[Reader-list] characteristics of these theatres,, mamta

Fri Jun 2 18:04:18 IST 2006

The availability of so many cinema halls within so
less a space, gives a very peculiar feel to the
neighbourhood. In the wake of multiplexes, where a
single building houses only multiple screens in the
name of the films, these halls stand out because they
provide an individual personality and therefore an
individualistic experience of cinema. In contrast to
the multiplexes, there is travel associated with them,
where one traverses, among the people and the
landscape from one space to another. This is also a
part of the cinematic experience, with each theatre
holding on to its uniqueness. There is an attempt here
to outline the general characteristics of these cinema
halls, although not all-pervasive:

	These structures are very unlike the modern cinema
halls and multiplexes. They are old structures and
their outward appearances havent changed since their
inception. Of course, there are minor renovations
undertaken by the owners, in accordance with the
profits and their business principles. Individual
instances have been dealt with every hall. They are of
solid masonry, lined up with other buildings along the
busiest thoroughfares. The theatre is replete with a
grand front entrance, an often spacious lobby, seats
and stalls according to class, and a broad screen. The
accent here seems to be on the status of the cinema
venue as a "building": a celebration of consolidation
and legitimization, of a new institution taking root.
An institution: the masonry construction suggests that
the cinema is here to stay, become a social reality
and a means of communication and entertainment to be
reckoned with, boasting continuous production in
answer to settled demand. The permanent structure
suggests that the city is in a position to absorb and
distribute internally the various functions which
traverse it, workplace, living space, meeting point
and place of entertainment are ranged side by side
along an intentionally visible path, that of the daily
progress of each inhabitant; the diffuse and rather
untidy spectacle has been replaced by a carefully
composed schedule in which every experience finds its
rightful place. 

	There is a concept of extended space in every cinema
hall. This could get translated in a courtyard and
garden, in the case of some, while in some it could be
the seating space outside the hall. However, the
amount of space is definitely more than that in the
multiplexes. The balconies on the side of the halls
are a excellent space to watch the street below and
get some fresh air, while smoking or chatting.   

	All the halls house a Dargah in their complex.
While the general opinion about their inception is
that this place was originally a cemetery, where the
dead of all communities were disposed off. So when
these buildings were constructed, Dargahs were
constructed as a mark of respect to all those dead.
However, Dr. Afzal, a prominent citizen in the area,
holds another view. He opines that there were no
cemeteries earlier. People then always wished to get
buried or cremated in their own spaces. So the
property owners were buried in their own spaces. So
these Dargahs are the Kabr of those property owners.
However these are not meant for prayers. However, with
the passage of time, these Kabr have become the
places of worship for the ordinary masses. This
phenomenon is an outcome of fear of the dead. I
remember a resident of Dinath building telling me,
When the Dargah of Taj was demolished to give way to
a residential complex, the water levels rose inspite
of repeated attempts to throw it away for a couple of
days. It was only when the Dargah was restored, did
the water levels subside. One of the respondents, a
friend of mine from Gwalior, attributed the success of
these cinema halls to the presence of these Dargahs. 

	These cinema halls are given on rent to the
distributors on a weekly basis for every film they
exhibit, with the exception of Alfred. The rent varies
with every theatre. There are 28 shows every week. The
rent apart, the owners get 3 Rs as service tax per
ticket, which translates into a good amount. The good
thing is that one can actually see the money in its
hard cash form. However, the figures dont cross the
thousands mark, with the exception of festivals. The
management also gets its money from the canteen
owners, who are taken on contract basis. The amount
then ranges from anything between 25000 to 50000 every
week. This is not inclusive of the publicity material
that comes with every film.

	 Eid and Ganpati festivals are the best times for
these halls, as they run houseful, all of them, even
if they show repeat run films. The month of Ramzan is
the worst in terms of numbers. Even Holi doesnt give
encouraging numbers because people are busy with the
festival. Also, the monsoon months are dreaded,
because the migrant population goes back to villages
to till their lands.   

	The halls dont have the concept on seat numbers,
with the exception of Alfred, since there is no such
thing as advance booking here. The halls dont have
the concept on seat numbers, with the exception of
Alfred. The seating arrangements are ample and
theatres like Alfred and New Roshan have balcony seats
which resemble ones in an amphitheatre. This is
reminiscent of the fact that these cinema theatres
have been adapted from theatres used for stage plays.

	These halls are not just there for the sake of
pleasure only. They have varied functions to perform.
For the audience, who buys the tickets for 3 hours,
the hall is a private space to relax, sleep,
fantasise, and remember the utopian past. In a very
peculiar way, it becomes a home, a shelter from the
harsh world just a few steps away. Talking about
homes, the audience also comes to these halls for
other basic necessities like the toilet and the
bathroom. They are a poor man abode. In the night,
they become the sleeping dens for all their employees
who do not have a home elsewhere. This also aids in
the security of the halls. It is not just the
employees who make use of them, but the vagrants, and
the numerous hawkers around there.

	The halls are airy with a considerable amount of
fans and exhaust fans. One can enjoy a film in a
relaxed atmosphere. However, in a bid to regulate
electricity bills, they are stopped after a point.
Eventually, the audience is really exhausted by the
time the film is over.               

	The tickets range from 13 Rs to 25 Rs, varying with
every hall. The ticket counters sell tickets even
after the show has begun, at least for an hour more.
The marketing gimmicks involve ringing bells, shouting
that the show has just begun, et al. The counter foil
of the tickets are retained till the show is over, and
destroyed after that.       

	The tickets are arranged in a wooden counter that is
divided into 7x2 compartments, meant for every day of
the week and the two categories-Balcony and Dress
Circle. Since there are no seat numbers on the ticket,
the remainder of the bundle can be used for the next
show and the next week. This is not valid for Alfred,
where the wooden counter is divided day wise, category
wise and show wise. So the size of this counter is as
huge as the wall that houses it.    

	The current favorite heroes here are Salman Khan,
Sanjay Dutt, Akshay Kumar, Sunil Shetty, Govinda, and
Ajay Devgan. Amitabh Bachchan, Dilip Kumar, Dev Anand,
Dharmendra have had their share of visibility. 
However, the list is not rigid and changes according
to the heros visibility in the A circuit, in terms of
fresh releases.  

	The national anthem is played at the beginning of
the film, in the midst of some announcements and
advertisements of upcoming films on screen. With the
exception of Alfred, no other cinema hall plays Hindi
Film songs before the film and in the interval. 

	The staff includes the Manager, Assistant Manager,
Projector Operator, Gatekeepers, Ticket Counter Man,
Sweepers, and the Canteen Staff. It needs to be
pointed that none of these categories are rigid and
strict; one can perform the duty of the other, in
ascending order of work hierarchy.      

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