Hindi cinema struggles with the changing script of viewership

The Hindi entertainment industry is passing through a difficult and uncertain phase. For decades, Bollywood was driven by superstar actors, festive film releases and packed cinema halls, complete with popcorn and samosas. In recent years, however, the industry has faced multiple challenges simultaneously: declining theatre footfalls after the Covid-19 pandemic, rising production costs, internal disputes, pressure from OTT platforms and changing audience preferences.

The situation has become more complicated due to global economic uncertainty and tensions in West Asia, which have affected overseas markets and investments connected to the entertainment business. Producers, distributors and theatre owners say audiences have become far more selective about the films they choose to watch in cinemas.

Although a few films such as Dhurandhar proved that audiences still enjoy strong theatrical experiences, many big-budget productions have struggled at the box office. Industry experts believe Hindi cinema is now going through a transition period where content and audience connection are becoming more important than star power alone.

One of the biggest recent disputes has been linked to the Don 3 project involving filmmaker-actor Farhan Akhtar, producer Ritesh Sidhwani and actor Ranveer Singh.

The Federation of Western India Cine Employees (FWICE), which represents 38 crafts and workers’ associations in the film industry, issued a non-cooperation directive against Ranveer Singh after receiving a complaint from the Indian Film and Television Directors’ Association (IFTDA).

According to industry sources, the producers informed FWICE that nearly Rs 45 crore had already been spent on pre-production activities related to the film. Reports suggested that the actor’s exit created uncertainty over schedules and financial planning.

Media reports linked the matter to creative differences and delays, though no detailed public explanation has been given so far.

FWICE office-bearers, including chief advisor Ashoke Pandit, said the federation took action because the issue had affected several stakeholders connected to the project.

At the same time, the organisation said it was willing to hear Ranveer Singh’s side and hold further discussions.

The controversy once again highlighted how disputes involving big-budget films can create financial pressure across the industry, affecting not only producers and actors but also technicians and workers dependent on film shoots.

Another major controversy has surrounded Hera Pheri 3. Actor Akshay Kumar’s production house reportedly sent a legal notice to actor Paresh Rawal following his sudden exit from the film.

Reports claimed that Paresh Rawal returned his signing amount along with interest. Director Priyadarshan maintained a cautious stand while speaking publicly about the dispute.

The Hera Pheri series remains one of the most successful comedy franchises in Hindi cinema, featuring Paresh Rawal, Akshay Kumar and Suniel Shetty. The disagreements surrounding the third part disappointed fans and raised concerns about instability within major film franchises.

Industry observers say such public disputes have become more common in recent years because social media discussions, fan reactions and online speculation now influence films even before shooting is completed.

OTT and YouTube pressure

The Hindi entertainment industry is also facing growing competition from OTT platforms and digital content creators. Film analysts say Bollywood is no longer competing only with other films. It is competing for audience attention in an increasingly crowded digital space.

During the Covid-19 lockdown period, audiences became accustomed to watching films and web series at home. Streaming platforms expanded rapidly and offered viewers a wide variety of Hindi, regional and international content.

Even after theatres reopened, many people continued to prefer watching entertainment at home rather than spending heavily on cinema tickets, transport and food.

Industry insiders say audiences now expect stronger writing, faster storytelling and more realistic performances. Viewers compare Hindi films not only with other Bollywood productions but also with web series, South Indian cinema and international shows available online.

YouTube has added another layer of competition. Young audiences spend a large amount of time watching podcasts, comedy channels, influencers, short videos, music content and independent creators on mobile phones.

Entertainment is now available instantly and often free of cost.

The music business has also changed significantly. Earlier, film songs played a major role in promoting movies and attracting viewers to theatres. Today, independent music and viral online tracks often become popular without being connected to films.

After-effects of Covid-19

Film workers’ organisations say the pandemic caused severe financial hardship for thousands of people connected to the industry.

All Indian Cine Workers Association president Suresh Shyamlal Gupta said many daily wage workers, technicians and junior artists lost employment during the Covid-19 crisis.

According to Gupta, a large number of workers were forced to look for alternative jobs outside the film industry to survive. Some worked as delivery staff, security guards, drivers and street vendors after film projects stopped during lockdowns.

Industry bodies say several small and medium-sized production companies also shut down because of financial losses.

Gupta has written to Prime Minister Narendra Modi seeking support measures for workers and production units affected by economic difficulties.

Industry representatives say rising fuel prices, transportation expenses, logistics costs and inflation have sharply increased the cost of filmmaking. Shooting schedules, equipment movement, accommodation and set construction have all become more expensive.

There are also concerns that prolonged global instability and weak investments could reduce the number of films, television projects, advertisements and web series being produced.

Political and financial pressures

Film analysts say the Hindi entertainment industry is increasingly getting affected by political debates and ideological divisions.

Veteran film analyst Navin Kumar said political discussions linked to films and celebrities have intensified in recent years, creating additional pressure on the industry.

Social media campaigns, boycott calls and online controversies now influence audience perception even before a film is released.

At the same time, the financial risks linked to filmmaking have become much higher. Several films today are made with budgets ranging from Rs 150 crore to Rs 300 crore, but box office collections often fail to match expectations.

Trade experts say only a limited number of films have emerged as clear commercial successes after the pandemic.

According to industry insiders, audiences are becoming more selective and careful about spending money on theatre visits. Viewers now prefer films that offer either strong emotional stories, large-scale entertainment or positive word-of-mouth.

Hits and flops

Despite the challenges, some Hindi films have managed to attract audiences and perform strongly at the box office. Movies such as Dhurandhar, Stree 2, Bhool Bhulaiyaa 3 and Chhaava generated strong public response and helped theatres recover business.

However, several high-budget and star-driven projects have struggled commercially despite aggressive marketing campaigns, raising concerns about the long-term sustainability of expensive productions.

Industry observers believe the Hindi entertainment industry is now going through a correction phase. Producers are likely to focus more on controlled budgets, stronger scripts and audience-driven storytelling in the coming years.

While the industry continues to face uncertainty, many believe Hindi cinema still has the ability to reinvent itself and regain audience trust if it adapts to changing viewing habits and audience expectations.

Disclaimer: The views expressed above are the author's own. They do not necessarily reflect the views of DH.