25 Years Of Indian Cinema Film: The changes that have taken place in the world of cinema in the last 25 years have probably never been seen before. In the early years of the 21st century, the budget of films was very low, the sets were small, the stars did not have their own vanity van, neither VFX was used nor there were multiplexes. Despite these shortcomings, people were crazy about the stars and used to watch movies. During the journey from there to the year 2025, the world of cinema changed completely.
Technology revolutionized the style of storytelling. Kalpana got worried due to increase in budget. There used to be a stir with a budget of Rs 50 crore and today indian movies It is being made with a budget of up to Rs 4000 crore (Ramayana). Multiplexes and OTT have increased the means of earning and regional stories have established their dominance in Bombay cinema. So let us understand how Indian cinema has changed its appearance in the last 25 years and where it stands now.
The golden era of masala, patriotism and love (2000-2004)
When Indian cinema stepped on the threshold of the 21st century, the atmosphere was completely celebratory. At this time, people were crazy about mass entertainment, spectacular romance presented on the big screen and big sets that were soothing to the eyes. This was the era when films were mostly made keeping single screen theaters in mind, where ‘whistling’ scenes and emotional drama mattered most. Multiplex culture started in India during this period with single screen theatres. Use of Dolby Digital sound increased. In terms of earnings, at this time the collection of a superhit film was between Rs 50 crore to Rs 80 crore and this earning was then considered a blockbuster.
Sunny Deol’s film ‘Gadar: Ek Prem Katha’, released in 2001, not only broke all the box office records but also created history by becoming the biggest blockbuster of that time. This film earned approximately Rs 77 crore (in India). Films like Devdas, Kabhi Khushi Kabhi Gham and Veer Zara made by Sanjay Leela Bhansali, Karan Johar and Yash Raj Films gave a new place to romance. This was a time when story was not king, but emotion and paisa-vasool action were king.
Beginning of new thinking and the rise of multiplex (2005-2009)
This was the period when the number of multiplexes in Indian cities had increased significantly. With this theater chain, a new, educated and international cinema-going class of audience had emerged. These new audiences had different expectations from Bollywood, they wanted to see realistic content. Keeping this hope of his in mind, there was a change in the mood of cinema. Dark comedies, stories related to youth and characters from small towns entered the big screen. Directors like Imtiaz Ali and Rakeysh Omprakash Mehra moved away from ‘Masala’ films and explored new ground. However, even in this phase, the box office was dominated by big and masala films like Dhoom 2, Welcome, 3 Idiots, Singh Is King.
Technically, the use of Digital Cinema Projection (DCP) started in theaters, which reduced the hassle of sending prints and made the release of films easier and easier. The use of VFX was no longer limited to songs only and started increasing in action sequences. The year 2008 brought an important change for Indian cinema. Despite the global-economic recession, Bollywood maintained its momentum. This was the time when big corporate production houses, like UTV and Yash Raj, started handling film production and distribution in a more professional manner. Films like Rang De Basanti, Jab We Met and Wednesday reflected the changing mood of the audience.
But the biggest change of this period was the birth of Rs 100 crore club. Aamir Khan’s ‘Ghajini’ (2008) became the first Indian film to cross the magical figure of Rs 100 crore at the box office. This was a huge milestone, which changed the entire thinking of film budgets, their marketing and collections forever.
The race for the Rs 200 crore club and the growing influence of the South (2010-2015)
The period from 2010 to 2014 was completely dependent on record-breaking earnings and the success of superstars. At this time, Salman Khan, Shahrukh Khan and Aamir Khan were the biggest winners of the box office. Along with high-octane action and comedy, films based on successful plots of South Indian films were being made. Directors like Rohit Shetty and Prabhudeva gave a new dimension to this masala entertainer genre.
In terms of technological change, 3D films had arrived (like Ra.One) and distribution had gone completely digital. Earnings of Rs 100 crores had now become a normal thing and films had started running towards the Rs 200 crores club. At this time, films like Shahrukh Khan’s ‘Chennai Express (2013)’ and Aamir Khan’s ‘Dhoom 3 (2013)’ made the Rs 200 crore club a reality, which proved that the strength of the Indian box office is increasing rapidly. Even during this period, Aamir Khan remained a trendsetter. His film ‘PK’, released in 2014, did a business of more than Rs 300 crore. Along with ‘PK’, Aamir Khan’s ‘Dhoom 3’, Hrithik Roshan’s ‘Krrish 3’, Salman Khan’s ‘Kick’ and Shahrukh Khan’s ‘Chennai Express’ also did wonders at the box office.
The trend of remaking powerful action and successful stories of South Indian films in Hindi was also increasing rapidly, which introduced the Hindi audience to a different kind of entertainment. In this period, the scale of success completely depended on the film’s earnings and the presence of the superstar.
Bahubali, the sound of OTT and pan-India dominance (2016-2020)
This was the period when the walls of language and region of films were broken. South Indian cinema (especially Telugu and Tamil) attracted audiences across the country. Social issues, biopics and good stories centered on women also started being transformed into films. Now instead of remakes, the dominance of Pan-India films and content driven (theme based) films started increasing. Strong stories, top class VFX and social message were successfully integrated into the films.
Technologically, 4K resolution and IMAX theaters expanded. But the most important event was the entry of OTT platforms (Netflix, Amazon Prime Video, Hotstar) in the Indian market. These OTT platforms provided viewers with content in international and various Indian languages at home, which changed their preferences forever.
SS Rajamouli’s films ‘Baahubali’ and ‘Baahubali 2: The Conclusion (2017)’ influenced cinema not only in South India but across the country. Both these films proved to be a milestone in the history of Indian cinema. Not only did it break records in the Hindi belt, it also proved that even a regional film can earn more than Rs 1000 crore in the entire country on the basis of a great story, great VFX and tremendous vision. This film marked the beginning of a new era of Pan-India films.
Along with Baahubali, films like ‘Dangal’, ‘War’, ‘Sanju’ and ‘Tiger Zinda Hai’ also made huge profits at the box office from 2015 to 2019.
Pandemic, Gen Z, and the battle of cinema vs. OTT (2021-2025)
The year 2020-2025 was the most difficult and transformative time for Indian cinema in the last 25 years. The Corona epidemic closed the theatres. OTT platforms directly benefited from this. People started watching content from all over the world sitting at home. During this period, regional cinema (South) also strengthened its hold, while the old clichéd films of Bollywood started flopping. At that time, films in theaters were either becoming ‘blockbusters’ or ‘disasters’, the middle path was almost over.
In terms of earnings, Indian films have now entered the Rs 1000 crore club. New, high-octane pan-India films like KGF, RRR, Pushpa, Jawan and ‘Animal’ entered the Rs 1000 crore club. ‘Pathan (2023)’ and ‘Jawaan (2023)’ proved that if there is a superstar like Shahrukh Khan and the scale of the film is big, then Hindi films can also join the global club of Rs 1000 crore. However, it is also true that to be successful, these films need the support of global technology and mass appeal along with the story.
The audience has changed in 25 years
Over the last 25 years, Indian film content has freed itself from the narrow confines of ‘just Bollywood’, ‘just Telugu’ or ‘just Kannada’ to create an Indian cinema. Today, while the earnings of many good films are easily going above Rs 500 crores, the average films are now struggling to earn even Rs 50 crores. Indian cinema will also have to come out of its old fears and limited thinking. The strong phase of Sunny Deol’s ‘Gadar’ is not over, but now to get success like ‘Gadar’, any film will have to be ten times more powerful and technically brilliant than before, because today’s audience is now demanding not just entertainment but world class cinema.
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