On the other, cinema owners (especially of the newer multiplexes) responded with vocal resistance, complaining mostly about lost revenues from food sales at concession stands. On one hand Khan’s request garnered praise from fellow filmmakers and cultural critics in India who supported his argument for an uninterrupted, “pure” filmic experience. This was the first time in the history of popular Indian cinema that a filmmaker, or any entity for that matter, had tried to disrupt this entrenched practice. So, when veteran Bollywood actor Aamir Khan declared a “no-intermission” exhibition contract for his film Dhobi Ghat in 2011, the debate that followed was to be well expected. For those unfamiliar with the concept, the mechanics are quite simple-about halfway through a film (be it a Bollywood, Tollywood or even Hollywood release) at a cliffhanger or crucial plot point, the theater lights turn back on, interstitial advertising is displayed on the screen and the audience can stretch their legs and visit the concession stand. While the intermission has long been phased out from cinemas in most parts of the world, the “samosa break” (as it is referred to in Bombay vernacular), is very much a routine and ongoing experience for audiences in India.
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