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73 Responses to “7 Khoon Maaf, Patiala House (ongoing), and more box office tales!”
Just finished 7 KHOON MAAF and enjoyed it a LOT! After KAMINEY, a 7 KHOON MAAF was absolutely necessary for Bharadwaj!
An odd black thriller and quirky comedy in one the film is an experience and a marvel at the same time. One has to appreciate Bharadwaj again for making a film with complete conviction and it’s this conviction as well as detail that makes 7 KHOON MAAF such a pleasure to watch.
The film is badly paced, everything isn’t always explained, however one is oddly magnetically engaged through-out. Priyanka Chopra delivers a knock-out performance as Susanna! The 7 lead males range from excellent to no impact at all.
The absolutely scene-stealer is Annu Kapoor who is simply remarkable here! I’ve always held Annu in high regard as an actor and this film confirms why he’s one of the finest actors we have in Indian cinema today. Kudos to Bharadwaj for bringing another legendary actor to the fore in a knockout performance after Kapur in MAQBOOL!
Neil Nitin Mukesh makes a surprisingly effective negative role after JOHNNY GADDAR and proves yet again why he’s better off as an anti-hero/villain.
John Abraham leaves no mark at all and in a dud performance.
Nasseridian Shah and the Russan actor are both apt in their role. Vivaan Shah springs a surprise in a wicked debut performance. Konkona hardly has much of a role. It would’ve been awesome to see Mohanlal in this mix as it really is an odd one.
I don’t see this doing much at the box-office at all BTW….however like I said, after KAMINEY, a 7 KHOON MAAF was necessary for Bharadwaj….
This isn’t a “thriller” in the sense it’s a movie about a serial killer who kills 7 husbands which moves at a break-neck pace and the cop is chasing the killer…no…it’s far more complex and far more detailed painting a portrait of a woman who goes through a life-time of pain and slowly turns into a killer, Chopra proves yet again why she’s hand down better than Kareena Kapoor! Her range is incredible here…..
on Rangan someone brought it up here recently and I forgot to address it then but it seems like Rangan has begun a rating system somewhere on his blog where he’s assigned stars to all the films he’s reviewed. I haven’t looked into it in any detail because the writeups mean far more to me than stars and I’ve never been persuaded much about the latter metric anyway and in any context. But there was the attempt to smear Rangan because he seemed to have given a number of Abhishek films high ratings including JBJ which he’s always been a fan of. When I used to be on NG there were some who tried to do this over there as well. Because they couldn’t stand the fact that he gave some glowing reviews to Abhishek films that otherwise flopped and less than stellar ones to some SRK films including CDI. As always this is the extent of the agenda for most people and it’s particularly amusing to see those who are most driven by a program in this sense to accuse others of doing something similar.
But unless one is a huge anti-Abhishek partisan there is nothing very surprising about those reviews. Because Abhishek has more often than not tried to do interesting stuff. You can judge films like D6 or Raavan to be failures at some or many levels but if you think there is nothing worthwhile in them and on the other if you suddenly start praising RNBDJ or Houseful to the skies then there is something wrong with your sensibility! Of course there is also partisanship involved here because most who celebrate certain films only for box office reasons and want to restrict the debate to this when their stars are not seen in prestige films suddenly become the greatest fans of the latter when those stars land themselves an interesting film. On the other hand you don’t see Abhishek fans generally celebrating Italian Job or whatever even when they concede he needs the box office benefits of these films. Similarly very few Aamir fans celebrated Fanaa even though it was still better than most of the other stuff out there then or today. There is an Aamir dimension to the story in any case. He does a million different films but the moment he does something regular he’s presented as a sell-out. Meanwhile when he does different he’s called a fake and suddenly RDB becomes a very regular film. So in a certain partisan view of the world no one ever gets any credit.
In any case it’s not too hard to at least partially like many of the films Abhishek does or most of the stuff Aamir does. Because these actors are not likely to do Dhoom all the time. Abhishek currently is doing many more commercial films than he’s done at any time since ’05 and for obvious reasons (I think he can be forgiven for this) but he’s still signing on with Bhansali or Balki or RGV. All of which are questionable in box office terms though Balki is safest at the lower end of things. But no one including myself is celebrating Bazmee or Rohit Shetty or whatever! Yes it makes a statement about his standing that despite all the failures he can get these projects going but that’s a different argument. Aamir fans by and large did not celebrate D3 though again it obviously was a huge commercial statement. So there is nothing mysterious about all of this unless one is a total partisan. With many of the SRK fans (especially so with this group) there is the old political game of trying to destroy the reputation of anyone who cannot be argued with on the merits. So it’s like ‘see Rangan likes JBJ and doesn’t like CDI that much, this shows what a Bachchan fan he is’! It’s this sort of ridiculous discussion which becomes operative when the truth is far more obvious. I for example celebrate many Abhishek and Aamir films for the very same reason. I also celebrate Dil Se all the time. I liked SRK in MNIK and didn’t find the film too bad either. as long as an actor attempts something even relatively out of the box you can find some value in a film. With the partisans it’s like you start bringing down Mehra if he does a film with Abhishek or Aamir! It becomes a completely dishonest argument. if I’m a big fan of Rathnam I cannot suddenly stop being one if he works with SRK! Because that sort of partisanship has to also deny the truth. It’s not enough to dislike the actor (which by the way is rarely admitted in the first place.. you pretend it’s about other things), one must start deconstructing everything the actor does which then divorces one completely from logic and sanity. One can say the most idiotic things on anything in life and have some people in agreement. That hardly ought to be the test for the merits of an argument!
To get back to Rangan I might disagree with him on many points but I never find him incoherent. I can see where he’s coming from. Similarly those who support a certain kind of film do so irrespective of the actor. But some actors put themselves out in this sense more than others. It’s not more complicated than this. And if one has a problem with it one should either identify oneself as a Philistine or switch preferences when it comes to one’s favorites. I have every right to enjoy Will Smith films as long as I don’t operate under the delusion that this is Scorsese’s cinema! If I want Will Smith to be respected like Depp or DeNiro or DiCaprio as an actor or for his films well then it’s entirely my problem!
I feel most of the anti Abhishek posts are because of the way u are trying to prove Abhishek as a great intellectual and great actor.This really pisses of people,because most of people find it difficult to accept Abhishek as a good actor.There is no denying that he has a certain fan following and he is well suited to play roles like in Dostona,buy serious roles no way he can perform..
Well they will have to look forward to a lifetime of getting pissed off.. unless they of course take a cue from the Queen’s subjects in which case they can get drunk at the same time and enjoy their lives a little more..
But always a great feeling to know that one has so much control over the entire psychic lives of others!
Don’t think I have presented Abhishek as an ‘intellectual’ though much as I have never presented him as a scientist either.
to add to my long note above here’s the image I’ve used for ‘Auteur’s Corner’ today:
this is a wonderful shot from Raakh (1989). Even when I don’t like such a film completely (this isn’t true for Raakh, just making a point) it is this sort of image that can still make the film worthwhile for me. The same goes for a fine performance (Training Day is alright as a film but Denzel is fantastic in it) or a film that’s muddled but nonetheless has an interesting political subtext to it or in general something thought-provoking. If Game doesn’t work as a pure entertainer there’s nothing else to it. But with D6 there’s a lot else going on.
Patiala House grossed a poor 23.25 crore nett in its first week as per early estimates. The opening was also going to be low and so it was dependent on the family audience and had to really jump on Sunday or then show good weekday business but it failed on both accounts.
The film did not have much for the youth with Akshay Kumar in very sober role contrary to how his fans like him and the family audience have also rejected the film looking at business over the last 4-5 days.
Patiala House may just cross the 30 crore nett mark for its lifetime business which is poor performance at the box office and on the lines of films like Action Replayy and No Problem.
I did manage to catch PATIALA HOUSE and been meaning to write a full review, however the film is nowhere near as bad I was expecting it to be. Akshay Kumar gives a surprisingly restraint performance, however sadly, the one time he does do something different (for Akki that is) the audience isn’t there to show up. PATIALA HOUSE could’ve been a LOT more, and had the potential to be a really gripping and inspiring film, however it chooses to tread the path of WAQT/EK RISHTAA than say CHAK DE!
Nonetheless, it’s worth a watch for Akshay’s act, Anushkas charm and Rishi Kapoor’s OTT yet likeable performance. The comic elements are all reserved for the other cast members and Akshay barely speaks a few words.
It was annoying to see Dimple Kapidia doing the mum routine after DABANNG! She just doesn’t suit parts she’s getting!
Saat Khoon Maaf started on the lower side as most would expect. The opening was around 30-35% on average at multiplexes and 15-20% at single screens.
An interesting comparison will be No One Killed Jessica released a few weeks back which started lowly but picked up in the evening and went on to do well at the box office. That film was also heroine orientated and had a similar release though Saat Khoon Maaf does have the presence of known male stars in small roles while No One Killed Jessica had no male leads.
Saat Khoon Maaf will not score in single screens and will be dependent on multiplex business in the big cities.
The audience was almost entirely female and they seemed to be liking the film. Generally from what I’ve heard the film is releasing mainly in late night shows and with not the usual 5-6 shows like most films in Sydney, but more 2-3 shows. Not a bad strategy given it’s made for a niche audience.
