a case study: the dirty picture

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a case study: the dirty picture
Volume 4, Number 2, April – June’ 2015
ISSN (Print):2279-0977, (Online):2279-0985
PEZZOTTAITE JOURNALS
SJIF
(2012): 3.23, SJIF (2013): 5.057, SJIF (2014): 5.871
A CASE STUDY: THE DIRTY PICTURE
Frince Thomas32 Dr. Naresh Patel33
ABSTRACT
The Dirty Picture is a 2011 Indian biographical drama film inspired by the life of Silk Smitha, a South Indian actor noted fo r
her erotic roles. The film was directed by Milan Luthria and co-produced by Shobha Kapoor and Ekta Kapoor. Produced in a
budget of around Rs 18 Cr, The Dirty Picture was released worldwide on 2nd December 2011 (the anniversary of Smitha's
birth), in Hindi, Tamil and Telugu versions. Vidya Balan, Naseeruddin Shah, Tusshar Kapoor and Emraan Hashmi played lead
roles in the film. Is the promotion around the Dirty Picture enable to encash box office collection especially in the opening
weekend? The case highlights basis for discussing the concept of Promotional mix, by the way of “Is the role of Promotion is
changing from creating awareness of films to contribution to box office collections”. The challenge in doing so for the one of
the most perishable product like films, which is heavily, depends on the result of opening weekend.
KEYWORDS
Bollywood Films, Promotion, Box Office, Opening Weekend etc.
William Goldman’s (1983) classic statement that in the movie business “nobody knows anything”
Milan Luthria, Director of The Dirty Picture said, “There has been an amazing Marketing buzz all over the world. It is a
tremendous response to a film that does not have a superstar cast or Rs 50 Cr budget. I will not deny the fact that I used sex as
a marketing tool, but at the end of the day, I have made a good film with some great performances. In spite of the content
being bold, it has been liked and appreciated. It is not that simple. When you are selling sex, it needs to be done aesthetically”.
The Dirty Picture
The Dirty Picture (Exhibit 1) is a 2011 Indian biographical drama film inspired by the life of Silk Smitha, a South Indian ac tor
noted for her erotic roles. The filmmakers have clarified that the story is not officially or literally based on Smitha alone, but on
many of her Southern contemporaries such as Nylon Nalini and Disco Shanti. It also resembles the personal lives of other women
in popular culture, including Hollywood actor and sex symbol Marilyn Monroe. The film was directed by Milan Luthria and co produced by Shobha Kapoor and Ekta Kapoor, after Ekta came up with the idea and asked screenwriter Rajat Aroraa to pen a
story based on it.
Produced in a budget of around Rs 18 Cr, The Dirty Picture was released worldwide on 2nd December 2011 (the anniversary of
Smitha's birth), in Hindi, Tamil and Telugu versions. Nationally, the film released on 1766 screens and on 120 screens abroad.
Vidya Balan, Naseeruddin Shah, Tusshar Kapoor and Emraan Hashmi played lead roles in the film. Upon release the film was
both a critical and commercial success, with Balan receiving the highest accolades for her performance; she was called "the hero
of the film". In addition, the film has received widespread praise for portraying women as powerful, contributing something
unique to a typically male-dominated society like India. The film's music was composed by Vishal Shekhar with lyrics written by
Rajat Arora.
Media and Entertainment Industry
The Media and Entertainment industry of India garnered revenue of US $ 14.4 Billion in 2010, registering a growth of 11% over
the previous year, according to a report released by KPMG. In addition, it is expected that it will grow at a compounded rate of
14% to touch US $28 billion by 2015. With around 750 films released in 2010 the Indian film industry generated the revenue of
Rs. 654.3 crores, which is 11% higher than 2009. The industry is expected to grow at a rate of 13 per cent as per a report released
by KPMG. In addition, with the growing economy and changing consumer preferences the industry is expected to grow up to
Rs.1260 crores by 2015. Despite large market potential the industry is still struggling to give Hit films, (the hit ratio is a mere
7%); due to this the industry suffered an aggregate loss of approx. Rs.475 crores.
