Imtiaz Ali’s latest film, Main Vaapas Aaunga, is receiving the kind of love most filmmakers dream of. Social media is flooded with praise for its performances, music, emotional depth, and storytelling. The critics have also been very positive regarding the film, and those who have seen it continue to recommend it; however, its box office numbers have not been as bright, having opened very slowly in theatres, even with great reviews and positive word-of-mouth.
This is not the first time that an Imtiaz Ali film has received rave reviews and great word of mouth only to suffer massive underperformance at the box office. This has become the norm for Ali’s films and is beginning to establish itself as a historical trend.
For over 20 years, Imtiaz Ali has given us many films that have continued to increase in popularity and critical acclaim long after their theatrical runs have ended.
Take Love Aaj Kal (2009). When released, it was a box office success but has now become one of the defining modern romantic films of its era.
Take Rockstar as another example. When it was released in theatres in 2011, critics and people were not very happy with the film and blamed it for its execution. However, when we talk about the film today, it is undoubtedly one of Ranbir Kapoor’s best performances and has received praise for how influential it has become in Bollywood film history.
The biggest example of the Imtiaz Ali phenomenon is Tamasha (2015), which was released to lackluster box office collections despite starring A-listers Ranbir Kapoor and Deepika Padukone. Fast forward to today, and Tamasha has an almost cult-like following. Many social media users refer to it as a life-changing film and seem to find new meanings every time they watch it.
Even Jab Harry Met Sejal (2017), which was criticized at the time of its release, has found defenders in recent years. Audiences today empathize much more with the feelings of loneliness and vulnerability it portrays than they did in 2017.
The big question is why this pattern is found to play out so often.
Here is a theory that makes sense: Imtiaz Ali’s films inspire reflection; today’s modern theatrical viewers have a growing desire for instant gratification and don’t care about reflection after watching a film. Imtiaz’s films are not typically plot-driven or action-oriented or have ‘crowd-pleasing moments’. They focus on the emotional journey of the protagonist, which is normally more powerful when watched alone on your couch than when in a crowded movie theatre.
The expectation problem is another issue altogether. For instance, whenever Imtiaz Ali puts out a new film, fans often have the expectation of seeing another Jab We Met in it. However, Ali has made a point throughout his career not to replicate Jab We Met. Therefore, some of his greatest works have been characterized by the flawed nature of his characters and their poor judgment. When they do come out to see the movie on opening day, that may not create much excitement or enthusiasm about it today, but those films tend to remain in people’s minds for a very long time.
There have been recent changes to the entertainment industry due to the rise of OTT platforms. So, for example, some viewers may not want to pay money to see a thoughtful romantic drama movie in theatres; however, those same viewers may end up watching that same type of movie six months after its theatrical release on streaming services. This is where some of Imtiaz Ali’s films have had their second lives. There’s now no pressure, no fanfare, and no expectation. Just the story that is presented in a film.
It appears that Main Vaapas Aaunga is going to continue on that path. The film is already receiving accolades for both its emotional storytelling and its Partition setting, yet is struggling to convert that love at the box office.
The irony is that although many big-budget films are quickly forgotten because they become irrelevant to popular culture as soon as they leave theatres, Imtiaz Ali’s films continue to live long after the ticket window has closed and will continue to grow and find new fans.
Maybe the real problem isn’t that people don’t like Imtiaz Ali’s films. Maybe they just watch them a little too late.