Ps: It was somewhat freaky sitting in a cinema full of women laughing when Priyanka Chopra says towards the end “harr patni kabhi na kabhi to yeh sochti hai” LOL!
pacing has consistently been an issue for Bhardwaj… he often selects dynamic subjects but he doesn’t quite have the kinetic flair for them.. this was evident even in Kaminey,
wonderfully said! Though this is even more oddly paced than KAMINEY in that sense. I think Bharadwaj felt he may have gone “too commercial” with KAMINEY and makes a far more complex film hence the limited audience. A lot of sex and drugs will put off the family audience.
A few colleagues I saw the film with felt that the film should’ve been more impactful in the murder scenes, however that may have been a tad too cliche for Bharadwaj,…it’s simply not THAT film. Even the slightest heighten in the comic sequences would’ve ensured a more crowd-pleasing film, but Bharadwaj firmly keeps this balanced between a drama, black comedy and thriller (in that order).
the other way of looking at it is that he his pacing problems wouldn’t be as important if he were tonally more consistent. Now this (the tonal thing) isn’t an issue with Blue Umbrella or even Maqbool but Omkara and Kaminey both suffered from this. There are shifts in register in each case that work as parts but not quite as a ‘sum’. To be more precise Bhardwaj often tries to deconstruct the premises he’s set up in those very films!
Ha! Never saw it like that! I didn’t have much of a tonal problem with OMKARA-but KAMINEY definetly!
I do think there is a true classic within Bharadwaj, but he hasn’t quite got it yet. He did manage to extract a classic performance in MAQBOOL via Kapur, but the overall complete film is still missing.
On a side-note I think the biggest commercial “sell-out” in recent times has been Prakash Jha with RAAJNEETI! Even Nihlani with DEV didn’t quite bow to all commercial restraints, however RAAJNEETI simply didn’t hold any weightage other than being a Prakash Jha version of a Karan Johar film! I liked the film a lot don’t get me wrong, but it’s not a “great” film.
I hope he gets it right with AARAKSHAN, again the casting is brilliant here..
It is very difficult to please the folks at SS. Rajneeti was a perfrct blend of commercial and meaningful cinema.What is the point of making so called great films and burn yours as well as your producer’s house !!
I enjoyed Rajneeti a lot. But there’s a difference between this and Houseful! But aren’t you glad that Raj Kapoor’s house got burnt on MNJ or Guru Dutt’s on some of his films?! Even Karan Johar supports house burning when it comes to Silsila!
B.O. update: ’7 Khoon Maaf’ opens to lukewarm response
- By Taran Adarsh, February 18, 2011 – 17:10 IST
After PATIALA HOUSE last Friday, 7 KHOON MAAF opened to a thanda response across the country this morning. The business was shockingly low at single screens [8% to 10%], but slightly better at multiplexes [15% to 20%]. In fact, the industry was hopeful that 7 KHOON MAAF would garner 50% to 60% start at plexes due to three factors: [i] The song ‘Darling’ has become extremely popular, [ii] The terrific pre-release promotions and [iii] The credibility of Vishal Bhardwaj and Priyanka Chopra. But the poor figures, even at plexes, came as a shocker.
The audience feedback seems mixed, in fact completely in sync with what this writer wrote in the review ["the film will meet with diverse reactions - some will fancy it, while some will abhor it."]. It remains to be seen if the film is able to withstand the tough opposition posed by the World Cup cricket matches, which commence non-stop from tomorrow [Saturday] onwards.
7 Khoon Maaf: Bloody Poor Opening!
22 mins ago by Komal Nahta
As if the shock of the dull opening of Patiala House last week wasn’t bad enough for the trade, this week’s 7 Khoon Maaf struck another blow by its poor initial. Nobody had expected the Vishal Bhardwaj film to break box-office records on the opening day but what the know-alls in the industry had predicted was that it would at least open decently well in the good multiplexes of big cities like Bombay, Delhi, Bangalore, Pune, Ahmedabad, Hyderabad etc. Vishal Bhardwaj’s films have a loyal fan base and they watch his films irrespective of the box-office reviews. But this time over, things aren’t the same. Maybe, it has something to do with the film being female-oriented.
Everyone knows that in India, it is the male actors who command an opening, not the female stars. No One Killed Jessica may have been a happy exception but the rule is that heroes command an initial, heroines don’t. The Dar-r-r-r-ling song in ‘7 Khoon Maaf’ had already become very popular before the film’s release, which is also what led to the speculation that it would muster enough support on the first day. But what may have kept the audience away from the cinemas is the depressing nature of the film’s subject which has not been kept under wraps by the producers (UTV and Vishal Bhardwaj). After all, the prospect of watching a film in which a woman gets married seven times and kills her husbands one after another is not a very happy one!
7 Khoon Maaf: Dull Opening At Box-Office
The opening response to the Priyanka starrer has been so dull all over, whether in the big cities or in the smaller towns, that it has stunned the trade people. The worst part is that collections did not pick up much after the dull morning shows were over. This could well be a pointer to the public reports for the dark film.
they just start killing the film on the very first day itself. Not suggesting hits become flops for this reason but a certain tone is created right away that then becomes defining for the film. Proper hits or absolute flops don’t suffer from this narrative but everything in between usually does.
The collections of Patiala House were 75-80% down from its first day. The first day was around 4.15 crore nett and the 8th day has been business around the 1 crore nett range.
Saturday and Sunday should be a bit better but this will not help the second weekend much as it will come out at around 4 crore nett or maybe a bit higher.
The film has not even done that well in East Punjab as the lifetime share is unlikely to hit the 2 crore mark. In the first week the film got the benefit of Valentines Day on Monday and a holiday at places on Wednesday but still could not collect much.
No way Saturday will be better coz India V/s Bangladesh match is there…
This proves one thing…The likes of Sanjay Gadvi, Nikhil Advani and Soham Shah should have stuck to YRF or Dharma…One can understand who should get the credit for the success of movies like Dhoom series and KHNH etc…
Saat Khoon Maaf Poor Opening Patiala House Dull First Week
Saturday 19th February 2011 09.00 IST
Boxofficeindia.Com Trade Network
Saat Khon Maaf had a poor opening of 35% at multiplexes and 20% at single screens. The evening had a pick up but limited to select multiplexes. The film has a budget of around 24-25 crore and 6-7 cr p&a costs. It has been sold in Mumbai circuit and a couple other circuits fetching 9 crore in total wherever sold. The satellite and music rifgts has given good returns so recovery is possible for makers but theatrical business is unlikely to be strong due to dark theme and not encouraging reports.
Patiala House had a poor first week of around 23.25 crore nett. The film has managed to get good screen space in week 2 of around 6-7 shows at multiplexes despite the release of Saat Khoon Maaf but the film is not collecting well. FLOP
Yeh Saali Zindagi had a decent second week of around 3.25 crore nett taking its two week total to 10.75 crore nett. BELOW AVERAGE
Saat Khoon Maaf grossed around 3.35 crore nett on day one. The business was slightly higher than the similar No One Killed Jessica on day one but the release was also more extensive. The territorial breakdown is as follows.
that’s always the case Ted.. it’s a commercial business and the bar for different films succeeding is much higher. What offends me about the Indian ‘system’ is less the audience which is the same worldwide but more the lack of a critical apparatus that can sound sane about these things. So for example it’s perfectly fine to criticize SKM on various grounds but not if you have been giving terrible films great reviews just because you knew these were going to be box office hits. This is what does not happen in the US or elsewhere in the West. So alternative cinema would be criticized even over here but no one would praise regular fare unless they felt it deserved it. Dabanng isn’t a good example though because this is a pretty enjoyable film. But some of the other miserable stuff that gets good reviews because of top stars or whatever is a different matter. The box office is always a challenge in every age in every society. What makes a difference is intelligent commentary in these matters and basic sense that there is an essential difference between a film like SKM and Houseful irrespective of how each one does. But in Bombay all hits are alike, similarly all flops are the same. Both the media and especially the trade peddle this absurd line about the ‘public’ not being interested and throw around overused and abused terms like ‘common man’ and ‘aam junta’ and all such nonsense and play the populist card that way. Based on such reasoning the world wouldn’t have any great cinema because so much of it was in the initial round not successful from Citizen Kane to Guru Dutt. And of course they are also dishonest and cynical when they say these things because they don’t seriously have any such populist concerns. Far more than the box office this sort of thing matters more.
