Cannes call

FREEZE FRAME

India's film producers have to sell glamour at this glitzy festival and open their purse strings to do so.

Every May, as the French Riviera flirts with a young summer, Cannes plays host to its eponymous film festival.

Even as 20-odd films vie for the coveted Palm D'or (after the Oscars this translates into the maximum number of dollars at the global box office), the stars, film makers, movie moguls and minions, the glitterati, the odd minister or bureaucrat and a swarm of wannabees vie for a walk up the fabled red carpet.

Most end up walking the crowded Croisette, some at the jam-packed bars of neighbouring hotels and a few at the countless parties.

In fact, Cannes is one long party and has been so for over 50 years. What about business and the much talked about mega deals?

Well, first things first. For the serious cinephile (and you can really count them) this is the original hunting ground of the early masters like Renoir, Bunnuel, Fellini, Goddard, Truffaut, Ray, Kurosawa and Fassbinder.

One can still walk into one of the many salles and catch a glimpse of a masterpiece and discuss oeuvre and jump cuts over endless cups of café. For most, Cannes is one big networking opportunity. Visiting cards and mobile numbers are exchanged with practiced ease as starlets strut about in skimpy clothes hoping to catch the eye of one of the hundreds of film makers.

Then of course are hordes of media persons "� critics, reporters, videographers and the shutterbugs or the paparazzi. Cannes provides enough fodder for the ravenous glossies and news channels around the world to justify its existence.

Business? Sam Goldwin, the legendary founder of MGM, once said that in showbiz "access equals success." Cannes epitomizes this maxim.

Sure, deals are struck in many of the 500 booths and stalls but usually it is just networking for future business, getting to know one anaother, as a Cannes veteran puts it.

In fact, major Hollywood producers now tend to stay off-site either on nearby resorts or yachts moored off shore. Private screenings for the studio bosses are de rigueur.

Of the about 25,000 visitors to the festival, about 10,000 are there to buy or sell. Glitzy stalls (India sadly even today presents an apology of a pavilion) have elaborate posters and plasma displays enticing distributors and buyers.

Not many transactions take place but estimates put the follow up business at over $1 billion. The fact that there are other important markets like the American Film Market (AFM) and the two MIPS (where most TV channels do their buying and selling) at Cannes and other festival markets at Berlin, Toronto, Sundance, Pusan and Moscow are all used to create a buzz.

Another important sidelight is the role festivals play in forging cross-border alliances. Co-productions are the way to go in future and Cannes is a great place to begin a search for collaborators.

I am amazed at the complete ignorance of most Indian media at either what happens at these festivals or even what is supposed to happen.

While there is no denying that India appears to be a poor country cousin in this large glamour family, the sheer size of our brood is making the others take notice of us.

Unfortunately, the industry (and the media) keeps harping about government mismanagement every time. Why should there be state patronage for such an event?

If Satyajit Ray has a homage screening, why should his family expect a government invitation? Similarly, unless our film makers loosen their purse strings and employ professional PR and marketing agents, we will have the information and broadcasting ministry and organisations like the Confederation of Indian Industry making half a try at showbiz hard sell.

Even our rich producers flinch at the prospect of spending a few thousand dollars to compete with dignity with the best. And yes, if you get it right ultimately you do get money.

While it is unfair to expect anyone to share actual commercial details, a ballpark estimate of the business generated by Indians at Cannes (and remember the long negotiating periods) should be around US $ 50 million.

I think the industry needs to wake up and realise that participating in Cannes and other festivals will help it to broaden its horizons and fatten its bottomline.

The government and industry chambers should stop doing what they don't know. Selling glamour requires a special skill. It's the show people who will have to do it, however reluctant they may be to spend money.

A word on the pathetic representation of the Indian media. Except for a couple of professionals, most others (there were more than 20 Indian scribes) appear to have been rank amateurs.

Rookie TV reporters on a foreign jaunt or ageing spouses doubling up as reporters is not the ideal way to report from Cannes. Let's hope for something better next time. The India story, and specially the Bollywood chapter, are far from over.

On a more solemn note, May has not been a good month for Indian cinema. We lost three stalwarts. Subodh Mukherji,director of hits like "Paying Guest," "Junglee" and "Shagird" died of a prolonged illness at the age of 88.

Thespian turned minister Sunil Dutt died suddenly on the eve of his 75th birthday. And India's first Internationally acclaimed film maker Ismail Merchant (69) passed away in London.

All three were exemplary entertainers and their films will stay with us for a long time. May their souls rest in peace.

Amit Khanna is chairman of Reliance Entertainment. The views expressed here are his own.