Director Rajkumar Santoshi has opened up about the theatrical response to his recently released period drama Batwara 1947, admitting that an earlier effort to bring audiences into the conversation around the film could have made a significant difference to its box office performance. Speaking at a recent press conference following a special screening attended by spiritual leaders from different faiths, Santoshi reflected candidly on the film's reception, his expectations from the audience and his plans to personally visit theatres.
When asked whether inviting people to watch the film earlier could have helped its business or motivated audiences to turn up, Santoshi did not hold back. “It would have made a 100% difference; there is no doubt about that,” he said. The filmmaker explained that he had immense faith in the project and believed the combination of talent involved would naturally bring audiences to theatres.
Santoshi said, “But I had faith in the audience; I trusted the people. I felt we would make a good film—after all, Rajkumar Santoshi and Sunny Deol had delivered blockbusters together, and Aamir Khan was involved in the production. With music by A.R. Rahman, lyrics by Javed Akhtar, and a talented actress like Sana, I thought it would naturally attract an audience.”
However, the reality of the opening response left the filmmaker concerned. “When the audience turnout was low, I admit I got a bit nervous. I feel that, given my track record, I have always tried to choose good films. There is nothing objectionable in this movie—no smoking, no alcohol, no 'item numbers.' I don't know why there might be reservations about this film; I truly don't know the reason,” Santoshi said.
Despite his disappointment, the filmmaker maintained that the response from those who attended the special screening gave him renewed confidence. “However, the people have made me stronger; having received their blessings and good wishes, I am confident I will move forward successfully,” he added.
Santoshi was also asked whether he planned to personally visit theatres and interact with audiences. The filmmaker confirmed that he intends to do exactly that, explaining that understanding the audience's response is important for him as a filmmaker. “Yes, definitely. I would also like to visit theaters to meet people—to meet the audience. It is crucial to reach the very people for whom the film was made,” he said.
The director admitted that he still does not fully understand why the theatrical turnout has not matched expectations. “I don't know the reasons why people haven't come to the theaters yet—why the turnout wasn't what we expected—but I am confident that the word will spread. People will come, and I want to meet them, talk to them, and understand if they found any shortcomings in the film; if there are any flaws, I will address them in future projects.”
Santoshi also stressed that he is willing to accept criticism, but wants audiences to watch Batwara 1947 without forming opinions before seeing it. “I am open to any criticism, but I want people to watch the film with an open mind—without any preconceived notions,” he said, before giving a rather amusing example of how audiences can sometimes focus on superficial details.
“For instance, sometimes people might say, ‘Oh, they made Sunny wear a silly hat.’ That's trivial. An artist plays all kinds of roles. What matters is whether he has done justice to the character,” Santoshi explained, defending the creative choices made for the film and emphasising that performance and storytelling should matter more than individual costume choices.
Batwara 1947 is set in Lahore against the backdrop of the Partition of British India and the division of Punjab. Directed and co-written by Santoshi and produced by Aamir Khan under Aamir Khan Productions, the film features Sunny Deol, Preity Zinta, Shabana Azmi, Karan Deol, Ali Fazal, Abhimanyu Singh, Khushi Hajare, Kanikka Kapur, Waseem Rajput and Isha Sandhir.
Based on Asghar Wajahat's acclaimed play Jis Lahore Nai Vekhya, O Jamya E Nai, the film attempts to explore the human cost of Partition through a story centred on displacement, loss, identity and communal harmony. It also marks Preity Zinta's return to the big screen after an eight-year hiatus.
For Santoshi, however, the conversation around Batwara 1947 now appears to be bigger than its box office numbers. His decision to meet audiences directly suggests that the filmmaker wants the film to find its viewers beyond its initial theatrical response. Whether the word of mouth can eventually translate into stronger footfalls remains to be seen, but Santoshi's message is clear: he would rather have audiences watch the film, judge it for themselves and then tell him exactly what they think.
And for a filmmaker who has openly admitted that the initial response made him nervous, that willingness to face the audience head-on may be the most telling part of his post-release journey.