Indian Film Industry
In the 20th century, Indian cinema, along with the Hollywood and Chinese film industries, became a global enterprise. At the end
of 2010 it was reported that in terms of annual film output, India ranks first, followed by Hollywood and China. Enhanced
32
Assistant Professor, Center for Management Studies, Dharmsinh Desai University, Gujarat, India, [email protected]
Professor and Head, Center for Management Studies, Dharmsinh Desai University, Gujarat, India, [email protected]
33
International Journal of Applied Services Marketing Perspectives© Pezzottaite Journals.
1671 |P a g e
Volume 4, Number 2, April – June’ 2015
ISSN (Print):2279-0977, (Online):2279-0985
PEZZOTTAITE JOURNALS
SJIF
(2012): 3.23, SJIF (2013): 5.057, SJIF (2014): 5.871
technology paved the way for upgrading from established cinematic norms of delivering product, altering the manner in which
content reached the target audience, as per regional tastes. Indian cinema found markets in over 90 countries where films fro m
India are screened. The motion picture or movie industry is a key and perhaps the most vibrant component of the Indian economy.
The number of movies produced annually in India is higher than that produced in Hollywood, USA. While Hollywood produces
around 550 movies a year, the Indian movie industry produces more than 1000 movies ever year (Krishnan and Sakkthivel, 2010).
Around four million Indians ‘go to movies’ on any given day, and this number swells during festivals and holidays (Krishnan and
Sakkthivel, 2010). The Hindi film making industry in India that is based out of Mumbai, referred to as ‘Bollywood’ by the media,
is largest film producing centre in the country (Sarkar and Nayak, 2009).
A film of India has had a profound effect on films across India since the early 20th century. It consists of films produced across
India, which includes the cinematic culture of Andhra Pradesh, Assam, Gujarat, Haryana, Jammu and Kashmir, Karnataka,
Kerala, Maharashtra, Orissa, Punjab, Tamil Nadu, and West Bengal. Indian films came to be followed throughout South Asia and
the Middle East. The cinemas as a medium gained popularity in the country as many as 1,000 films in various languages of India
were produced annually. Expatriates in countries such as the United Kingdom and the United States continue to give rise to
international audiences for Indian films of various languages.
A scene from Raja Harishchandra (1913), The full-length motion picture.
Sources: en.Cinema_of_India
Bollywood
Bollywood is the informal term popularly used for the Hindi-language film industry based in Mumbai (formerly known as
Bombay), the capital city Maharashtra, and India. The term is often incorrectly used to refer to the whole of Indian cinema; it is
only a part of the total Indian film industry, which includes other production centers producing films in regional languages.
Bollywood is the largest film producer in India and one of the largest centers of film production in the world.
Bollywood is formally referred to as Hindi cinema. There has been a growing presence of Indian English in dialogue and songs as
well. It is common to see films that feature dialogue with English words (also known as Hinglish), phrases, or even whole
sentences.
In 2000s saw a growth in Bollywood's popularity in all over the world. This led the nation's film producing to other heights in
terms of quality, cinematography and creative story lines as well as technical advances in areas such as special effects, animation,
and use of technology. Some of the largest production houses include like Yash Raj Films and Dharma Productions were the
producers of new modern films. The opening up of the more overseas market, more Bollywood releases abroad and the explosion
of multiplexes in big c ities of India , led to wider box office successes in India and abroad, including Lagaan (2001), Devdas
(2002), Koi... Mil Gaya (2003), Kal Ho Naa Ho (2003), Veer-Zaara (2004), Rang De Basanti (2006), Lage Raho Munnabhai
(2006), Krrish (2006), Dhoom 2 (2006), Om Shanti Om (2007), Chak De India (2007), Rab Ne Bana Di Jodi (2008), Ghajini
(2008), 3 Idiots (2009), My Name is Khan (2010), and Dabangg (2010) delivering a new generation of popular actors (Hrithik
Roshan, Abhishek Bachchan) and actresses (Aishwarya Rai, Preity Zinta, Rani Mukerji, Kareena Kapoor, Priyanka Chopra and
Vidya Balan), and keeping the popularity of actors of the previous decade. Among the mainstream films, Lagaan won the
Audience Award at the Locarno International Film Festival and was nominated for Best Foreign Language Film at the 74th
Academy Awards, while Devdas and Rang De Basanti were both nominated for the BAFTA Award for Best Foreign Language
Film.
