Hindi
From reel to real: Actors piggy ride on populist parties
NEW DELHI: When megastar Amitabh Bachchan decided in the mid-eighties to wash his hands off politics (except on screen), one expected that very few from his fraternity would dare take the plunge.
However, there were a few like Raj Babbar, Shatrughan Sinha and Sunil Dutt who entered politics. Perhaps the only notable entry from the Hindi cinema industry after that was Vinod Khanna, though several south Indian actors either joined the state or centre arena.
The love between the two magnified as many political parties, particularly Bharatiya Janata Party and Trinamool Congress went all out to woo those from the reel world to the real world. Perhaps this exposure to politics and largely the anti-corruption wave that swept the country in the wake of Anna Hazare’s movement resulted in probably the largest number of film personalities entering the fray for the 2014 polls.
The 16th Lok Sabha elections saw as many as 40 film personalities from different states, representing different parties campaigning, and many of them surprised all by coming out with flying (party) colours.
But for the film industry, the constituencies that were worth watching were the ones where the members of the same fraternity pitted against each other.
Of the most keenly watched battles was of Kirron Kher of the Bharatiya Janata Party and Aam Admi Party’s Gul Panag. Kher was shown black flags when she first went to Chandigarh, unlike Panag and yet, Kher came out with flying colours. She defeated a veteran like Pawan Kumar Bansal of the Congress, though many from her constituency said it was more a victory of the party than of the actor herself.
Similarly, Mumbai West saw item girl Rakhi Sawant who represented the Rashtriya Aam Party battling it out with Mahesh Manjrekar who represented the Maharashtra Navnirman Sena (MNS) and ultimately emerged as the winner.
The not-so-‘khamosh’ Shatrughan Sinha once again successfully represented the BJP from Patna Saheb in Bihar where he faced Bhojpuri actor Kunal Singh of the Congress.
In Birbhum, actor Satabdi Roy of the Trinamool Congress successfully trounced actor Joy Banerjee of the BJP. Similarly, Singer Indranil Sen from TMC expectedly trounced Sidhanth Mahapatra of the Biju Janata Dal from Behrampur.
For the BJP, versatile singer Bablu Supriya from Asansol, senior actor Hema Malini in Mathura despite initial criticism, Hindi and Bhojpuri actor Manoj Tiwari in North East Delhi, versatile actor Paresh Rawal from Ahmedabad East, and veteran Vinod Khanna from Gurdaspur emerged winners.
Television actress Smiriti Irani from the high-profile constituency Amethi lost but with a considerably reduced margin, and others who lost included Nimu Bhowmik in Raiganj, George Baker representing Howrah and music maestro Bappi Lahiri from Serampore.
For the Trinamool Congress, glamorous actor Moon Moon Sen in Bankura, reigning Bengali star Deb (Deepak Adhikari) in Ghatal, Sandhya Sen in Midnapore, actor Arpita Ghosh in Balurghat, and actor Tapas Paul in Krishnagar reached the finishing line ahead of the others, while actor Soumitra Roy from Malda North, and former Bollywood star Biswajit (Chatterjee) from New Delhi had to face defeat.
The Congress had the largest number of star losers. They included Kannada heroine Ramya in Mandya, the high profile Raj Babbar in Ghaziabad, actor Aparajita Mohanty in Cuttack, veteran Oriya film actor Bijay Mohanty from Bhubaneswar, Hindi and Bhojpuri actor Ravi Kishan from Jaunpur, petite actress Nagma in Meerut, actor Jayasudha in Secunderabad, actor Vijaya Shanthi from Medak, and D Napoleon from Perambalur in Tamil Nadu who was a Minister in the outgoing government.
The AAP faced a similar fate with TV actress Rina Rani who contested from Maharajganj and the actor-dancer Javed Jaffery (son of former comedy actor Jagdeep) from Lucknow being shown the door.
Actor Innocent representing the Communist Party of India (Marxist) from Chalakkudy in Kerala emerged victor, while renowned award-winning director Prakash Jha representing the Janata Dal (United) from West Champaran in Bihar and former actor Jayaprada of Rashtriya Lok Dal from Bijnor had to face defeats.
Actor Murali Mohan won from the Rajahmundry seat for the Telugu Desam Party.
At present, the Rajya Sabha has Javed Akhtar, Jaya Bachchan, Mithun Chakraborty, K Chiranjeevi, Rekha and producer T Subbarami Reddy as members. Smriti Irani who lost to Rahul Gandhi also continues to be member of the Rajya Sabha.
One cannot ignore the fact that while Bollywood has generally not been very successful in north India, the southern film industry is rich with examples of film-politicians. Some of the popular names are S S Rajendran (SSR), M G Ramachandran, J Jayalalithaa , S Chandrasekar.
It remains to be seen if the film personalities will rise above to serve the people or will add glamour to the lower house of Parliament.
