The Saiyaara by Mohit Suri has captured the public's imagination and is now a box office smash. The musical romance, which was released on July 18, has already set records by having the highest box office opening ever for a movie starring unknown actors. In a year when Bollywood seems to have lost its way in the midst of big-budget tentpole films starring well-known actors, it is a truly remarkable accomplishment that has never been seen before. Saiyaara is a classic love story, directed by newcomers Ahaan Panday and Aneet Padda. The film's success is a clutter-buster and, without a doubt, a wake-up call for the industry to pause, consider, and take a hard look.

What sets Saiyaara apart?

What, therefore, distinguishes this Yash Raj Films production? Let's get down to business. The film Saiyaara understands its genre and challenges without making apologies. Mohit Suri has used the same components of heartbreak and music that made his 2013 release Aashiqui 2 so popular with audiences, making it a tried-and-true formula for the director. Although viewers will undoubtedly be reminded of that movie by Saiyaara, it stands alone in its own right. The movie has a casual and modern vibe. Saiyara resonates with audiences because it portrays its characters with genuine and sincere feeling, capturing the essence of first love and the agony that comes after.

In an unexpected turn of events, Krish Kapoor (Ahaan Panday) and Vaani Batra (Aneet Padda) meet, and they immediately bond over music, which develops into a tragic revelation. Because of the actors' amazing screen presence and appeal, the audience—especially the younger members—has been able to relate to them so readily. It's been some time since Bollywood produced a movie that so convincingly combines love and drama. The movie doesn't attempt to profit from unnecessary tunes or out-of-place comedy. The two protagonists remain in the forefront. Their tale is the central topic. Their developing relationship is the sole focus of Suri, who connects the dots between their love story.

When was the last time Bollywood made a youth-oriented romance with a new cast? It's important to provide examples of movies like Sanam Teri Kasam and Laila Majnu because these two movies didn't perform well upon their debut. However, take a look at the statistics from the films' release a few years later. The audience is demonstrated to remember and make an effort to give this genre a shot. Additionally, the picture is appreciated for its excellence when done correctly. The necessity for proper promotion of a movie like Saiyaara is also highlighted here.

Effective promotion

The film's record-breaking success was also significantly influenced by its promotional tactics. In the run-up to the film's debut, the main duo, Ahaan and Aneet, gave no interviews. There were no reels of them dancing to the movie's music, no discussions about nepotism, no secrets revealed about who pulled the most pranks on set, etc. They also have no paparazzi videos, which is unusual in today's social media landscape where performers are discussing the film and other topics on numerous platforms. What is their opinion of nepotism? How do they feel about one another? Not a single one of these queries was given the opportunity to be asked. With just a few interviews, the director Mohit Suri maintained a laser-like concentration on the movie and its storyline.

The conclusion was that social media users learned about Saiyaara mostly through the trailer and the songs. The music of Saiyaara, which ranged from the excruciatingly lovely title tune performed by Faheem Abdullah to a classic Arijit Singh song called Dhun, was its greatest and most useful asset. The trailer also hinted at the intensity of first love, revealing only enough. This is a nice respite from the nonstop stream of promotional materials and discussion points that precede a movie's release, which gives the impression that the actors are being overexposed on social media.

The filmmaker Hansal Mehta recently questioned on his X account the widespread advertising for films and television shows, asking if they are effective at all, other than at producing a PR-modulated illusion. A good trailer should generate interest, shouldn't it? Shouldn't a compelling promo unit and—most importantly—a nice film or series be sufficient? he questioned. "The South never followed the dumb P&A practice," Sanjay Gupta said in response to the scenario. They did alright. Above average. And then there are movies like 12th Fail and Saiyaara that go directly to theaters. Smash hits without the fluff of public relations. Can we please learn from our mistakes?

It was wise of the producers to choose to promote Saiyaara less. They learned from how a movie generates organic buzz just based on the resources at hand, such the trailer and the music. Based on those materials, the movie received a positive reception from the audience. This led to a social media frenzy regarding the movie's powerful emotional appeal, which occurred only after its release.

Can the industry take notes?

Let's take a moment to examine Bollywood. Several Bollywood films have done well at the box office in recent years, including Brahmastra Part 1: Shiva, Jawan, Pathaan, Animal, Stree 2, Shaitaan, Munjya, and Bhool Bhulaiyaa 2. These titles all fall into one of two categories: blockbuster, star-studded films or well-established franchises. None of these movies fall under the category of a full-fledged love story.

The fact that Saiyaara has done so well demonstrates a surprising lack of good romantic films in this genre for the current generation, which indicates that if a romantic film is made well, the audience is open to going back to theaters. A strong narrative is the only draw. Because it keeps its word and maintains its romantic tone, Saiyaara has resonated so well with audiences all throughout the country. It lacks franchise power and well-known mainstream celebrities to guarantee the entertainment. Saiyaara walks its own route.

No bloodshed or violence

In addition, the audience of this film is understood. The inclusion of new faces and the absence of needless violence and bloodshed in Saiyaara are both beneficial to the film. The chemistry between these two actors is natural and easy, which is a nice change from the typical onscreen romances, which feature a noticeable age difference between the performers.

Krish Kapoor, played by Ahaan Pandey, is initially depicted as a bratty and hot-headed character, but thankfully, Suri and writer Sankalp Sadanah give him enough vulnerability and longing. The movie features a protagonist who acknowledges his need for assistance and never tries to push himself too hard. Saiyara is a welcome break from a business that is fixated on portraying a muscular, masculine image onscreen, where the protagonist intimidates, mistreats, and dominates.

For the Hindi film industry to take risks on stories and concentrate on writing rather than on the outside buzz of what is succeeding at the box office and what is not, Saiyaara's success is a much-needed wake-up call. The idea of a young love story with fantastic music isn't novel, but if executed well, it's enough to revive a sector that prioritizes celebrity power and statistics. The goal is to take chances rather than retell the same tale. A wonderful illustration of letting the movie speak for itself is Saiyaara. I hope the business is paying attention.

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