“Is all of this ‘intellectual arrogance’? YES! And it must be opposed to those bourgeois pretensions of speaking for the common man and so forth. In other words if Johar is making films for the ‘common man’ with IHLS and the like one should immediately adopt the most disdainful, supercilious attitude towards him. NOT BECAUSE he is making those films but because he dares to code them ideologically a certain way. You are not disallowed to make a film only for 10% of the country that frequents multiplexes. You are however forbidden to peddle a lie (but if you have to use propaganda.. precisely what those invested in the present have often done.. the classic example is SRK who constantly has to be asserted as a superstar, legend in Poland — the absurdities multiply — and what not.. this begs the question.. if he is everything that is claimed in such hyperbolic language, why does it constantly need to be asserted?!) This cinema is as ‘exclusive’ as any one can think of. What’s happened here is of the order of a magic trick. You make a film for 10-20% of the movie-going audience. You then make sure that you shut out the remaining 80% either with a certain set of themes and/or with a certain kind of pricing system. Now I’m not really arguing against Johar specifically but once more I use his name for the ‘worst’ symptom of everything that has been happening in ‘Bollywood’ for a while. And I am addressing some of the charges in this thread and a bit elsewhere earlier about ‘intellectual arrogance’ and so on. I’ve noted for just about forever that bourgeois audiences are very fond of referring to the ‘common man’ or the ‘masses’ and what not. They would really know!”
[“The change may not exactly go well with an Indian audience used to seeing feel good and lived-happily-ever-after endings.”
I always dislike such lines in reviews. The translation usually is — ‘I am the Indian audience I am pretending to identify’!
These abstractions have always had currency in India. From the one mentioned here to ‘the common man’ to ‘the poor man’ and so on. The ‘uncommon’ reviewers then proceed to speak of the ‘common man’. when the akshay Kumar comedy is enjoyed one only does so for the sake of this ‘common man’ for whom it is apparently the height of entertainment. The ‘uncommon’ reviewers are otherwise soaked in Ray and Adoor, as their writings always make apparent. Meanwhile the ‘common man’ such has he (never a common ‘woman’) might exist has more or less stopped watching Bollywood!]
I am incidentally not arguing against the notion of a ‘common’ viewer. Just that it laughable coming from those in Bollywood who’ve been responsible for nurturing a multiplex system that thematically and economically for predicated on shutting out a large share of the audience. The trade too celebrated all this stuff. Suddenly when it’s about SKM (or some such film) the ‘common man’ ghost is suddenly raised! Most people who visit multiplexes are not ‘common’ by Indian standards. They belong to some level of privilege or else they wouldn’t be able to afford those multiplexes! ‘Privilege’ here does not mean ‘rich’ or ‘important’ or any such thing but if you ask truly ‘common’ people in India they’ve stopped watching movies because they don’t find them affordable. And by the way even with people who can multiplexes disproportionately favor certain kinds of subjects. Because a younger audience dominates here followed by a certain family audience demographic. It’s very hard for films to prosper without appealing strongly to at least one of these segments. But even here the cross-section that likes Baghbaan is not likely to spend as much on it or watch it multiple times the way an audience that likes Dhoom would. People in their 50s or 60s and who might be more attracted to the former might not find it easily to cough up 150 or something even if it’s somewhat affordable for them. But for a younger audience this happens quite regularly. All of which makes for a very distorted system. Which is why despite the smaller films that are being made today and so much of the seemingly ‘different’ in evidence it’s hard to succeed with films even at the most minimal level that question the ideological assumptions of this class. And it is a very strongly ideological class that’s sprung up in the ‘new India’ of the 90s and beyond. Once upon a time there were absolute truths in cinema and these reflected where societies were. Today there is a breakdown in that sort of ‘compact’, which is good for many reasons, but it also leads to a kind of framework where one simply wants an affirmation of one’s lifestyle choices and one thinks this is as justifiable as anything else. Of course with these multiplex audiences I consider the politics to be regressive also.
To me films like Dil Chahta Hi is more entertaining than Dabaang. I didn’t find dabaang any special may be because 80% of South films belong to that category.
I was about to add that but then forgot.. I agree completely, from a Southern context Dabanng is unbelievably ordinary. I’m more familiar with Tamil contexts but the kind of masala they have here form retrograde old school to newer ‘upgraded’ slick is remarkable and has been for years. I actually think Ghajini (Hindi) was vastly superior to Dabanng for reasons I’ve pointed out before. And on DCH it is one of the best films of the last decade no doubts here. again vastly vastly better than Dabanng. All else being equal I would always prefer the masala film but it’s not equal here! I loved Ghajini (again more in Hindi because the Tamil didn’t seem particularly impressive within a Tamil context and there are a few things that the Hindi does better including the great climax moment with Aamir wandering in those alleys extensively) but I still would not take it over DCH (though and as I pointed out in my piece I think reading it with the notion that this represents a kind of excavation of the Bombay masala past makes for a much richer viewing).
when multiplexes emerged first in 2001 there was an expectation that this may led to better movies as now there will be audiences to it but so right through the decade overall the trend of cinema is disappointing to say the least
what excuses you may give when most of regional cinemas are continuously churning out better products and are making bollywood look mediocre
simply there is a lack of will power among the stars and directors of today for it
a hollywood ( though it itself churns out many mediocre movie ) always take its inspiration from books , real life incidends , literatures and natural landscape ….what excuse it will give when in india you that in abundance
“What offends me about the Indian ‘system’ is less the audience which is the same worldwide but more the lack of a critical apparatus that can sound sane about these things. So for example it’s perfectly fine to criticize SKM on various grounds but not if you have been giving terrible films great reviews just because you knew these were going to be box office hits. This is what does not happen in the US or elsewhere in the West.”
yup its particularly more disappointing to say the least
for e.g an oscar winning movie outside even before release gathers audiences to itself with that tag but in india even acclaimed movie hardly gathers audiences for itself
its hillarious to see other are doing our thing better than us
a slum dod was based on indian book
matrix trilogy on indian vedic system( matrix 2 even ended with sankrit sholaka) and very recently avatar
Just back from 7 Khoon Maaf. Very atmospheric. Works wonderfully through its production and sound design. Priyanka is good and so are all the co-actors…..Usha Uthup was a nice surprise . Loved all the husbands. The ending was very well-conceived and executed, giving the film its metaphoric soul.
I found it thoroughly engaging. Did not find the predictability a problem at all. A film that has the interval announcement as ‘ Four more to go..’ . obviously does not want to keep the impending murders as a suspense. True, the first half is breezier compared to the second, but that’s because it has the younger husbands and a younger Priyanka. And it isn’t all sombre and serious. The quirky characters and the little antics of Nick and Keemat Lal are amusing enough. I wish Gulzar’s shayaris for wasiulla Khan were a little more accessible though.
Contrary to what some critics have written, it is not a straight linear narrative. What gives the film its texture is its rich visual design, investing every scene with another layer of meaning. . The change of locales ( especially the snowy Kashmir) breaks the monotony. The character of Arun ( Vivan Shah), the photograph of the young Susan with her father in front of their Puducherry house, and the final dance….create a thread of meaning that ties the whole story together.
After I have seen the film and going over the reviews of people like Masand, Raja Sen and Khalid Mohammad convinces me that they dont understand a thing about abstraction. ( Masand gave No Smoking 0 stars and Dev D 2 stars.) Not surprising in a film world where Chak De is thought of as the height of creative achievement.
In terms of pure entertainment I enjoyed it more than the earlier three Bhardwaj films which seemed laboured and trying too hard to be good cinema or just cool. This one to me appeared more personal, more evolved, more well-rounded.
Good review. Similar to what i thought too.
Utkal, could you please explain the ending to me?
*spoiler*
Who was the seventh husband. I think, the way I saw the film this part was either edited out or I didn’t understand.
What i saw was that Suzanne becomes a nun, and comes for confession saying that she had some things to tell (the 6 murders) and then it ended.
Was there some symbolic meaning which I missed?
Thanks.
I have not seen the movie but if she becomes a nun then based on Catholic religion she marries Christ and that line about drinking his blood becomes relevant.
I just saw this article in which VB confirms my theory about marrying Jesus Christ.
How 7 Khoon gets murdered
Besides the script, it’s the choice of lead actress; Vishal Bhardwaj should instead stick to the world he is familiar with
Aseem Chhabra
Posted On Sunday, February 20, 2011
Vishal Bhardwaj is a very talented man. I will continue to maintain that despite what I am going to write here. He is also a very nice and an earnest man.
I can safely judge that despite the fact I have met him only a few times, including just this past week at the 61st Berlin International Film Festival.
So it is very disappointing to see a talented and a good man fail. I saw his 7 Khoon Maaf at the Berlinale.
A lot of hard work went into making the film. But I could not believe what was playing before me on the screen a long, tiresome narrative with no energy and no wow factor.
That is exactly what I had started to expect from the auteur Bhardwaj director of very mature adult films Maqbool, Omkara, Kaminey as well as his sweet children’s projects, Makdee and The Blue Umbrella.
The film is a long, tiresome narrative with no energy and no wow factor .
I have not read the source for the film Ruskin Bond’s story, but it is clear that 7 Khoon Maaf fails because of its script. In a rush to give an account of a woman who marries six or seven times, the film jumps from one narrative thread (read one man) to another in quick succession.
It still takes two-and-half hours for the film to unfold and that seems way too long. Despite the length, how Susanna meets her men and more importantly how she falls in love with them is often ignored or just glanced over.
The entire film is a flashback narrated by Arun (Vivaan Shah), but the audience needs to know more.
There is always space for black comedy. But how relevant or plausible is a story about a serial bride in our times? It is very odd to watch a film where a woman murders her six husbands, with the assistance of her four accomplices and each time manages to re-marry immediately thereafter.