Influence of Bollywood
In the 2000s, Bollywood began influencing musical films in the Western world including Hollywood, and played a particularly
instrumental role in the revival of the American musical film genre. Baz Luhrmann stated that his musical film Moulin Rouge!
(2001) was directly inspired by Bollywood musicals. The film incorporated an Indian-themed play based on the ancient Sanskrit
drama The Little Clay Cart and a Bollywood-style dance sequence with a song from the film China Gate. The critical and
International Journal of Applied Services Marketing Perspectives© Pezzottaite Journals.
1672 |P a g e
Volume 4, Number 2, April – June’ 2015
ISSN (Print):2279-0977, (Online):2279-0985
PEZZOTTAITE JOURNALS
SJIF
(2012): 3.23, SJIF (2013): 5.057, SJIF (2014): 5.871
financial success of Moulin Rouge! Renewed interest in the then-moribund Western musical genre, and subsequently films such
as Chicago, The Producers, Rent, Dream girls, Hairspray, Sweeney Todd, Across the Universe, the Phantom of the Opera,
Enchanted and Mamma Mia! were produced, fueling a renaissance of the genre.
Dirty Picture Theme and Content
The film opens with Reshma (Vidya Balan) running away from her house to Chennai, a day before her marriage. She tries her best
to get a role in a film but is eventually insulted by the casting director for being unattractive and useless. The determined Reshma,
however, goes to the film shoot to convince him again and spontaneously grabs the role of a side dancer. She instantly steps into
the sequence, and dances with whips to erotic movements and expressions. Annoyed by this is the film's director, Abraham
(Emraan Hashmi), who believes that his creative art of filmmaking should dominate the screen and not the display of erotic and
sensual content. He edits out Reshma's entire dance sequence from the film. The film fails at the box office much to the dismay of
the producer Selva Ganesh (Rajesh Sharma). The film was relaunched when the producer comes to know about this by adding the
same song, who later meets Reshma to offer her a song in his upcoming film, and suggests that she should now be referred to as
"Silk".
At the first shoot, "Silk" is spellbound and nervous to dance with Suryakanth (Naseeruddin Shah), her childhood idol, resulting in
the shoot being unsuccessful and the arrogant Suryakanth disappointed. However, Silk succeeds in seducing and convincing
Suryakanth by offering a long-term sexual relationship with him. Meanwhile, Abraham proposes a new film to Selva Ganesh and
is very keen to cast Suryakanth. Suryakanth suggests Abraham add spice and sex (hinting towards Silk) to make the film more
commercially viable. This angers Abraham and he grows to have contempt for Silk. Silk, however, is determined and confident
that films are all about entertainment, and she gives them just that. She goes on to do many more erotic and sensual films with
Suryakanth, playing bold characters, wearing sexy and revealing clothes, and dancing seductively with lead actors. She gains
many male fans that drool over her, and within a short span of time, becomes immensely rich and popular as the Southern sex s tar.
Suryakanth's younger brother and unnoticed writer Ramakanth (Tusshar Kapoor) reveals he is an admirer of Silk and tries to
befriend her. Silk is happy that someone finally likes her for who she is and not just for her body. They both go to Silk's o riginal
house where her mother disconnects with Silk forever. At an award ceremony, Silk is rewarded for her performance but is also
insulted by Suryakanth who tells her that she is nothing but everyone's 'dirty secret'. Silk announces that she will continue to make
her "dirty pictures", and that she has no qualms about it.
