For many years, India’s middle-class audience has been the true backbone of the film industry. Whether it was packed single-screen cinemas in small towns or multiplexes in cities, it was the middle class that filled the seats, clapped at emotional scenes, and turned simple films into big hits. Even low-budget or small films became popular because they connected with this set of audience.

But slowly, Bollywood started focusing more on urban stories, films that show a rich lifestyle, fancy locations, and problems that only a small section of people relate to. In doing so, they moved away from the real issues and emotions that matter to most Indians. This created a gap between cinema and the common men.

At the same time, OTT platforms like Netflix, Prime Video, and others made it easy to watch films at home, whenever and however people wanted. With so many choices now available at the click of a button, the big challenge for filmmakers is not just making a good film, it’s making one that feels worth watching in a theatre. To bring the middle-class audience back, the stories need to be relatable, emotional, and full of value, something that makes them feel, “Yes, this was worth my time and money.”

Cinema as community and emotional catharsis

For the middle-class audience, cinema is an emotional escape and something they enjoy together with others. In today’s world, where everyone watches content alone on phones and TVs, going to the theatre gives a special feeling of being part of a group. When the story connects with real-life emotions, struggles, and hopes, it gives both relief from stress and a sense of hope. For middle-class viewers, who look for both value and meaning, this shared theatre experience is a big reason to come back and watch films on the big screen.

According to actor Pankaj Tripathi, cinema offers a unique community experience where strangers come together and feel the movie.

“Why do we go to the cinema? To witness storytelling, to hear a story, to see a new world, to experience something, because while watching a film, our two senses, eyes and ears, are fully activated. What’s unfolding on screen creates a magical atmosphere, where 250–300 people are sitting together and laughing together, feeling joy together, or getting emotional together. That shared experience forms a sense of community. And that community weaving is an experience in itself. The place is chosen by someone else, the time is set by someone else – and yet, if you still choose to go, it’s because you’re going in search of a good experience,” he said.

Tripathi explains how films like his own, ‘Metro… In Dino’, strike a chord with viewers going through personal or emotional challenges. He recounts a review that called the film “healing” – something that can help mend broken relationships or offer guidance during rough phases.

“That experience is primarily entertainment, and an emotional catharsis that comes through the story unfolding on screen. Like with ‘Metro In Dino’ – a viewer might watch it, relate to it, and think, ‘Yes, this has happened in my life too,’ or ‘This moment is happening to me right now.’ Someone even wrote in a review that this film is like healing – it will heal the sourness in your relationships. If someone is going through a rough patch in life or with their loved ones, this film might offer them a way forward,” he added.

The power of the term ‘paisa vasool’ for middle class audience

For the Indian middle class, every visit to the theatre is a considered investment of time and money, and the ultimate expectation is simple: the film should feel ‘paisa vasool’- worth every rupee spent. This phrase has become a powerful benchmark, especially for families and individuals who don’t go to the movies casually but selectively. They seek stories that are engaging, relatable, and emotionally rewarding – films that make them laugh, think, or feel deeply, all in one sitting. If a movie checks these boxes, it earns not just applause but repeat viewership and strong word-of-mouth among this crucial segment. In essence, ‘paisa vasool’ is a validation that the film has truly connected.

According to the actor Deepak Dobriyal, it’s not enough to have a good film, it has to be marketed aggressively to even attract the attention of the middle-class audience who largely consumes content via social media and OTT platforms. What can filmmakers do to attract this section of the audience to theatres? The answer may lie in an aggressive marketing strategy.

“Initially it’s all about the hype that pulls the public in. There are many great performances and good stories out there that just don’t manage to attract viewers. That’s why films need a big, aggressive budget and heavy promotion to bring people in. Because today, there are so many distractions – OTT platforms, social media, and a lot more – so people often don’t even know what they should or shouldn’t watch. Everyone is watching what they like on social media, which is why aggressive promotion becomes necessary if your film is good,” Dobriyal said.

“As for ‘word of mouth’- by the time people sitting at home hear good things about a film, another one has already been released. So relying on word of mouth has become an excessive myth now. If you look at word of mouth, maybe one film in two to three years benefits from it. Otherwise, it’s all about the star system, aggressive promotions, and songs. Many different elements come into play. The middle-class audience only goes to the theatre when they feel a film is ‘paisa vasool’. This has become a term that indicates that the audience, especially the middle class, truly enjoyed the film,” the actor added.

Why supporting roles connect well with the middle-class audience?