Hindi
GUEST COLUMN: Why film libraries & IPs are the new engines of growth
Unlocking value through catalogue strength and IP synergy
MUMBAI:In a media landscape defined by fragmentation, platform proliferation, and ever-evolving audience behavior, the economics of filmmaking are undergoing a fundamental shift. No longer confined to box office performance, a film’s true value is now measured across an extended lifecycle that spans digital platforms, syndication networks, and global markets. As content consumption becomes increasingly non-linear and algorithm-driven, film libraries and intellectual properties (IPs) are emerging as strategic assets, capable of delivering sustained, long-term returns. For Mohan Gopinath, head – bollywood business at Shemaroo Entertainment Ltd., this transformation signals a decisive move from hit-driven models to portfolio-led value creation. In this piece, Gopinath explores how legacy content, when intelligently repurposed and distributed, can unlock recurring revenue streams, why the interplay between catalogue and original IP is critical, and how media companies can build resilient, future-ready entertainment businesses.
For all these years, we thought that a film is successful if it performs well in theatres. There are opening weekend numbers, box office milestones, and distribution footprints that gave a good picture of how the movie has done commercially and also tell us about its cultural impact. However, there are multiple platforms today, always-on content ecosystem, which has caused a shift. Today, the theatrical performance is not the culmination of a film’s journey but merely the beginning of a much longer and more dynamic lifecycle.
Film libraries today are emerging as high-value, constantly evolving assets that deliver sustained returns well beyond initial release cycles. This becomes a point of great advantage for legacy content owners with diverse catalogues, to shape long-term business outcomes.
According to FICCI-EY, the media and entertainment industry of India achieved a valuation of Rs 2.78 trillion in 2025 which is expected to reach Rs 3.3 trillion by 2028 through a compound annual growth rate of approximately 7 per cent and digital media will bring in more than Rs 1 trillion to become the biggest sector which generates about 36 per cent of overall market revenues.
This shift is the expansion of distribution endpoints. We know how satellite television was once the primary secondary window but today, it coexists with YouTube, OTT platforms, Connected TV, and FAST channels. Each of these platforms caters to distinct audience demographics and consumption behaviors, helping content owners to obtain more value from the same asset across multiple formats.
For instance, films that had great reruns, now find continuous engagement across digital platforms. On YouTube, classic Hindi cinema continues to attract significant viewership, reaching audiences across generations and geographies with remarkable consistency. At Shemaroo Entertainment, this is reflected in our film library shaped over decades as part of a long association with Indian entertainment. From classics such as Amar Akbar Anthony to much-loved entertainers like Jab We Met, Welcome, Dhamaal, Phir Hera Pheri, Dhol, Golmaal, and Bhagam Bhag, many of these titles continue finding new audiences while retaining their place in popular memory. Their enduring appeal reflects how culturally resonant stories can continue creating value over time. Similarly, FAST channels have created curated, always-on environments where catalogue content can continue to thrive through star-led and genre-based programming.
This multi-platform approach has very well transformed films into long-tail IP assets which are capable of generating recurring revenue across advertising, subscription, and syndication models.
The evolution of audience behavior is equally important. Nowadays, it’s more important to find what’s more relative than what’s recent as viewers are more influenced by mood, memories, and algorithmic suggestions than by release schedules. Even if a movie was released decades ago, it can trend alongside a newly released movie, if surfaced in the right context. Thoughtful packaging, whether through festival-based playlists, actor-driven collections, or genre clusters, allows catalogue content to remain dynamic and continuously discoverable. Shemaroo Entertainment has built extensive film libraries over decades and its focus has mostly been on recontextualizing content for the consumption of newer environments. This process doesn’t just include digitization and restoration, but also re-packaging of films as per platforms.
Syndication itself has evolved into a key growth driver. In perspective, when looking at the domestic market, curated content packages continue to find strong demand across broadcast and digital platforms. Meanwhile, in the international market, especially in markets like Middle East, North America and Southeast Asia, the appetite for Indian content is opening up new monetization avenues. Here, the ability to package and position catalogue content effectively becomes as important as the content itself.
Importantly, the need to re-package catalogue content does not diminish the role of new content. In fact, originals and fresh IP are essential to sustaining the long-term value of a film library because they act as discovery engines that bring audiences into the ecosystem, while catalogue content drives depth, retention, and repeat engagement.
This interplay between the “new” and the “known” is what defines a robust content strategy today. While new films generate spikes in consumption, catalogue titles offer familiarity and comfort. These are factors that are increasingly valuable in an era of content abundance and decision fatigue. This is also shaping our strategy, drawing value from both a deep catalogue assets and a growing focus on original IPs to strengthen long-term audience engagement and build more predictable revenue streams.
There is growing recognition that long-term value in entertainment will be shaped not only by how intelligently existing content continues to live, travel and find relevance, but also by how consistently new stories are created to renew that ecosystem. In that sense, film libraries and original IP are not parallel bets, but reinforcing engines of growth. For media companies, the opportunity lies in making these two forces work together, because that is increasingly where more resilient and predictable businesses are being shaped.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