Silk spends more time with her newfound admirer Ramakanth, who is now in love with her. She encourages him to gain visibility
as a writer, and overcome his elder brother's dominating presence on the film scene. Sensing their affair as sensational news , noted
journalist Naila (Anju Mahendru) degrades Silk for dating both brothers. Suryakanth finally drops Silk from his forthcoming
films, thus forcing her to work with other minor filmmakers. Unhappy and bored by the mediocrity around her, she loses interest
in her work, leading to hurls and abuses with other directors. Later at the launch party of Ramakanth's new film, Silk meets a
younger aspirant, Shakeela. Feeling threatened by her competition in the industry, she insults and challenges her to a dance. At the
end of the dance, Silk trips Shakeela intentionally showing her that she cannot be beaten, much to the embarrassment of
Ramakanth, and he breaks off with her.
Silk's life starts falling apart. Feminists and critics degrade her. She turns to alcohol and chain smoking, and puts on weight.
Directors lose interest in casting her. She approaches Selva Ganesh to produce a film, which turns out to be a disaster, and
subsequently, loses all her wealth and fame. Simultaneously, Abraham also releases a film on the same lines starring him in a lead
role and gains success. Between his victory, Silk's failure, and their conversations with each other, Abraham realizes that he is
falling for Silk, much as he is in denial of this. Unable to stop thinking about her, he heads off to Silk's house in the night where
they talk about Silk's life over drinks. By then, Silk has already accumulated debt, and is forced to approach a minor filmmaker,
whom she first met at Ramakanth's party. Upon reaching there, she is shocked to find that he wants her to do a porn film, and
before she can fully panic or protest, he intoxicates her with a drink and starts filming. The police, however, soon raid the place,
and everyone including Silk manages to escape in time. She stumbles home in a half-unconscious state, doomed at the image of
what her life has turned into.
Meanwhile, Abraham manages to trace Silk's mother and wants to surprise Silk the next morning. However, that night when he
calls Silk from his success party, she tells him to bid goodbye to everyone on her behalf as she is going off to sleep. Abraham,
International Journal of Applied Services Marketing Perspectives© Pezzottaite Journals.
1673 |P a g e
Volume 4, Number 2, April – June’ 2015
ISSN (Print):2279-0977, (Online):2279-0985
PEZZOTTAITE JOURNALS
SJIF
(2012): 3.23, SJIF (2013): 5.057, SJIF (2014): 5.871
realizing what Silk is up to, rushes to her house to find her lying in bed dressed in a red silk sari with traditional Indian make -up
and dead. Unable to bear the depression and failure, Silk has killed herself by consuming sleeping pills. At the end, Abraham and
her mother perform the funeral rites. The entire story is told in background narration by Abraham, who was the only one who
could understand Silk's pain, desire, ambition, struggle, and the darkness that lay behind her rise and fall to stardom.
Production House of the Dirty Picture
Ekta Kapoor launched the film with director Milan Luthria soon after their collaboration Once Upon A Time in Mumbai became a
super-hit. She said that The Dirty Picture would be India's answer to the Academy Award nominated film Boogie Nights. Later in
a press conference, Kapoor clarified that neither of Balaji's forthcoming films, Ragini MMS nor The Dirty Picture, were "porn
films", as they were made out to be.
She has gone on record to add, "I would be surprised if I don't get unbelievable critical acclaim for The Dirty Picture and a
national award for my actress, Vidya Balan. The movie has one of the most well-written scripts I have come across and a lot of
youngsters in my office have looked at it with great admiration." She also pointed out that the purpose of the film was neither to
justify nor criticize Smitha's life, but for the audience to live her life. When screenwriter Rajat Aroraa initially started working and
took cues from producer Kapoor, it was seen as a much smaller film in scope, primarily looking into the soft-pornography scene
of the 1980s, but gradually as work progressed, it grew to also trace the controversial romances of Smitha, through a fictionalized
biopic. Further, while researching for the film, director Luthria and screenwriter Aroraa found little material in film magazines of
that period, as "women like Silk Smitha were often ignored by film magazines, except for gossip column mentions". They thus
derived much of the details of her life from anecdotes, met-at-a-party stories, quick tea-break chats, and then fictionalized them.