Supporting characters often make a film more real and relatable, especially for the middle-class audience. These are not larger-than-life heroes, but people who feel like someone you know – maybe a neighbour, a friend, or even yourself. They bring humour, emotion, and unexpected moments that stay with the audience. For middle-class viewers, these characters add heart to the story and make the film more enjoyable. They help the audience connect with the film on a deeper level.

Dobriyal, who has played many such roles, says that strong supporting actors can actually carry a big part of the film. He also highlighted the unexpected hype of strong supporting characters as a winning formula. He took the example of ‘Stree’, a blockbuster which resonated with the middle-class audience like a suit tailor-made to fit the most unconventionally beautiful physique.

“If you notice, films with strong supporting actors tend to be hits. Take ‘Stree’ as an example. The better your supporting cast, the stronger the backbone of your film. They hold up half an hour or more of the movie. They bring something unique and unexpected, and that surprise element often becomes the film’s strength,” he said.

“I myself have played many such characters that I never imagined would become so popular among audiences – like Pappi in ‘Tanu Weds Manu’, Shyam Prakash in ‘Hindi Medium’, or my role as the tracker in ‘Laal Kaptaan’ – that one has a cult following. ‘Sector 36’ has completely changed the game. Characters like these tend to attract middle-class audiences more strongly,” he added.

Are middle- class audiences being forgotten in mainstream cinema?

In recent years, mainstream Hindi cinema has largely shifted its focus to glossy, urban-centric stories that appeal to multiplex audiences, often leaving the middle-class viewer feeling left out.

Earlier, films reflected the everyday lives, struggles, and emotions of common people. Today, that relatability is missing. Middle-class families are no longer rushing to theatres as they once did. They don’t see their stories on screen as often, and when they do, it’s usually in smaller, offbeat films.

Trade expert Taran Adarsh points out that this crucial segment – once the backbone of box office success – is being ignored in favour of niche content. He pointed out how Bollywood has alienated its largest audience base by focusing too much on multiplex-friendly, urban storytelling.

“I think we have completely sidelined the middle-class audience, because I feel that we have been making multiplex films. We’ve been making urban-centric films which cater to a very niche audience. And that’s the reason why the majority of middle-class audiences, or people who don’t belong to the upper class, are feeling neglected in our movies. We used to make so many entertainers in the past, but now, somewhere down the line, we’ve forgotten to make those kinds of films which are all-round entertainers,” he said.

“Many films, in South, from ‘Baahubali’ to ‘Pushpa’… even last year, we had ‘Stree 2’, which caters to common men who can identify with this kind of subject. And if the common men can identify with the subject, that film is bound to work. I think any film that caters has emotions, which is rich in drama, which has good music – a combination of all these factors will definitely work,” he added.

Is ticket pricing a key factor for middle-class audiences?

Ticket pricing plays a major role in whether middle-class families decide to go to the theatre or not. With rising costs of living and entertainment becoming more expensive, a trip to the cinema is no longer a casual outing for many, it’s a planned expense. Discounts, affordable rates, or special pricing for smaller towns and weekdays can make a big difference in attracting this audience. When ticket rates feel reasonable, families are more likely to consider a movie outing as ‘value for money’. To bring the middle class back to theatres in large numbers, making cinema more accessible and affordable is just as important as making good films.

Adarsh further highlighted that high ticket prices, especially in multiplexes, often discourage middle-class viewers from watching films on the big screen.

“The pricing of tickets, rates and discounts are important, and especially going beyond metros, they are very important to appeal to a middle-class family because you need to get them to the theatres. Because the cinema experiences have become very expensive today,” he said.

“Hamari mitti ki kahaniya, hamari kahaniya, our stories should be narrated; that’s very important. I feel it’s very important to make basic films. There was a film called ‘Bhool Chuk Maaf’. It was about a commoner living in a small town. I think that really worked. The middle-class audience constitutes a major chunk of the movie-going audience. But unfortunately, we are neglecting them, and that’s why our films are failing at the box office. They are not collecting the kind of money that we need to collect,” he added.

Making cinema for the real audience again

If we want to bring back the magic of theatres, filmmakers must start making movies for the middle-class audience again. They are not looking for just big stars or glamour, they want real stories that feel personal and relatable. With strong characters, meaningful emotions, or full-on ‘paisa vasool’ entertainment, the film needs to offer value. Making cinema for the middle class is not just about box office success, it’s about telling the stories of real people across India.

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