PR Stunts in Bollywood: Hits and Misses

The film industry, like any other, is filled with both good and bad people. Recent incidents in Bollywood, however, have shown how public relations (PR) tactics can make or break a film. We’ve often seen actors promoting each other’s films and even rivals coming together, like the two Khans forgetting their past differences. But some recent PR moves have been disastrous for one film while working for another. Let’s talk about the contrasting fates of Jigra and Stree 2.

Karan Johar’s Jigra, starring Alia Bhatt, was a much-talked-about revenge drama. Despite the initial hype, it failed miserably at the box office, and many point to PR blunders as a reason. One of the key criticisms was the perception of nepotism, with Johar casting Alia Bhatt, a regular in his films. Adding fuel to the fire, the premiere show was cancelled, with Johar stating it was to “preserve the cinematic experience for all.” This raised eyebrows—why, then, wereprevious films shown to the media before release? Was it a PR strategy that backfired? It certainly didn’t work this time.

Another PR misstep came when director Vasan Bala said Jigra was never meant for Alia Bhatt, and that Karan Johar had sent her the script without his knowledge. Later, Johar clarified that Bala was only referring to grammatical errors in the script. Still, the damage was already done, and the PR gimmick fell flat.

To make matters worse, Divya Kumar Khosla, wife of T-Series head Bhushan Kumar, publicly attacked Jigra’s box office collections, even sharing pictures of empty theatres. This controversy allegedly stemmed from a story feud between Jigra and a film produced by Mukesh Bhatt called Saavi, where both films had similar themes—Jigra featuring a sister fighting for her brother, and Saavi about a wife fighting for her husband. The rivalry led to unnecessary public mudslinging, which only added to Jigra’s downfall.

On top of these issues, Manipur-based actor Bijou Thaangjam accused Jigra’s makers of unprofessionalism, claiming his dates were blocked for the film without confirmation of his role, resulting in the loss of other opportunities. He also raised concerns about how North-East actors are often treated by big production houses. This controversy added further negative PR for Jigra.

Despite all these PR attempts, the film’s fate could not be changed. In the end, as the Hindi saying goes, “Chura kharbuje par gire ya kharbuja chure par, katna toh kharbuja hi hai”—meaning, no matter what happens, the outcome was inevitable.

In contrast, Stree 2, another film that faced its own PR challenges, turned out to be a box office hit. Actor Aparshakti Khurana recently found himself caught in a controversy when he commented on the credits for the film’s success, which many interpreted as taking a jab at the lead actors. Fans of Rajkummar Rao and Shraddha Kapoor debated over who deserved more credit for the film’s success, overshadowing the contributions of others, including director Amar Kaushik.

Khurana later clarified that the success of the film should be celebrated, rather than getting entangled in debates about credit. Despite the PR blunders, Stree 2 was saved by its strong storyline, songs, and performances, proving that a film’s quality ultimately speaks louder than PR tactics.

At the end of the day, a film’s success depends on whether the common audience likes it. No amount of PR manipulation can change that. Filmmakers should remember that while they might try to sway public opinion, they cannot fool the aam aadmi.

(The author is a communication professional. Views personal.)