The men are rotten, abusive characters, but she seems to have no guilt, no moral centre that would speak to her and remind her that these life patterns are very wrong.
The problem with the script gets compounded by the fact that Bhardwaj chose Priyanka Chopra to play the lead. Chopra is a very limited actress although she did shine when Bhardwaj guided her in Kaminey.
Bhardwaj has a track record of making stars shed their Bollywoodism and to immerse themselves into their characters. He got Saif Ali Khan and Kareena Kapoor to give their career best performances in Omkara.
In Kaminey, Chopra had a relatively small role. In 7 Khoon Maaf, Susanna’s character is too complex for Chopra. I did not care for Chopra’s Susanna from the beginning and that was a problem when she had five or six more husbands to kill.
On Thursday, Bhardwaj addressed a press conference in Berlin. He mentioned that while working on the 7 Khoon Maaf script, he quite by accident learned that nuns are “married” to Jesus Christ. This knowledge helped him work out the film’s ending.
My sense is that the world of Indian Catholics or Christianity in general, is a territory that is somewhat alien to Bhardwaj. And so he uses the standard Bollywood approach to represent Susanna’s Catholic existence.
A lot of Susanna’s daily life as well as her costumes, home, production design have a strong Bollywood tone to them. I felt I was back in the unreal, over-the-top world Sanjay Leela Bhansali created in Black.
Even the most talented creative people can have limits. Martin Scorsese excels in stories that explore the world of mafia, with dark menacing characters. But, with Kundan he stepped out of his comfort level to show the quieter world of Tibetan Buddhism and the Dalai Lama.
Kundan was an earnest film with a reverential tone, but it lacked a central drama, seemed quite boring and ended abruptly.
So my advice to Bhardwaj stick to the basics and the worlds you are familiar with. You can still surprise us with many more stories you will find in those worlds.
She’s been declared dead earlier so I guess this was a good solution spiritually.
It might mean something when related to religious theory I guess instead of a copout.
I did read a couple of reviews posted here who tended to call the end as silly as the religion.
So I think it involves some great understanding of another’s religion.
And those who don’t believe in religion might be disappointed.
One can’t please all I guess.
Watched 7 khoon maaf yesterday and the first thing that came to my mind was why the hell it was given low ratings by many of the well known reviewers we have..
Agreed that many may not find it particularly entertaining but this one leaves its effect upon you.. the cinematography, visuals and direction are such that would linger in your mind for long ..
This one as a subject could have faltered badly had any other regular director bothered to make it.. but VB adds lots of layers to it..
Pretty good film. Annu Kapoor was the best.. Priyanka’s makeup was a tad better than her performance, which itself wasnt bad after all
Saat Khoon Maaf had similar business on Saturday when compared with Friday. It was fair business on Saturday as most expected the film would fall 20% or so on Saturday due to the first World Cup which featured India.
The collections were around 3.35 crore nett approx on Saturday while Friday was 3.30 crore nett approx.
The business on Saturday was up in the metroes but fell at other centres. Surprisingly Kolkata showed a good jump and that is known to be a cricket lowing city.
now that is hard to defend.. the film was visually interesting at points, specially in the second half, the idea of a ‘reluctant’ superhero was also an interesting choice. But the whole thing was so terribly executed that it was near-impossible to sit through the film. Did like one moment a lot in the second half where Abhishek plunges into a dark river to get to a tree at the other side and encounters ghosts in the water. The other problem here was that Goldie Behl couldn’t decide whether this was a superhero film or more of a ‘mythic’ landscape. Similarly there were moments here that seemed out of the Arabian Nights. It was a horrible mess of a film. Could have been great had it been handled by the right director. And of course this was a big blunder on Abhishek’s part because one ought not to trust a relatively inexperienced director with this sort of subject.
7 Khoon Maaf Box-Office: Rs 10.5 Crore Weekend
6 hours ago by Komal Nahta
Priyanka Chopra’s 7 Khoon Maaf had very low collections at the box-office with Rs. 10.5 crore (Rs. 105 million) in all-India box-office nett collections in its first weekend.
Saat Khoon Maaf has underperformed over its first weekend. The collections are in the 10.25-10.50 crore nett region. The approx breakdowns were 3.30 crore nett on Friday, 3.35 crore nett on Saturday and 3.75 crore nett on Sunday. Friday and Saturday can be called okay but a very limited jump on Sunday does not go well for its business in the long run.
The film will probably do a 15 crore nett first week. The territorial breakdown is as follows.
Saat Khoon Maaf dropped badly on Monday with business around 1.50 crore nett. The low business on Sunday hinted at a Monday drop and that is what has happened.
The Monday business is 55% lower than Friday and the week seems to be heading for 15 crore nett business as weekday business looks to add around around 4.25-4.50 crore nett. Delhi/UP was steadiest with 45% drop.
Overall its a disappointing performance, in fact after the first two weeks of the year its been a poor box office run for all films and its down to Tanu Weds Manu to finish on a high note before we go into the lull period due to the World Cup.
Patiala House Has 4-4.25 Crore Nett Second Weekend
Tuesday 22nd February 2011 12.00 IST
Boxofficeindia.Com Trade Network
Patiala House grossed around 4-4.25 crore nett in its second weekend. The drop from first weekend is around 75%. The approx breakdowns were 90 lakhs on Friday, 1.45 crore nett on Saturday and 1.75 crore nett on Sunday.
The film has grossed around 28.50 crore nett after ten days and after the second week the film will have around 30.50 crore nett.
The film should finish with around 33 crore nett business, even 35 crore nett can be a possibility as there will be no major releases after this week so the film can hang around at theatres through March.
If the 35 crore nett mark is reached its still poor fare. Akshay Kumar’s successful ventures like Housefull and Tees Maar Khan last year did much more Patiala House will not be much better than Action Replayy which was also a poor far.
Nothing sells like success in Bollywood. Why else would distributors choose Salman Khan’s next release over Hrithik Roshan’s upcoming film? Khan’s bumper hit Dabangg has resulted in him winning the race to have his film, Ready, released before Roshan’s Zindagi Milegi Na Dobara (ZMND). Initially, both films were set to clash on May 27.
It is believed that distributors were worried about two big movies releasing on the same day. Apparently, certain distributors also tried speaking to producers of both the films to avoid a clash. However, the makers weren’t willing to budge.
Suddenly, news came in about Excel Movies postponing ZMND to June 23. Trade sources say the release date of ZMND might have been postponed because a large chunk of distributors, especially from the smaller centers, were more excited about Ready rather than Hrithik’s ZMND.
Salman Khan“After Dabangg, Salman is a huge star at the box-office while Hrithik’s last two films, Kites and Guzaarish flopped miserably. Also, Zoya Akhtar’s first film Lucky By Chance was a flop. Distributors wanted a solo release for Ready because they feel the film is safer than ZMND, which looks like a niche film,” says a senior film distributor, not wishing to be named.
However, ZMND producer Ritesh Sidhwani says that the film has been postponed to June 23 because “it won’t be complete” by May. “I seriously don’t know anything about distributors from smaller or bigger centers preferring Ready over our film,” says Sidhwani, who has been in Malaysia for several days for the shooting of Don 2.
“As far as I know, one major distribution firm handles the distribution. And if Ready stars Salman Khan, our film also has a number of big names such as Hrithik, Abhay (Deol) and Katrina (Kaif). Plus, Salman is like family to us. So, there’s no question of competing with his films,” adds Sidhwani.
A Delhi-based distributor says that Salman has always been the “god of smaller centers.” He says, “After Dabangg, he has become a huge star with the masses. No other actor, including Hrithik, can compete with him in that space. Naturally, Salman’s Ready, thanks to Wanted and Dabangg, inspires more confidence than ZMND.”
Interestingly, Ready too has been postponed to June 3 to avoid clashing with the Indian Premier League finals on May 29. “Due to the IPL finals being postponed, the release date of Ready has now been pushed,” says producer Bhushan Kumar.
It may be recalled that Khan had earlier stated: “film (Guzaarish) ko ek kutta bhi dekhne nahi gaya” (not even a dog went to watch the film). Hrithik had retorted, “It’s not heroic to laugh or make fun of a filmmaker just because his box-office collections are not up there with yours (referring to Dabangg). In my opinion a hero never gloats. When you are super-successful, it should make you more gracious and loving. This is the time one should use to turn even enemies into friends… just give love, not laugh at others. By the time I finish this sentence, I would have already forgiven his words, because I know deep inside he only has love for me and this must have been just a momentary lapse of judgment. Will expect a big hug the next time I meet him.”
A few weeks ago, it was reported that Salman, buoyant with his Dabangg success, had decided to lock horns with Hrithik at the box-office and asked producer Bhushan Kumar to release the film on May 27, along with ZMND.
I must point out again that Salman never made any comment whatsoever about Guzaarish. The “kutta” quote above was about his own film, Phir Milenge. I have posted the link to the video of his remarks earlier. I don’t know why the media persist in perpetuating these proven lies. (Well, I guess I do know why.)
