Cinepax: Multiplex culture finally takes off in Pakistan **
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Battle for the silver screen
By Shanaz Ramzi
It is no secret that Pakistani cinema has been floundering to survive for the last many years. With the closure of one cinema after another and no products to screen, it had even been described as being on its death bed.
All attempts at revival — forming cinema clubs for members, revamping cinema halls and screening Indian movies — failed, leaving local cinema in a state of utter despair. But a new ray of hope seems to have burst forth in recent times, namely the multiplex. What with Universe Cineplex opening two more theatres and Cinepax about to establish five in Islamabad and a few in Lahore later on, it seems that the multiplex culture may finally have taken off in Pakistan too. In fact, it might very well prove to be the panacea that the local film industry has been waiting for.
But interestingly enough, Moin-ur-Rehman, CEO of Universe Cineplex feels that the culture of going to cinemas never really died out: “It was more a case of people not feeling comfortable with the environment that had come to be associated with cinemas — the long commute, the parking problems. The experience of going to a cinema should be akin to three hours of complete relaxation and a break from one’s daily routine. Unfortunately, our cinemas were falling short in providing this service.
“My experience of running a multiplex, particularly over these last six months or so, has been extremely pleasant. For instance Taj Mahal was very well received by families in our hall. In fact Satish Anand, the distributor, raked in the highest returns all over Pakistan from our compact cinema of 125 seats. Then the Hollywood thriller Mission: Impossible III was very popular with youngsters and our returns, if not the highest, were second highest. We have even had octogenarians coming to our halls in wheelchairs, which shows their enthusiasm for watching movies in cinemas as long as their comfort level is met.
“People of all ages are willing to pay Rs200, which is the highest amount charged for films at any local cinema, as long as they have an enjoyable environment at the theatre.”
However, Nadeem Mandviwala, proprietor of Nishat cinema and a film distributor who has been vociferous about the downfall of Pakistan’s film industry, feels that the main reason for the decline of cine-going public is piracy. He feels that multiplexes will play no role in reviving local cinema.
“The whole country is watching Indian movies,” he says, “so there is no future for the local film industry. Just as theatre was taken over by television, cinema too has been replaced by DVDs. Now, cinema is only a rich man’s entertainment. Multiplexes have become popular because cinema going audiences have become too small to justify halls with a seating capacity of 800.”
On the other hand, Moin-ur-Rehman claims that his theatres do screen Pakistani films and that too with equal success. He cites the example of Jawed Sheikh’s blockbuster, which had already had a magnificent run in all the major theatres. Although it was not a new product by any means, he says it witnessed a packed houses at his cinema. He feels that his audiences, not willing to go to regular cinemas for a variety of reasons, had missed out on the film earlier, but when it was screened Cineplex, they flocked over to see it. He is particularly proud of the fact that his cinemas are regarded safe enough for parents to allow their teenage daughters to go and watch films there on their own. Be that as it may, there were a few Pakistani films that Cineplex did try to show such as Tarap, Salakhain and Rahguzar — which brought in zero shares for the distributors, proving Mandviwalla’s point that multiplexes by and large will not be able to help the local film industry.
When faced with the allegation that Cineplex does not have enough products for its survival and is primarily thriving on Indian films shown on DVDSs, Rehman vehemently denied the charge and claimed that the only ticketed films shown here are the ones shown on 35mm, which have censorship certificates. “We have never crossed the line or done anything illegal. The movies we showed earlier were old Hollywood ventures that we had bought from various people, and that is why our shows never went house full initially.
‘Since our own product is not good enough, we need to be able to import Indian movies to lure back the crowds to cinemas. Considering every other club and institution is illegally showing them anyway, I don’t see why they are not being legalised. Once the Indian market is open to us, it will only be a matter of time before our own product will also improve,’ says Moin-ur-Rehman, CEO of Universe Cineplex
“But in the last six months, our theatres were being booked in conjunction with Cinepax which always imports the latest 35mm movies. I want to bring families back to cinema, and that is why we do not allow males unaccompanied by females or children to watch movies in our halls. We are losing business, especially on weekends because of this restriction and it proves to be expensive for us, but we don’t make compromises.”
Box office records appear to signify that there are no sufficient cinema-going audiences anymore to justify the import of expensive movies. Besides, most importers such as Nadeem Mandviwala, admit to having burnt their fingers time and again in the process. Rehman however, feels otherwise. “Actually it’s a catch-22 situation. I know Mughal-e-Azam did not fare well at the box office. The reason is that people who wanted to see it and relive the experience were not willing to indulge in the hassles of parking, road crossing and theft that they are exposed to at mainstream cinema.
“Revival of cinema depends upon more products coming in. Only 10 per cent of what should be imported is being bought by the few companies that exist today. And the reason that only 16 movies a year are being imported is that unlike India, we don’t have enough theatres to screen more films.
“What we really need are films in the local language. Since our own product is not good enough to attract masses, we need to be able to import Indian movies to lure back the crowds to cinemas and to encourage businessmen to invest in movie halls. And considering every other club and institution is illegally showing them anyway, I don’t see why they are not being legalised. Once the Indian market is open to us, it will only be a matter of time before our own product will also improve.”
Rehman also believes that merely importing the latest Hollywood movies is not answer to our film industry’s problems. “I don’t think Box Office (Cinepax’s distribution company) will be able to make a drastic difference towards bringing in more audiences. Nishat and Capri are definitely bigger and better cinemas than Cineplex, but the kind of films that Box Office will bring in appeal more to people that have stopped going to these cinemas. These audiences want security and armed guards and they like the fact that everyone goes through a security check as it ensures their own safety.”
So if multiplexes are going to largely cater to the English speaking audiences, and Pakistani films no longer have the charm to draw the masses to mainstream cinema, how is the situation likely to improve? According to foreign films importer and distributor Saeed Shiraz as well, the only answer lies in clamping piracy and bringing in a huge influx of products, both Indian and American. He feels that simply opening up multiplexes in the posh areas of the city will not be sufficient to salvage the situation, as they will cater to a limited audience.
Interestingly, Mandviwala feels that the first proper multiplexes are yet to be introduced and will be the ones opening up in Rawalpindi by Cinepax. He asserts, “In order to run a multiplex, a set of minimum standards must be maintained. A multiplex must house more than four theatres and should have a full sized screen with stadium seating. Cinemas with one level seating and small screens have been rejected in the West.”
Considering that Rehman has been a film producer and has also produced two television serials, how is it that he has not ventured into film production to help revive our local product? The answer appears to be disturbingly predictable by now. “I would love to produce a movie based on its financial strength. Obviously, for it to be at par with Indian movies, it would have to be a big budget movie and that would only be feasible if the Indian market is also available to me.”
