Hindi
Industry asks Govt to help prevent frivolous litigation against films
NEW DELHI: The film industry has strongly protested the manner in which the freedom of speech and expression has been ‘grossly mistreated by filing of frivolous litigations against the content of cinematograph films‘ despite their getting certified by the Central Board for Film Certification.
In a letter to Information and Broadcasting Minister Manish Tewari, Film and Television Producers Guild of India President Mukesh Bhatt described this as an "extremely serious issue concerning the entire film fraternity all over the country as it is abuse of the legal system which is meant for protection of individual rights and freedom".
Bhatt said: “Any litigation initiated for challenging the content of a cinematograph film as objectionable after its certification by CBFC is superfluous and gratuitous since it disregards the authority and competence of CBFC. Such litigation is detrimental to the society at large apart from the film industry and needs to be discouraged. Moreover, any attempt to trigger the process of pre-censorship by addressing frivolous letters to the CBFC as has been done in several instances results in CBFC being over-cautious, conservative and using a magnifying class to certify films for public exhibition. The freedom of speech and expression of a filmmaker is thus jeopardized when the CBFC acts in an unstructured and conventional manner."
He added: "It is disheartening to mention that the filmmakers have also been exploited at the instance of government and public authorities who have themselves demonstrated lack of faith in the statutory body constituted for certification. Films such as Aarakshan and Mausam are witnesses to such exploitation."
Urging the Minister to find ways to discourage speculative litigation, Bhatt said the judicial process had also been "ill-treated at the hands of political parties and fake interest groups who find such frolicsome litigations an effortless and uncomplicated way to achieve self-advertisement and popular choice. Even kick starting a procedure by initiating litigation and summoning the CBFC, producers, directors, actors and distributors of cinematograph films is sufficient to give mammoth publicity to the litigant on one hand and cause undue harassment to those associated with the film on the other hand."
A film scheduled for release is "therefore perceived as a potential wage for undue gains in terms of money, fame and publicity and it has become a preferred tendency to approach courts at the last minute before scheduled release of a film to suit such mala fide purpose", Bhatt added.
However, he said the courts had been vigilant in evaluating and addressing such mischief. The Delhi High Court while deciding the validity of summons issued on the famous painter M F Hussain in relation to a contemporary painting made by him had ‘rightly observed that our scenario of painters, actors, writers, directors and theatre personalities being dragged to court on account of a mechanical exercise of issuance of summons results in growing fear and curtailment of the right of the free expression in such creative persons is hardly a desirable or an acceptable state of affairs’.
"The need of the hour is therefore to instill faith in the expert body which, in my respectful submission, comprises of qualified members competent to certify films. It is also pertinent to inspire faith in the process of certification which prescribes a reasonable classification of certification such as ‘A‘, ‘U/A‘, ‘S‘, ‘R‘, based on the content", he said
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.