Apart from depicting the pomp of the Tamil film industry, it also takes up issues like money management by actors, "their str ing
of broken relationships", and how they "led lonely lives and met with tragic ends". The end script became a "fictionalized,
women-oriented, generalized perspective on the 1980s film industry". Produced in a budget of around Rs 18 Cr, The Dirty Picture
was released worldwide on 2nd December 2011 (the anniversary of Smitha's birth), in Hindi, Tamil and Telugu versions. The
satellite rights of the film were sold to Sony Entertainment Television for Rs 8 Cr and another Rs 2 Cr from music rights deal with
T-Series. Raveena Tandon's husband, Anil Thadani acquired the distributor rights of the film for Rs 19.1 Cr.
Brief history of Balaji Telefilms
Balaji Telefilms is a production house based in Mumbai, India and is promoted by Jeetendra, Shobha Kapoor and Ekta Kapoor.
Balaji was formed in 1994 as a private limited company. The first two serials produced by the company costing Balaji Rs 25 lakh
were rejected by all satellite channels; the first serial to be aired was Mano Ya Na Mano on Zee TV in 1995. This was followed by
the music-based show Dhun Dhamaka, telecast on DD Metro, which was moderately successful. True success came with Hum
Paanch — a comedy serial which ran for five years on Zee TV. This was followed by the daily soaps Itihaas on Doordarshan and
Kudumbum (in Tamil) on Sun TV. They went on to become huge hits.
Balaji's success was attributed to its early entry into the business and presence in the regional markets. Balaji was credited for
assessing the public demand properly. Its presence across the spectrum and its cordial relationship with most channels ensured its
continued growth. At the same time, its expenditure was controlled by its investment in high-quality studios and equipment.
Throughout the 1990s, Western-style plots had dominated Indian television soaps. Instead of following this trend, Balaji
conducted research and TV shows and viewers. Their research showed that the reach of fiction-based shows was about 60% and
that they appealed to women across regions and languages. In 2000 came Kyunki Saas Bhi Kabhi Bahu Thi on Star Plus followed
by Kahaani Ghar Ghar Kii, Kasautii Zindagii Kay and other "K" serials that made Balaji the most-successful TV producer of Asia.
Balaji Telefilms is based in Mumbai in the Balaji House on New Link Road, Andheri West, Mumbai. Ba laji Telefilms operates
from its head office in Andheri West and has studios in Film City and other locations in Mumbai. In terms of studio facilities,
Balaji is one of the largest productions houses in Mumbai's large film and television production hub. They make a range of
television serials for Zee TV, Sony TV and Colors.
International Journal of Applied Services Marketing Perspectives© Pezzottaite Journals.
1674 |P a g e
Volume 4, Number 2, April – June’ 2015
ISSN (Print):2279-0977, (Online):2279-0985
PEZZOTTAITE JOURNALS
SJIF
(2012): 3.23, SJIF (2013): 5.057, SJIF (2014): 5.871
Is it Changing Role of Promotion made The Dirty Picture Commercial Successful?
The Dirty Picture, which cast stars Vidya Balan, Emraan Hashmi, Naseeruddin Shah and Tusshar Kapoor in le ads, is a medium
budgeted movie. Made at a budget of approximately Rs 18 Cr, with a marketing and print cost of another Rs 8-10 Cr, that is
almost of 50% of total cost. The Dirty Picture first look and a short teaser were launched online on 26 August 2011. The
enthusiastic response even prompted its producers to consider a sequel. The film's trailer on Youtube got over 880,000 hits w ithin
a few days. Meanwhile, the theatrical trailer was launched on August 30 at a single screen cinema in Bandra. The space was
especially decorated to recreate the retro era. Since the film is set in the 80s, a time when multiplexes did not exist, the producers
thought it would be appropriate to disclose the first look at a single screen. The lead stars of the film created a wave by organizing
a promotional campaign in the college festival of Mithibai College on November 30, 2011.
