Laal Singh Chaddha: An ode to Indian cinema

The official remake of a film that has won six Oscars and is counted as a classic is a reflection of the confidence and capabilities of Indian cinema

Advait Chandan’s Laal Singh Chaddha is a lovely, funny, gut-wrenching ode to goodness and humanity. “Robert Zemeckis and Eric Roth’s sweeping story of a man (Forrest Gump) who changes the world with kindness receives a faithful Indian adaptation in Advait Chandan and Atul Kulkarni’s ‘Laal Singh Chaddha’ feat. Aamir Khan in the role made famous by Tom Hanks,” tweeted The Academy of Motion Picture Arts and Sciences, earlier this week.

When actor Kulkarni (Natarang, Rang De Basanti) wrote the (adapted for India) script in 2008 and approached lead actor and producer Khan, the latter was hesitant. “I said ‘Atul that is a cult classic and so deeply rooted in American culture,” he says in a video on the making of the film. Mr Khan has a reputation for taking time to commit to projects, picking unique subjects and then giving his all — both as a producer and an actor. Lagaan (2001) the story of a mythical cricket match between English rulers and Indian villagers was an audacious film that got nominated for the Best Foreign Language Film Oscar in 2002. Mangal Pandey: The Rising (2005, Yashraj Films) is about the 1857 mutiny that triggered the freedom movement. Taare Zameen Par (2007) which Mr Khan co-directed is the heart-warming story of a dyslexic child’s struggle with school. His finest production is Dangal (with Disney, 2016). The story of Mahavir Singh Phogat’s struggles to get his daughters accepted in the wrestling world is not just one of the best Indian films; it is also the highest grossing ever at over Rs 2,200 crore in just theatrical revenue globally. 

Once he committed to Laal Singh Chaddha, Mr Khan tried to get the rights for eight years. It emerged that Paramount, the company that (partly) owns Viacom18 Studios, had them. Finally, a lunch meeting in May 2018 between Paramount Chairman Jim Gianopulos and the Viacom18 Studios Chief Executive Officer, Ajit Andhare did the deal. Viacom18 Studios and Aamir Khan Productions soon began production, but then the pandemic happened. The film was made between the three Covid waves.

That brings this to the first point this column seeks to make. Only an Indian filmmaker, writer, studio and actor could have the gumption to remake a film that has won six Oscars and is counted as a classic. The official Indian remake of Forrest Gump (1994) then is an ode to the confidence and capabilities of Indian cinema.

India is one of a handful of countries that has, for 109 years, withstood the might of Hollywood to create its own unique cinema. Just 34 foreign films can be screened in China in a year. Most European countries restrict the amount of Hollywood fare that can be brought in. India (thankfully) has no such restrictions.

Yet, 90 per cent of its theatrical revenues come from Indian films. Only 10 per cent goes to Hollywood. Indians want to see these films not because they have no choice, but because they tell the stories people want to see. Omkara, Johnny Gaddaar, Sairat, Andhadhun, Badhai Ho, Drishyam, Jai Bhim, c/o Kancharapalem or Asuran, to name a few.

Indians buying tickets to see their cinema is what brings in 60 per cent of the total Rs 19,100 crore the business made in 2019, the last normal year. The remaining 40 per cent comes from TV and OTT. Historically, films constitute one-fourth of all that is watched on TV: The estimate is 30-40 per cent for OTT. Cinema is the core of India’s creative ecosystem feeding TV, OTT, advertising, music and several other businesses.

This creative ecosystem grew with TV and thrived when multiplexes came at the turn of the millennium. Then corporatisation began bringing with it more money, financial stability and creative panache. It shows in the OTT age. Minnal Murali, RRR, Darlings, Indian films routinely trend on Netflix or other OTTs globally. For three years now Indian shows such as Remix and Sacred Games (Season 1) have been nominated for the International Emmys. In 2020 Delhi Crime won one.

The point is except for Korea and perhaps the UK, there is no country with a thriving local cinema. India ranks among the top 10 markets by box-office in the world because it has a local industry.

That brings this to the second point. Indian cinema, as this column has asserted several times, is the best marker of its soft power. Many countries would give an arm and a leg to have this kind of soft power. If reports are to be believed, there were worried meetings in China when 3 Idiots and Dangal did well there.

There is very little celebration and acknowledgement of this power or its contribution to the economy a la Harry Potter or Disney. What about a tour centred around Shah Rukh Khan, Amitabh Bachchan, Rajinikanth or Mohanlal films. Or maybe on filmmakers or studios. If the UK can think of building a statue to Raj and Simran, characters from the 1995 classic Dilwale Dulhania Le Jayenge, why can’t we? These moves generate more income, taxes and employment. Note, currently about 2.5 million people work across TV, OTT and film.

China has the highest number of screens in the world. But it is Hollywood, not Chinese cinema that dominates these. Most countries of West Asia, South America or even Europe don’t have a local film business to speak of. If we fail to appreciate, adopt and celebrate the diversity that makes this soft power possible, if we continue to ignore it, it won’t take long for Indian cinema to fade out. And for this market to become just another Hollywood outpost.

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