Is it the World Cup effect? Or should the disappointing theatrical business of 7 KHOON MAAF be attributed to its erratic writing? In my opinion, it’s a mix of both. Thoda cricket mania, thoda demerits. There was tremendous curiosity to watch 7 KHOON MAAF prior to its release. Plus, the credibility that Vishal Bhardwaj has built over the years ensured that a good chunk of movie-going audience would make a beeline to theatres to watch his latest creation on celluloid. A catchy title, a quirky plotline, novel promotional strategies that caught one’s attention and of course, the popularity of ‘Darling’… 7 KHOON MAAF had several factors going in its favor. But box-office is most unpredictable, isn’t it?
If PATIALA HOUSE sent shock waves last Friday thanks to its low occupancy, the sad opening numbers of 7 KHOON MAAF, another biggie helmed by a reputed director, brought grief to the industry. The initial reactions ranged from shock to disbelief, since the occupancy was at par, at places even lower, than last week’s PATIALA HOUSE. It seemed like the audience had already made up its mind to skip the film, even before the word of mouth was out. A leading North India distributor had, in fact, told me before its release that the film will enjoy limited patronage in his circuit because the mindset is still traditional and the womenfolk wouldn’t really fancy a theme that depicted a woman marrying multiple times… and killing the husbands as well.
One expected the multiplex junta to react far more positively, patronize the film in good numbers, but barring a handful of plexes, where the film drew decent audiences, the response at the plexes in general was equally disheartening. After a weak start on Friday, the business picked up marginally on Saturday, while Sunday showed some good improvement. But the business slipped considerably on Monday and Tuesday.
Now let’s discuss the economics! UTV has sold a few territories, while the corporate house is distributing the film in the balance territories itself. However, given the texture of the film, the recovery from India theatrical and Overseas wouldn’t be much. The film will have to rely on Satellite and Music Rights [combined price: 11] to recover the investment. But the recovery seems remote and the losses are guaranteed.
The remaining two releases, KACCHA LIMBOO and MASTI EXPRESS, grossed negligible figures.
Tanu Weds Manu: Profit All The Way
2 hours ago by Komal Nahta
Tanu Weds Manu, this week’s biggest Bollywood release, is going to prove a profitable venture for all concerned. Let’s take a look at the economics and at the expected revenue breakdown of the film.
R. Madhavan, Kangana Ranaut (Tanu Weds Manu Movie Wallpaper)
Tanu Weds Manu: Budget
The R. Madhavan – Kangana Ranaut starrer was produced at the cost of Rs. 11.25 crore (Rs. 112.5 million), while another Rs. 6.25 crore (Rs. 62.5 crore) was spent on the print and publicity costs of the film. This takes the total investment in the film to an estimated Rs. 17.5 crore (Rs. 175 million) only.
Since ‘Tanu Weds Manu’ has been made on a medium budget, and the sale of the film’s satellite rights will rake in an approx. Rs. 10 crore; in order to break even, the film’s producers will have to recover only Rs. 8 crore from combined theatrical revenues (India and Overseas) and from the sale of music rights. Given the positive buzz the film has created, this is going to be a cakewalk. Hence, the film is expected to be a profitable venture for all concerned.
Cost (Production) Friday Collections
Cost (Print and Publicity) 3.1
Total Cost 17.50 crore
Estimated Satellite Revenues 10 crore
Combined Revenues required to Break Even 8 crore
February 18, 2011 at 8:41 AM
Just finished 7 KHOON MAAF and enjoyed it a LOT! After KAMINEY, a 7 KHOON MAAF was absolutely necessary for Bharadwaj!
An odd black thriller and quirky comedy in one the film is an experience and a marvel at the same time. One has to appreciate Bharadwaj again for making a film with complete conviction and it’s this conviction as well as detail that makes 7 KHOON MAAF such a pleasure to watch.
The film is badly paced, everything isn’t always explained, however one is oddly magnetically engaged through-out. Priyanka Chopra delivers a knock-out performance as Susanna! The 7 lead males range from excellent to no impact at all.
The absolutely scene-stealer is Annu Kapoor who is simply remarkable here! I’ve always held Annu in high regard as an actor and this film confirms why he’s one of the finest actors we have in Indian cinema today. Kudos to Bharadwaj for bringing another legendary actor to the fore in a knockout performance after Kapur in MAQBOOL!
Neil Nitin Mukesh makes a surprisingly effective negative role after JOHNNY GADDAR and proves yet again why he’s better off as an anti-hero/villain.
John Abraham leaves no mark at all and in a dud performance.
Nasseridian Shah and the Russan actor are both apt in their role. Vivaan Shah springs a surprise in a wicked debut performance. Konkona hardly has much of a role. It would’ve been awesome to see Mohanlal in this mix as it really is an odd one.
I don’t see this doing much at the box-office at all BTW….however like I said, after KAMINEY, a 7 KHOON MAAF was necessary for Bharadwaj….
February 18, 2011 at 8:43 AM
This isn’t a “thriller” in the sense it’s a movie about a serial killer who kills 7 husbands which moves at a break-neck pace and the cop is chasing the killer…no…it’s far more complex and far more detailed painting a portrait of a woman who goes through a life-time of pain and slowly turns into a killer, Chopra proves yet again why she’s hand down better than Kareena Kapoor! Her range is incredible here…..
February 18, 2011 at 8:47 AM
good to hear.. thanks for your thoughts..
February 18, 2011 at 8:51 AM
I plan on getting my hands on the novel too, I think Bharadwaj has made what I usually term a “creeper”..a film that grows appreciation over time!
February 19, 2011 at 10:47 AM
Rangan’s review
http://baradwajrangan.wordpress.com/2011/02/19/review-7-khoon-maaf-58758537575/
February 19, 2011 at 11:13 AM
Damn, I was planning to go tonight!! may be we will go to PH instead…..
February 19, 2011 at 11:43 AM
http://satyamshot.wordpress.com/2011/02/17/enter-patiala-house-at-your-own-risk-unless-the-alternative-is-bollywood/
February 19, 2011 at 11:47 AM
I can’t imagine you would have seen this movie on the big screen???
February 19, 2011 at 11:48 AM
no the producers were kind enough to send me a copy for awards consideration.
February 19, 2011 at 11:52 AM
Crap then you have been compromised and we can not take your review at face value !1 LOL
February 19, 2011 at 11:57 AM
yes I do admit I might have missed out on some of the stellar cinematography at home..
personally and even after seeing all the reviews I would any day watch SKM in the theater!
February 19, 2011 at 11:18 AM
Rangan is enlightening as always..
February 19, 2011 at 11:52 AM
I like the title- My Bloody Valentine !!
February 19, 2011 at 11:41 AM
on Rangan someone brought it up here recently and I forgot to address it then but it seems like Rangan has begun a rating system somewhere on his blog where he’s assigned stars to all the films he’s reviewed. I haven’t looked into it in any detail because the writeups mean far more to me than stars and I’ve never been persuaded much about the latter metric anyway and in any context. But there was the attempt to smear Rangan because he seemed to have given a number of Abhishek films high ratings including JBJ which he’s always been a fan of. When I used to be on NG there were some who tried to do this over there as well. Because they couldn’t stand the fact that he gave some glowing reviews to Abhishek films that otherwise flopped and less than stellar ones to some SRK films including CDI. As always this is the extent of the agenda for most people and it’s particularly amusing to see those who are most driven by a program in this sense to accuse others of doing something similar.
But unless one is a huge anti-Abhishek partisan there is nothing very surprising about those reviews. Because Abhishek has more often than not tried to do interesting stuff. You can judge films like D6 or Raavan to be failures at some or many levels but if you think there is nothing worthwhile in them and on the other if you suddenly start praising RNBDJ or Houseful to the skies then there is something wrong with your sensibility! Of course there is also partisanship involved here because most who celebrate certain films only for box office reasons and want to restrict the debate to this when their stars are not seen in prestige films suddenly become the greatest fans of the latter when those stars land themselves an interesting film. On the other hand you don’t see Abhishek fans generally celebrating Italian Job or whatever even when they concede he needs the box office benefits of these films. Similarly very few Aamir fans celebrated Fanaa even though it was still better than most of the other stuff out there then or today. There is an Aamir dimension to the story in any case. He does a million different films but the moment he does something regular he’s presented as a sell-out. Meanwhile when he does different he’s called a fake and suddenly RDB becomes a very regular film. So in a certain partisan view of the world no one ever gets any credit.