As a part of the film promotion, actors Vidya Balan, Tushar Kapoor and Emraan Hashmi made appearances on the popular TV
show Big Boss (Season 5) aired on Colors Channel on 26 November 2011. Balan also entered the house to spend some time with
the housemates and present the infamous red Sari to Sunny Leone as a present from her. Later, on 27 November 2011, Balan and
Hashmi made guest appearances on a special one-hour episode of Sony TV's popular daily soap Bade Achhe Lagte Hain. Balan
also performed to the song, "Ooh La La" with Saakshi Tanwar, the lead actor of the soap.
The film released worldwide on 2nd December 2011, coinciding with the 51st birth anniversary of South Indian movie siren Silk
Smitha. Nationally, the film released on 1766 screens and on 120 screens abroad. Movie promotions in Bollywood are undergoing
a 360-degree transformation. As the fight to grab eyeballs and break the clutter gets hotter, makers are going out of the box for
unique marketing ideas.
“Since the look of the film is popular on the pulp magazine circuit, it’s being promoted with a completely different strategy in
heartland India, where the spending power is rising, along with new multiplexes springing up. They have also hired a separate
agency, Spice Bhasha, for B and C-tier towns,” says a marketing member involved with the film. So, just like Bodyguard and
Force, the Dirty Picture will also attack cities like Patna and Surat in a grassroots manner.
“Gone are the days where you marketed the movie in the top eight metro cities and your job was done,” says Tanuj Garg of Bala ji
Motion Pictures. That may be bad news for content. Vidya Balan might pour her heart into a role the likes of which has rarely
been seen in our commercial filmdom - a woman, unabashed and unapologetic about her sexuality, a vamp who revels in her
vampdom instead of saddling it with the woe-is-me baggage of childhood abuse and marital rape. Here is a film that is selling on
the star power of its heroine, unheard of since the Rekha days. However, the only lesson we look for is the marketing mantra so
that you can replicate The Dirty Picture repeatedly. In other words, how do you reduce Vidya Balan and her tummy rolls and
thunder thighs to a PowerPoint slide?
So the landmark film, The Dirty Picture, becomes a marketing fable. We learn that Vidya Balan went on the cover of the Hindi
magazine Manohar Kahaniya because it will sell the film better in B and C-tier towns in heartland India where the spending power
is rising. Tanuj Garg, the CEO of Balaji Motion Pictures, which produced The Dirty Picture summed it up thus: “The financial
success of The Dirty Picture is reflective not only of our orientation towards high quality content but of our unparalleled
marketing strength.” Note the content is “high quality.” However, the marketing is “unparalleled.” required in this era of the
century.
Milton Hershey, the founder of Hershey’s chocolates once said “Give them quality. That’s the best kind of advertising”. We have
turned his advice on its head. Now we are convinced as soon as something is successful that it must be a success story of
marketing. The quality is no longer in the content only, it also in the marketing. In addition, for critics it just becomes an easy way
to dismiss it because the moment it is commercially successful, it is artistic value is automatically suspect. So Poorva Rajaram in
Tehelka complains that The Dirty Picture is just another shiny finished product of “corporate cocksureness” - a film “without fullfledged mainstream appeal borne out of a studious approach to packaging, feigned sensationalism, audience receptivity and sales.”
She wonders what would have happened if Mughal-e-Azam was sold as a “marketing oddity” – “Look a badass woman! And she
was real too!” If Mughal-e-Azam was released today, it will indeed be sold that way.
Now that the Nampally criminal court has decided to book a case against Vidya Balan under the Indecent Representation of
Women (Prohibition) Act, 1986, The Dirty Picture will no doubt do even better at the box office. And that will become yet
another marketing tip for those trying to de-construct the film’s success and re-construct another Dirty Picture. Marketing rule
number one: Get sued.
