gravitas
to
U,
Me
Aur
Hum
delivering
reasonable
box
office
numbers,
the
chartbusting
soundtrack
of
Jannat
gave
Emraan
Hashmi
his
fifth
overseas
release
(and
second
mini
hit),
while
Aamir
Khan's
marketing
hurricane
for
Jaane
Tu...Ya
Jaane
Na
was
effective
in
introducing
his
nephew
to
the
Asian
households.
In
August,
Singh
Is
Kinng
stormed
the
scene
re-writing
box
office
history
and
thus
emerging
as
the
biggest
overseas
grosser
of
Akshay's
two
decade-long
career.
Eid
(the
best
time
to
release
in
the
UK
&
Middle
East)
saw
two
of
the
unconventional
titles
of
which
Kidnap
was
the
more
successful
one.
Though
largely
tepid,
it
surprised
in
the
UK
with
a
reasonable
gross
despite
an
overseas-unfriendly
cast
and
genre.
Predictably,
'Golmaal'
brought
tidy
'Returns'
on
Diwali
and
Dostana
hit
the
bull's
eye
straight
away
and
how!
Rab
Ne
Bana
Di
Jodi
opened
to
good
numbers
though
what
remains
to
be
seen
is
if
this
SRK-Aditya
Chopra
combination
(after
eight
years!)
can
notch
up
a
lifetime
gross
to
match
that
of
Veer
Zaara,
Kal
Ho
Naa
Ho
and
Kabhi
Alvida
Naa
Kehna.
Sadly
(and
scarily),
not
much
became
of
the
other
releases
this
year,
effectively
implying
that
only
a
small
proportion
of
the
annual
output
kept
the
international
industry
mobilized.
In
terms
of
the
market
size,
the
UK,
US
&
Middle
East
lead
the
way,
followed
by
Australia,
Mauritius
and
South
Africa.
Select
films
have
had
a
day-and-date
release
in
East
&
West
Africa,
Malaysia,
Thailand,
Singapore,
Hong
Kong,
Germany,
Netherlands
and
Scandinavia.
Indonesia,
once
lucrative,
has
collapsed,
while
Pakistan,
which
successfully
opened
only
a
year
and
a
half
back,
seems
to
have
closed
down
pre-maturely
(starting
Rab
Ne
Bana
Di
Jodi)
in
the
light
of
the
attacks
in
Mumbai.
All
eyes
are
now
on
the
keenly
anticipated
Ghajini,
which
faces
opposition
from
five
major
Hollywood
releases
on
'Boxing
Day'
in
terms
of
screen
space.
And
while
its
strong
action
component
might
be
a
deterrent
for
the
family
audience,
Aamir
possesses
the
uncanny
knack
of
pulling
off
a
pleasant
surprise
that
is
really
the
need
of
the
hour!