In any case it’s not too hard to at least partially like many of the films Abhishek does or most of the stuff Aamir does. Because these actors are not likely to do Dhoom all the time. Abhishek currently is doing many more commercial films than he’s done at any time since ’05 and for obvious reasons (I think he can be forgiven for this) but he’s still signing on with Bhansali or Balki or RGV. All of which are questionable in box office terms though Balki is safest at the lower end of things. But no one including myself is celebrating Bazmee or Rohit Shetty or whatever! Yes it makes a statement about his standing that despite all the failures he can get these projects going but that’s a different argument. Aamir fans by and large did not celebrate D3 though again it obviously was a huge commercial statement. So there is nothing mysterious about all of this unless one is a total partisan. With many of the SRK fans (especially so with this group) there is the old political game of trying to destroy the reputation of anyone who cannot be argued with on the merits. So it’s like ‘see Rangan likes JBJ and doesn’t like CDI that much, this shows what a Bachchan fan he is’! It’s this sort of ridiculous discussion which becomes operative when the truth is far more obvious. I for example celebrate many Abhishek and Aamir films for the very same reason. I also celebrate Dil Se all the time. I liked SRK in MNIK and didn’t find the film too bad either. as long as an actor attempts something even relatively out of the box you can find some value in a film. With the partisans it’s like you start bringing down Mehra if he does a film with Abhishek or Aamir! It becomes a completely dishonest argument. if I’m a big fan of Rathnam I cannot suddenly stop being one if he works with SRK! Because that sort of partisanship has to also deny the truth. It’s not enough to dislike the actor (which by the way is rarely admitted in the first place.. you pretend it’s about other things), one must start deconstructing everything the actor does which then divorces one completely from logic and sanity. One can say the most idiotic things on anything in life and have some people in agreement. That hardly ought to be the test for the merits of an argument!
To get back to Rangan I might disagree with him on many points but I never find him incoherent. I can see where he’s coming from. Similarly those who support a certain kind of film do so irrespective of the actor. But some actors put themselves out in this sense more than others. It’s not more complicated than this. And if one has a problem with it one should either identify oneself as a Philistine or switch preferences when it comes to one’s favorites. I have every right to enjoy Will Smith films as long as I don’t operate under the delusion that this is Scorsese’s cinema! If I want Will Smith to be respected like Depp or DeNiro or DiCaprio as an actor or for his films well then it’s entirely my problem!
February 20, 2011 at 9:35 AM
I feel most of the anti Abhishek posts are because of the way u are trying to prove Abhishek as a great intellectual and great actor.This really pisses of people,because most of people find it difficult to accept Abhishek as a good actor.There is no denying that he has a certain fan following and he is well suited to play roles like in Dostona,buy serious roles no way he can perform..
February 20, 2011 at 9:39 AM
“This really pisses of people”
Well they will have to look forward to a lifetime of getting pissed off.. unless they of course take a cue from the Queen’s subjects in which case they can get drunk at the same time and enjoy their lives a little more..
But always a great feeling to know that one has so much control over the entire psychic lives of others!
Don’t think I have presented Abhishek as an ‘intellectual’ though much as I have never presented him as a scientist either.
February 19, 2011 at 11:54 AM
to add to my long note above here’s the image I’ve used for ‘Auteur’s Corner’ today:
this is a wonderful shot from Raakh (1989). Even when I don’t like such a film completely (this isn’t true for Raakh, just making a point) it is this sort of image that can still make the film worthwhile for me. The same goes for a fine performance (Training Day is alright as a film but Denzel is fantastic in it) or a film that’s muddled but nonetheless has an interesting political subtext to it or in general something thought-provoking. If Game doesn’t work as a pure entertainer there’s nothing else to it. But with D6 there’s a lot else going on.
February 19, 2011 at 12:02 PM
great Image and agree on training day..
February 18, 2011 at 8:44 AM
Patiala House Has Poor First Week
Friday 18th February 2011 09.00 IST
Boxofficeindia.Com Trade Network
Patiala House grossed a poor 23.25 crore nett in its first week as per early estimates. The opening was also going to be low and so it was dependent on the family audience and had to really jump on Sunday or then show good weekday business but it failed on both accounts.
The film did not have much for the youth with Akshay Kumar in very sober role contrary to how his fans like him and the family audience have also rejected the film looking at business over the last 4-5 days.
Patiala House may just cross the 30 crore nett mark for its lifetime business which is poor performance at the box office and on the lines of films like Action Replayy and No Problem.
February 18, 2011 at 9:26 AM
I did manage to catch PATIALA HOUSE and been meaning to write a full review, however the film is nowhere near as bad I was expecting it to be. Akshay Kumar gives a surprisingly restraint performance, however sadly, the one time he does do something different (for Akki that is) the audience isn’t there to show up. PATIALA HOUSE could’ve been a LOT more, and had the potential to be a really gripping and inspiring film, however it chooses to tread the path of WAQT/EK RISHTAA than say CHAK DE!
Nonetheless, it’s worth a watch for Akshay’s act, Anushkas charm and Rishi Kapoor’s OTT yet likeable performance. The comic elements are all reserved for the other cast members and Akshay barely speaks a few words.
It was annoying to see Dimple Kapidia doing the mum routine after DABANNG! She just doesn’t suit parts she’s getting!
It’s a DVD watch then one for the cinemas!
February 18, 2011 at 8:45 AM
Saat Khoon Maaf Starts On The Lower Side
Friday 18th February 2011 14.00 IST
Boxofficeindia.Com Trade Network
Saat Khoon Maaf started on the lower side as most would expect. The opening was around 30-35% on average at multiplexes and 15-20% at single screens.
An interesting comparison will be No One Killed Jessica released a few weeks back which started lowly but picked up in the evening and went on to do well at the box office. That film was also heroine orientated and had a similar release though Saat Khoon Maaf does have the presence of known male stars in small roles while No One Killed Jessica had no male leads.
Saat Khoon Maaf will not score in single screens and will be dependent on multiplex business in the big cities.
February 18, 2011 at 8:50 AM
The audience was almost entirely female and they seemed to be liking the film. Generally from what I’ve heard the film is releasing mainly in late night shows and with not the usual 5-6 shows like most films in Sydney, but more 2-3 shows. Not a bad strategy given it’s made for a niche audience.
Ps: It was somewhat freaky sitting in a cinema full of women laughing when Priyanka Chopra says towards the end “harr patni kabhi na kabhi to yeh sochti hai” LOL!
February 18, 2011 at 9:04 AM
pacing has consistently been an issue for Bhardwaj… he often selects dynamic subjects but he doesn’t quite have the kinetic flair for them.. this was evident even in Kaminey,
February 18, 2011 at 9:17 AM
wonderfully said! Though this is even more oddly paced than KAMINEY in that sense. I think Bharadwaj felt he may have gone “too commercial” with KAMINEY and makes a far more complex film hence the limited audience. A lot of sex and drugs will put off the family audience.
A few colleagues I saw the film with felt that the film should’ve been more impactful in the murder scenes, however that may have been a tad too cliche for Bharadwaj,…it’s simply not THAT film. Even the slightest heighten in the comic sequences would’ve ensured a more crowd-pleasing film, but Bharadwaj firmly keeps this balanced between a drama, black comedy and thriller (in that order).
February 18, 2011 at 9:25 AM
the other way of looking at it is that he his pacing problems wouldn’t be as important if he were tonally more consistent. Now this (the tonal thing) isn’t an issue with Blue Umbrella or even Maqbool but Omkara and Kaminey both suffered from this. There are shifts in register in each case that work as parts but not quite as a ‘sum’. To be more precise Bhardwaj often tries to deconstruct the premises he’s set up in those very films!
February 18, 2011 at 9:31 AM
Ha! Never saw it like that! I didn’t have much of a tonal problem with OMKARA-but KAMINEY definetly!
I do think there is a true classic within Bharadwaj, but he hasn’t quite got it yet. He did manage to extract a classic performance in MAQBOOL via Kapur, but the overall complete film is still missing.
On a side-note I think the biggest commercial “sell-out” in recent times has been Prakash Jha with RAAJNEETI! Even Nihlani with DEV didn’t quite bow to all commercial restraints, however RAAJNEETI simply didn’t hold any weightage other than being a Prakash Jha version of a Karan Johar film! I liked the film a lot don’t get me wrong, but it’s not a “great” film.
I hope he gets it right with AARAKSHAN, again the casting is brilliant here..
February 19, 2011 at 12:01 PM
It is very difficult to please the folks at SS. Rajneeti was a perfrct blend of commercial and meaningful cinema.What is the point of making so called great films and burn yours as well as your producer’s house !!
February 19, 2011 at 12:03 PM
I enjoyed Rajneeti a lot. But there’s a difference between this and Houseful! But aren’t you glad that Raj Kapoor’s house got burnt on MNJ or Guru Dutt’s on some of his films?! Even Karan Johar supports house burning when it comes to Silsila!
February 18, 2011 at 9:02 AM
B.O. update: ’7 Khoon Maaf’ opens to lukewarm response
- By Taran Adarsh, February 18, 2011 – 17:10 IST
After PATIALA HOUSE last Friday, 7 KHOON MAAF opened to a thanda response across the country this morning. The business was shockingly low at single screens [8% to 10%], but slightly better at multiplexes [15% to 20%]. In fact, the industry was hopeful that 7 KHOON MAAF would garner 50% to 60% start at plexes due to three factors: [i] The song ‘Darling’ has become extremely popular, [ii] The terrific pre-release promotions and [iii] The credibility of Vishal Bhardwaj and Priyanka Chopra. But the poor figures, even at plexes, came as a shocker.
The audience feedback seems mixed, in fact completely in sync with what this writer wrote in the review ["the film will meet with diverse reactions - some will fancy it, while some will abhor it."]. It remains to be seen if the film is able to withstand the tough opposition posed by the World Cup cricket matches, which commence non-stop from tomorrow [Saturday] onwards.