Ever since word about The Dirty Picture started getting around, it was termed as a biopic on late southern siren Silk Smitha.
Replete with kitschy clothes, dramatic song sequences and the completely retro works, the film was indeed reminiscent of that
time in films when Silk Smitha had reigned and captured the moviegoers' imagination. Director said, “There has been an amazing
Marketing buzz all over the world. It is a tremendous response to a film that does not have a superstar cast or Rs 50 Cr budget. I
will not deny the fact that I used sex as a marketing tool, (Exhibit 2) but at the end of the day, I have made a good film with some
great performances. What I am saying is that films like Ishqiya and No One Killed Jessica did not generate the kind of buzz that
International Journal of Applied Services Marketing Perspectives© Pezzottaite Journals.
1675 |P a g e
Volume 4, Number 2, April – June’ 2015
ISSN (Print):2279-0977, (Online):2279-0985
PEZZOTTAITE JOURNALS
SJIF
(2012): 3.23, SJIF (2013): 5.057, SJIF (2014): 5.871
The Dirty Picture has. Inspite of the content being bold, it has been liked and appreciated. It's not that simple. When you are
selling sex, it needs to be done aesthetically”.
Primarily the research was about the attitude of the people during that era. When you make a film on the '80s it is not only about
the cars or the clothes that were in fashion, it is also about the attitude of the characters. There was a lot of research on the music.
When you listen to it, you will feel the music is similar to that in films like Himmatwala and Mawali. We also had to create an
environment, which represented that era, from the idli-makers, coconut sellers and yellow auto-rickshaws to the cigarettes and
condoms used at that time.
RESULT
The film opened strong, with 60–65% collections on average at multiplexes and had the 5th biggest opening of 2011. The opening
was best in and around the Maharashtra area, with 80% and 75% openings respectively. The film was declared a Blockbuster by
Box office India after its fourth week.
On the opening day itself, The Dirty Picture grossed around Rs 9.12 Cr (Exhibit 3). The box office collection Sky rocketed to Rs
30.17 Cr (Exhibit 4) in the Opening weekend (Generally from Fri to Sun). By the end of the Opening/First week (seven day from
day of release), the film netted a total of Rs 48.35 Cr (Exhibit 5), in the process became the biggest opening ever for a wom enoriented film in the history of Indian Cinema. The Dirty Picture opened well in the second week also. It collected Rs 17.49 Cr
(Exhibit 6) on its second week. That sum in to Rs 65.84 Cr, and various sources estimate the worldwide gross of the film at R s
114 Cr (Exhibit 7), making The Dirty Picture one of the Blockbuster Film of Bollywood in 20 11. The Dirty Picture received
several awards also, Vidya Balan won most of which for her portrayal of Silk Smitha. The film won three National Film Awards
including Best Actress, three Film fare Awards and six Screen Awards including Best Picture and Best Director.
Exhibit-1
Exhibit-2
Exhibit 3
Sources: Authors Compilation
Table-1
S. No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Films
Agneepath
Bodyguard
Ra. One
Don 2
Dabangg
Ready
Three Idiots
Tees Mar Khan
Raajneeti
Kites
Rockstar
Housefull
Ghajini
The Dirty Picture
Singham
Year of Release
2012
2011
2011
2011
2010
2011
2009
2010
2010
2010
2011
2010
2008
2011
2011
Net Collection (Cr Rs)
21.72
20.66
14.76
14.61
14.45
13.33
13.00
12.82
10.33
10.08
09.82
09.32
09.13
09.12
08.77
Sources: Box Office India
International Journal of Applied Services Marketing Perspectives© Pezzottaite Journals.
