Hindi
Blockbusters of 2012 figure in worst film nominations in Kela Awards
NEW DELHI: Contrary to common perception, actors Akshay Kumar, Sanjay Dutt, Ajay Devgn, Anoushka Sharma, Sonakshi Sinha, and Deepika Padukone are among the artistes nominated for the worst acting of the year.
‘Housefull 2’, ‘Son of Sardar’, ‘Khiladi 786’, ‘Dabangg 2’, ‘Jab tak hai jaan’ and ’Joker’ are nominated for the worst films of the year and will vie for the Golden Kela award..
Shirish Kunder for ‘Joker’, Arbaaz Khan for ‘Dabangg 2’, Kabir Khan for ‘Ek tha tiger’ and Sajid Khan for ‘Housefull 2’ vie for the worst directors of the year.
The worst sequels of the year are Dabangg 2, Housefull2, Jannat 2, Jism 2, Raaz 3, Kya super Kool hain Hum, Bhoot Returns, and 1920 Evil Returns.
The Golden Kela Awards ceremony will take place in March at the India Habitat Centre.
The Golden Kela Awards, the Indian version of Razzies – “Golden Raspberry Awards" – for awarding the worst in the film making industry will be awarding the worst of Bollywood in the year 2012. Voting will begin on 1 January at www.goldenkela.com and close on 1 March 2013.
Jatin Varma, Founder, Golden Kela Awards, said, “We have our hands full with some of the finely made Kela-full movies and performances of the year 2012. As expected, sequels topped the chart this year with 8 nominations in the Worst Sequel category. I see a tough competition in the Worst Actor (Female) Category also; voters will have a tough time choosing between Anushka Sharma, Sonakshi Sinha, Farah Khan, Alia Bhatt, Deepika Padukone and Diana Penty.”
The most irritating songs are ‘Chinta ta chita chita’ from ‘Rowdy Rathore’, ‘Son of Sardar’ from the film of the same name, ‘Anarkali Disco Chali’ from Housefull2, and Hookah Bar from Khiladi 786.
The most atrocious lyrics are: Anvita Dutt for Ishq wala Love (Student of the Year), Amitabh BhattacharyaHalkat Jawani (Heroine) Shabbir Ahmed for Bipasha Bipasha (Jodi Breakers) Shabbir Ahmed for Po Po (Son Of Sardar) Sameer Anjaan for Chinta Ta Chita Chita (Rowdy Rathore) and Himesh Reshammiya for Hookah Bar (Khiladi 786).
Jatin adds, “In the 5th edition of Golden Kela Awards we could not help but Nominate Indian Moviegoers in the Bawara ho gaya hai ke award category for spending more than Rs six billion on worthless films."
Indian Moviegoers have been nominated for ‘Bawra Ho gayaa ke’ award for spending more than Rs 6 billion on Bol Bachchan, Housefull 2, Agneepath, Rowdy Rathore, Ek Tha Tiger, Khiladi 786 and Dabangg 2. Others nominated for this award are Homi Adjania for following up Being Cyrus with Cocktail, Sanjay Khandvi for taking his own awesome Ek Chaalis Ki Last Local, setting it in Delhi and making Kismat Love Paisa Dilli…and doing a horrible job of it, Ali Azmat for sounding like a parody of his former self in the song Maula from Jism 2.
Karisma Kapoor, Chandrachur Singh, Aftab Shivdasani, Shiney Ahuja, Prachi Desai, and Jackie Bhagnani have been nominated for the ‘Why Are You Still Trying?’ Award for the people who surprised us by their presence, even though we thought their careers were long over.
Awards will also be given for ‘The Mera Naam Joker Award’ for Longest Film Of the Year. ‘Bas Kijiye Bahut Ho Gaya’, ‘Beta, Tumse Na Ho Payega’, and ‘Super Hit Of the Year’.
The Golden anti-Kela awards will also be announced for films that were the saving graces by being meaningful while being in mainstream cinema.
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.