February 18, 2011 at 10:38 AM
7 Khoon Maaf: Bloody Poor Opening!
22 mins ago by Komal Nahta
As if the shock of the dull opening of Patiala House last week wasn’t bad enough for the trade, this week’s 7 Khoon Maaf struck another blow by its poor initial. Nobody had expected the Vishal Bhardwaj film to break box-office records on the opening day but what the know-alls in the industry had predicted was that it would at least open decently well in the good multiplexes of big cities like Bombay, Delhi, Bangalore, Pune, Ahmedabad, Hyderabad etc. Vishal Bhardwaj’s films have a loyal fan base and they watch his films irrespective of the box-office reviews. But this time over, things aren’t the same. Maybe, it has something to do with the film being female-oriented.
Everyone knows that in India, it is the male actors who command an opening, not the female stars. No One Killed Jessica may have been a happy exception but the rule is that heroes command an initial, heroines don’t. The Dar-r-r-r-ling song in ‘7 Khoon Maaf’ had already become very popular before the film’s release, which is also what led to the speculation that it would muster enough support on the first day. But what may have kept the audience away from the cinemas is the depressing nature of the film’s subject which has not been kept under wraps by the producers (UTV and Vishal Bhardwaj). After all, the prospect of watching a film in which a woman gets married seven times and kills her husbands one after another is not a very happy one!
7 Khoon Maaf: Dull Opening At Box-Office
The opening response to the Priyanka starrer has been so dull all over, whether in the big cities or in the smaller towns, that it has stunned the trade people. The worst part is that collections did not pick up much after the dull morning shows were over. This could well be a pointer to the public reports for the dark film.
February 18, 2011 at 10:39 AM
they just start killing the film on the very first day itself. Not suggesting hits become flops for this reason but a certain tone is created right away that then becomes defining for the film. Proper hits or absolute flops don’t suffer from this narrative but everything in between usually does.
February 18, 2011 at 12:00 PM
agreed
February 19, 2011 at 1:30 AM
Top 5: ‘Patiala House’ is way below the mark
February 19, 2011 at 1:36 AM
Patiala House Falls 75-80% On 8th Day
Saturday 19th February 2011 12.00 IST
Boxofficeindia.Com Trade Network
The collections of Patiala House were 75-80% down from its first day. The first day was around 4.15 crore nett and the 8th day has been business around the 1 crore nett range.
Saturday and Sunday should be a bit better but this will not help the second weekend much as it will come out at around 4 crore nett or maybe a bit higher.
The film has not even done that well in East Punjab as the lifetime share is unlikely to hit the 2 crore mark. In the first week the film got the benefit of Valentines Day on Monday and a holiday at places on Wednesday but still could not collect much.
February 19, 2011 at 2:25 AM
“Saturday and Sunday should be a bit better”
No way Saturday will be better coz India V/s Bangladesh match is there…
This proves one thing…The likes of Sanjay Gadvi, Nikhil Advani and Soham Shah should have stuck to YRF or Dharma…One can understand who should get the credit for the success of movies like Dhoom series and KHNH etc…
February 19, 2011 at 1:37 AM
Saat Khoon Maaf Poor Opening Patiala House Dull First Week
Saturday 19th February 2011 09.00 IST
Boxofficeindia.Com Trade Network
Saat Khon Maaf had a poor opening of 35% at multiplexes and 20% at single screens. The evening had a pick up but limited to select multiplexes. The film has a budget of around 24-25 crore and 6-7 cr p&a costs. It has been sold in Mumbai circuit and a couple other circuits fetching 9 crore in total wherever sold. The satellite and music rifgts has given good returns so recovery is possible for makers but theatrical business is unlikely to be strong due to dark theme and not encouraging reports.
Patiala House had a poor first week of around 23.25 crore nett. The film has managed to get good screen space in week 2 of around 6-7 shows at multiplexes despite the release of Saat Khoon Maaf but the film is not collecting well. FLOP
Yeh Saali Zindagi had a decent second week of around 3.25 crore nett taking its two week total to 10.75 crore nett. BELOW AVERAGE
February 19, 2011 at 6:09 AM
SKM is a terrible film Its BO numbers are going to make PH look good LOL
The worst occupancy I’ve ever seen in the cinema I go to last night for any Bwood film SAD
February 19, 2011 at 9:13 AM
Saat Khoon Maaf First Day Business
Saturday 19th February 2011 14.00 IST
Boxofficeindia.Com Trade Network
Saat Khoon Maaf grossed around 3.35 crore nett on day one. The business was slightly higher than the similar No One Killed Jessica on day one but the release was also more extensive. The territorial breakdown is as follows.
Mumbai – 1.35 crore
Delhi/UP – 73 lakhs
East Punajb – 33 lakhs
West Bengal – 15 lakhs
CP Berar – 11 lakhs
CI – 9 lakhs
Rajasthan – 9 lakhs
Nizam – 16 lakhs
Mysore – 19 lakhs
Others – 12 lakhs
TOTAL – 3.32 crore
February 19, 2011 at 9:23 AM
It is sad to see Mani, SLB, Gowrikar and VB’s films failing. It looks good cinema is losing for Dabanngs and Golmaals.
February 19, 2011 at 9:36 AM
that’s always the case Ted.. it’s a commercial business and the bar for different films succeeding is much higher. What offends me about the Indian ‘system’ is less the audience which is the same worldwide but more the lack of a critical apparatus that can sound sane about these things. So for example it’s perfectly fine to criticize SKM on various grounds but not if you have been giving terrible films great reviews just because you knew these were going to be box office hits. This is what does not happen in the US or elsewhere in the West. So alternative cinema would be criticized even over here but no one would praise regular fare unless they felt it deserved it. Dabanng isn’t a good example though because this is a pretty enjoyable film. But some of the other miserable stuff that gets good reviews because of top stars or whatever is a different matter. The box office is always a challenge in every age in every society. What makes a difference is intelligent commentary in these matters and basic sense that there is an essential difference between a film like SKM and Houseful irrespective of how each one does. But in Bombay all hits are alike, similarly all flops are the same. Both the media and especially the trade peddle this absurd line about the ‘public’ not being interested and throw around overused and abused terms like ‘common man’ and ‘aam junta’ and all such nonsense and play the populist card that way. Based on such reasoning the world wouldn’t have any great cinema because so much of it was in the initial round not successful from Citizen Kane to Guru Dutt. And of course they are also dishonest and cynical when they say these things because they don’t seriously have any such populist concerns. Far more than the box office this sort of thing matters more.
February 19, 2011 at 9:39 AM
some related points here;
http://satyamshot.wordpress.com/2010/07/14/thats-entertainment/
February 19, 2011 at 9:43 AM
and part of an older comment:
“Is all of this ‘intellectual arrogance’? YES! And it must be opposed to those bourgeois pretensions of speaking for the common man and so forth. In other words if Johar is making films for the ‘common man’ with IHLS and the like one should immediately adopt the most disdainful, supercilious attitude towards him. NOT BECAUSE he is making those films but because he dares to code them ideologically a certain way. You are not disallowed to make a film only for 10% of the country that frequents multiplexes. You are however forbidden to peddle a lie (but if you have to use propaganda.. precisely what those invested in the present have often done.. the classic example is SRK who constantly has to be asserted as a superstar, legend in Poland — the absurdities multiply — and what not.. this begs the question.. if he is everything that is claimed in such hyperbolic language, why does it constantly need to be asserted?!) This cinema is as ‘exclusive’ as any one can think of. What’s happened here is of the order of a magic trick. You make a film for 10-20% of the movie-going audience. You then make sure that you shut out the remaining 80% either with a certain set of themes and/or with a certain kind of pricing system. Now I’m not really arguing against Johar specifically but once more I use his name for the ‘worst’ symptom of everything that has been happening in ‘Bollywood’ for a while. And I am addressing some of the charges in this thread and a bit elsewhere earlier about ‘intellectual arrogance’ and so on. I’ve noted for just about forever that bourgeois audiences are very fond of referring to the ‘common man’ or the ‘masses’ and what not. They would really know!”
February 19, 2011 at 9:46 AM
and again:
[“The change may not exactly go well with an Indian audience used to seeing feel good and lived-happily-ever-after endings.”
I always dislike such lines in reviews. The translation usually is — ‘I am the Indian audience I am pretending to identify’!
These abstractions have always had currency in India. From the one mentioned here to ‘the common man’ to ‘the poor man’ and so on. The ‘uncommon’ reviewers then proceed to speak of the ‘common man’. when the akshay Kumar comedy is enjoyed one only does so for the sake of this ‘common man’ for whom it is apparently the height of entertainment. The ‘uncommon’ reviewers are otherwise soaked in Ray and Adoor, as their writings always make apparent. Meanwhile the ‘common man’ such has he (never a common ‘woman’) might exist has more or less stopped watching Bollywood!]