1676 |P a g e
Volume 4, Number 2, April – June’ 2015
ISSN (Print):2279-0977, (Online):2279-0985
PEZZOTTAITE JOURNALS
SJIF
(2012): 3.23, SJIF (2013): 5.057, SJIF (2014): 5.871
Table-2
S. No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Films
Ra.One
Bodyguard
Dabangg
Don 2
Agneepath
Ready
Three Idiots
Tees Maar Khan
Golmaal 3
Raajneeti
Rockstar
Housefull
My Name is Khan
The Dirty Picture
Singham
Year of Release
2011
2011
2010
2011
2012
2011
2009
2010
2010
2010
2011
2010
2010
2011
2011
Net Collection (Cr Rs)
52.93
52.62
48.82
46.33
45.66
42.23
37.98
36.59
34.81
33.62
31.46
30.97
30.63
30.17
29.64
Sources: Box Office India
Table-3
S. No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
Films
Bodyguard
Ra.One
Agneepath
Dabangg
Three Idiots
Don 2
Ready
Golmaal 3
Ghajini
Raajneeti
Tees Maar Khan
Singham
The Dirty Picture
Rockstar
Housefull
Year of Release
2011
2011
2012
2010
2009
2011
2011
2010
2008
2010
2010
2011
2011
2011
2010
Net Collection (Cr Rs)
100.15
91.27
81.77
80.87
76.30
70.96
69.37
62.29
54.18
53.91
49.04
48.87
48.35
47.46
47.31
Sources: Box Office India
Table-4
S. No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Films
Three idiots
Dabangg
Ready
Golmaal 3
Don 2
Ghajini
Singham
Rab Ne Bana Di Jodi
Raajneeti
Agneepath
Om Shanti Om
Dhoom 2
Bodyguard
Zindagi Na Milegi Dobara
Welcome
Jane Tu Yan Jaane Na
Partner
My Name is Khan
The Dirty Picture
Krissh
Year of Release
2009
2010
2011
2010
2011
2008
2011
2008
2010
2012
2007
2006
2011
2011
2007
2008
2007
2010
2011
2006
Net Collection (Cr Rs)
56.84
35.97
32.68
31.92
27.17
26.50
24.95
24.56
23.92
23.12
22.18
21.07
20.55
19.53
19.44
18.34
18.30
17.55
17.49
17.48
Sources: Box Office India
International Journal of Applied Services Marketing Perspectives© Pezzottaite Journals.
1677 |P a g e
Volume 4, Number 2, April – June’ 2015
ISSN (Print):2279-0977, (Online):2279-0985
PEZZOTTAITE JOURNALS
SJIF
(2012): 3.23, SJIF (2013): 5.057, SJIF (2014): 5.871
Table-5
S. No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
Films
Three idiots
Bodyguard
Dabangg
Don 2
Ra.One
My Name is Khan
Agneepath
Ghajini
Ready
Housefull 2
Golmaal 3
Rab Ne Bana Jodi
Zindagi Na Milegi Dobara
Dhoom 2
Om Shanti Om
Raajneeti
Singham
Hum Apke Hain Kaun
Gadar Ek Prem Katha
Singh Is Kinng
Dilvale Dulhania Le Jayenga
Love Aaj Kal
Lag Raho Munnabhai
Kabhi Kushi Kabhe Gham
Krissh
Welcome
Housefull
The Dirty Picture
Kabhi Alvida Na Kahna
Jodhaa Akbar
Year of Release
2009
2011
2010
2011
2011
2010
2012
2008
2011
2012
2010
2008
2011
2006
2007
2010
2011
1994
2001
2008
1995
2009
2006
2001
2006
2007
2010
2011
2006
2008
Net Collection (Cr Rs)
385
230
215
206
202
200
193
190
184
180
167
150
153
150
149
143
140
135
135
125
122
120
119
117
117
116
115
114
113
112
Sources: Box Office India
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International Journal of Applied Services Marketing Perspectives© Pezzottaite Journals.
1678 |P a g e
Volume 4, Number 2, April – June’ 2015
ISSN (Print):2279-0977, (Online):2279-0985
PEZZOTTAITE JOURNALS
SJIF
(2012): 3.23, SJIF (2013): 5.057, SJIF (2014): 5.871
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