Hindi
Chennai Express: This train can be boarded just once
MUMBAI: Shah Rukh Khan, most preferred in romantic films, of which he may have done only a few, is finding it hard to find a slot lately. He has tried his hand at multiple genres recently: Ra.One, a super hero film; Don 2, an action-for-action‘s-sake film; Jab Tak Hai Jaan, where he plays a larger than life bomb expert. Somehow, he does not seem to have found the right fit. Chennai Express is the outcome of this confusing situation as the film can’t define its genre even after it has run through 143 minutes. Is it a comedy, a road movie, an action movie or a romance? And is it a Hindi or a Tamil movie?
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Producers: Gauri Khan, Karim Morani, Ronnie Screwvala, Siddharth Roy Kapoor. Director: Rohit Shetty. Cast: Shah Rukh Khan, Deepika Padukone, Nikitin Dheer, Sathyaraj, Manorama, Kamini Kaushal, Lekh Tandon. |
Shah Rukh Khan’s halwai grandfather has passed away and his last wish is that his grandson should immerse his ashes in the sea at Rameshwaram. However, Khan and his friends had plans to holiday in Goa. This assignment comes as a hurdle in their plans. However, Khan’s friends convince him that even if he immersed the ashes at Goa, they would finally end up reaching the sea at Rameshwaram! This is the first warning of what is to come. Since the grandmother plans to see off Khan at the station, he plans to take a south bound train, get off at the first station nearby and join his friends for a road trip to Goa.
Khan spots Deepika Padukone running to catch the train which has started moving and helps her in. He also helps four mean and scary looking guys board the running train. It turns out that Deepika, who is running away from her father who is in a village near Chennai, catches a train going towards her father. The four goons Khan helped board the train are her father’s henchmen, chasing her to take her back to her village. Her father, who is the local don, plans to marry her off to a strongman from another village, Nikitin Dheer against her wishes. That would help him extend his power further.
Deepika blames Khan for her problem. He decides to help her but his attempts are thwarted by the foursome. They are a dangerous lot which they demonstrate first by throwing away Khan’s costly cell phone from the train and later by throwing out the TC. Deepika and Khan communicate through Hindi film songs as if they are singing a duet; the goons couldn’t care less since the things are very much under their control.
Finally, they arrive at her village. But since it is not a scheduled stop, the goons pull the chain and out there, to welcome the boss’ daughter, is a crowd of hundreds. Khan could have continued with his journey but, for whatever reason, he also decides to tag along! Since Deepika does not want to marry Dheer, she introduces Khan as the guy she loves and plans to marry. The son-in-law to be is cheered by the villagers. But Dheer is not the kind to give in so easily. He challenges Khan to a fight the next morning. This is one giant problem for Khan for that is how Dheer compares to Khan in physique. The only way to survive is to escape.
Khan and Deepika plan to escape before the duel starts, but Khan spoils the plan by getting drunk. Still, he steals a bike and manages to get away, only to crash near a police station. The Sikh cop, Mukesh Trivedi, hides him in a safe place which, when he wakes up, turns out to be a smugglers’ dhow heading towards Sri Lanka. Soon the dhow is raided and Khan taken back to the village he had run from.
It is her wedding day when, once again, Khan and Deepika escape, this time to fall in love for real. Khan wants to take her honourably and comes back to her village, to the don, the mob and Dheer. In a sudden burst of enthusiasm he beats up all the goons, armed as well as unarmed and, finally, also takes on Dheer!
Chennai Express is a poor story idea badly developed. The script has no substance and a lot of footage is filled with nothing happening or, in second half, by crowding the footage with three songs almost back-to-back. Except at two or three places, the comedy is pathetic and the jokes are all decades-old PJs. The music score is generally no help and the only well tuned song isTitli… In fact, some songs sound like they have been dubbed from Tamil songs.
The Rohit Shetty touch is missing here; there is not much entertainment to be found, even of the mindless variety. Photography is good. Dialogue is uninspiring. A lot of Tamil is used in dialogue without sub titles which is very curious: there is not much to understand in this film but this shows a disregard for the audience. Editing is slack.
Deepika shines and is the only worthy performer in the film. Khan, sad to say, resorts to buffoonery when not overacting; his fans expect better. Dheer is aptly sinister.
Chennai Express may not generate good word of mouth but, thanks to the Eid weekend release at 3500 screens with multiplexes running 12 to 16 shows, it is sure to amass bumper weekend collections and help avoid a big setback.
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.