February 19, 2011 at 9:57 AM
I am incidentally not arguing against the notion of a ‘common’ viewer. Just that it laughable coming from those in Bollywood who’ve been responsible for nurturing a multiplex system that thematically and economically for predicated on shutting out a large share of the audience. The trade too celebrated all this stuff. Suddenly when it’s about SKM (or some such film) the ‘common man’ ghost is suddenly raised! Most people who visit multiplexes are not ‘common’ by Indian standards. They belong to some level of privilege or else they wouldn’t be able to afford those multiplexes! ‘Privilege’ here does not mean ‘rich’ or ‘important’ or any such thing but if you ask truly ‘common’ people in India they’ve stopped watching movies because they don’t find them affordable. And by the way even with people who can multiplexes disproportionately favor certain kinds of subjects. Because a younger audience dominates here followed by a certain family audience demographic. It’s very hard for films to prosper without appealing strongly to at least one of these segments. But even here the cross-section that likes Baghbaan is not likely to spend as much on it or watch it multiple times the way an audience that likes Dhoom would. People in their 50s or 60s and who might be more attracted to the former might not find it easily to cough up 150 or something even if it’s somewhat affordable for them. But for a younger audience this happens quite regularly. All of which makes for a very distorted system. Which is why despite the smaller films that are being made today and so much of the seemingly ‘different’ in evidence it’s hard to succeed with films even at the most minimal level that question the ideological assumptions of this class. And it is a very strongly ideological class that’s sprung up in the ‘new India’ of the 90s and beyond. Once upon a time there were absolute truths in cinema and these reflected where societies were. Today there is a breakdown in that sort of ‘compact’, which is good for many reasons, but it also leads to a kind of framework where one simply wants an affirmation of one’s lifestyle choices and one thinks this is as justifiable as anything else. Of course with these multiplex audiences I consider the politics to be regressive also.
February 19, 2011 at 9:46 AM
To me films like Dil Chahta Hi is more entertaining than Dabaang. I didn’t find dabaang any special may be because 80% of South films belong to that category.
February 19, 2011 at 10:06 AM
I was about to add that but then forgot.. I agree completely, from a Southern context Dabanng is unbelievably ordinary. I’m more familiar with Tamil contexts but the kind of masala they have here form retrograde old school to newer ‘upgraded’ slick is remarkable and has been for years. I actually think Ghajini (Hindi) was vastly superior to Dabanng for reasons I’ve pointed out before. And on DCH it is one of the best films of the last decade no doubts here. again vastly vastly better than Dabanng. All else being equal I would always prefer the masala film but it’s not equal here! I loved Ghajini (again more in Hindi because the Tamil didn’t seem particularly impressive within a Tamil context and there are a few things that the Hindi does better including the great climax moment with Aamir wandering in those alleys extensively) but I still would not take it over DCH (though and as I pointed out in my piece I think reading it with the notion that this represents a kind of excavation of the Bombay masala past makes for a much richer viewing).
February 19, 2011 at 1:04 PM
when multiplexes emerged first in 2001 there was an expectation that this may led to better movies as now there will be audiences to it but so right through the decade overall the trend of cinema is disappointing to say the least
what excuses you may give when most of regional cinemas are continuously churning out better products and are making bollywood look mediocre
simply there is a lack of will power among the stars and directors of today for it
a hollywood ( though it itself churns out many mediocre movie ) always take its inspiration from books , real life incidends , literatures and natural landscape ….what excuse it will give when in india you that in abundance
February 19, 2011 at 1:17 PM
“What offends me about the Indian ‘system’ is less the audience which is the same worldwide but more the lack of a critical apparatus that can sound sane about these things. So for example it’s perfectly fine to criticize SKM on various grounds but not if you have been giving terrible films great reviews just because you knew these were going to be box office hits. This is what does not happen in the US or elsewhere in the West.”
yup its particularly more disappointing to say the least
for e.g an oscar winning movie outside even before release gathers audiences to itself with that tag but in india even acclaimed movie hardly gathers audiences for itself
its hillarious to see other are doing our thing better than us
a slum dod was based on indian book
matrix trilogy on indian vedic system( matrix 2 even ended with sankrit sholaka) and very recently avatar
February 19, 2011 at 3:26 PM
Just back from 7 Khoon Maaf. Very atmospheric. Works wonderfully through its production and sound design. Priyanka is good and so are all the co-actors…..Usha Uthup was a nice surprise . Loved all the husbands. The ending was very well-conceived and executed, giving the film its metaphoric soul.
I found it thoroughly engaging. Did not find the predictability a problem at all. A film that has the interval announcement as ‘ Four more to go..’ . obviously does not want to keep the impending murders as a suspense. True, the first half is breezier compared to the second, but that’s because it has the younger husbands and a younger Priyanka. And it isn’t all sombre and serious. The quirky characters and the little antics of Nick and Keemat Lal are amusing enough. I wish Gulzar’s shayaris for wasiulla Khan were a little more accessible though.
Contrary to what some critics have written, it is not a straight linear narrative. What gives the film its texture is its rich visual design, investing every scene with another layer of meaning. . The change of locales ( especially the snowy Kashmir) breaks the monotony. The character of Arun ( Vivan Shah), the photograph of the young Susan with her father in front of their Puducherry house, and the final dance….create a thread of meaning that ties the whole story together.
After I have seen the film and going over the reviews of people like Masand, Raja Sen and Khalid Mohammad convinces me that they dont understand a thing about abstraction. ( Masand gave No Smoking 0 stars and Dev D 2 stars.) Not surprising in a film world where Chak De is thought of as the height of creative achievement.
In terms of pure entertainment I enjoyed it more than the earlier three Bhardwaj films which seemed laboured and trying too hard to be good cinema or just cool. This one to me appeared more personal, more evolved, more well-rounded.
February 19, 2011 at 4:19 PM
thanks for your take..
February 20, 2011 at 8:12 AM
Nice review Utkal
February 20, 2011 at 9:25 AM
well you just made me rue the fact i missed this film today in cinemas!
February 20, 2011 at 12:27 PM
Good review. Similar to what i thought too.
Utkal, could you please explain the ending to me?
*spoiler*
Who was the seventh husband. I think, the way I saw the film
this part was either edited out or I didn’t understand.
What i saw was that Suzanne becomes a nun, and comes for confession saying that she had some things to tell (the 6 murders) and then it ended.
Was there some symbolic meaning which I missed?
Thanks.
**end spoiler**
February 20, 2011 at 12:31 PM
OK I just had another thought.
*spoiler*
When she says to Arun ‘uska khoon to maine kar diya* did she mean Jesus?
“end spoiler*
If that was it then it was really a very good title and ending. I’m impressed.
February 20, 2011 at 2:44 PM
I have not seen the movie but if she becomes a nun then based on Catholic religion she marries Christ and that line about drinking his blood becomes relevant.
The ending sounds like a copout to me.
February 20, 2011 at 2:59 PM
I just saw this article in which VB confirms my theory about marrying Jesus Christ.
How 7 Khoon gets murdered
Besides the script, it’s the choice of lead actress; Vishal Bhardwaj should instead stick to the world he is familiar with
Aseem Chhabra
Posted On Sunday, February 20, 2011
Vishal Bhardwaj is a very talented man. I will continue to maintain that despite what I am going to write here. He is also a very nice and an earnest man.
I can safely judge that despite the fact I have met him only a few times, including just this past week at the 61st Berlin International Film Festival.
So it is very disappointing to see a talented and a good man fail. I saw his 7 Khoon Maaf at the Berlinale.
A lot of hard work went into making the film. But I could not believe what was playing before me on the screen a long, tiresome narrative with no energy and no wow factor.
That is exactly what I had started to expect from the auteur Bhardwaj director of very mature adult films Maqbool, Omkara, Kaminey as well as his sweet children’s projects, Makdee and The Blue Umbrella.
The film is a long, tiresome narrative with no energy and no wow factor .
I have not read the source for the film Ruskin Bond’s story, but it is clear that 7 Khoon Maaf fails because of its script. In a rush to give an account of a woman who marries six or seven times, the film jumps from one narrative thread (read one man) to another in quick succession.
It still takes two-and-half hours for the film to unfold and that seems way too long. Despite the length, how Susanna meets her men and more importantly how she falls in love with them is often ignored or just glanced over.
The entire film is a flashback narrated by Arun (Vivaan Shah), but the audience needs to know more.
There is always space for black comedy. But how relevant or plausible is a story about a serial bride in our times? It is very odd to watch a film where a woman murders her six husbands, with the assistance of her four accomplices and each time manages to re-marry immediately thereafter.
The men are rotten, abusive characters, but she seems to have no guilt, no moral centre that would speak to her and remind her that these life patterns are very wrong.
The problem with the script gets compounded by the fact that Bhardwaj chose Priyanka Chopra to play the lead. Chopra is a very limited actress although she did shine when Bhardwaj guided her in Kaminey.
Bhardwaj has a track record of making stars shed their Bollywoodism and to immerse themselves into their characters. He got Saif Ali Khan and Kareena Kapoor to give their career best performances in Omkara.
In Kaminey, Chopra had a relatively small role. In 7 Khoon Maaf, Susanna’s character is too complex for Chopra. I did not care for Chopra’s Susanna from the beginning and that was a problem when she had five or six more husbands to kill.
On Thursday, Bhardwaj addressed a press conference in Berlin. He mentioned that while working on the 7 Khoon Maaf script, he quite by accident learned that nuns are “married” to Jesus Christ. This knowledge helped him work out the film’s ending.
My sense is that the world of Indian Catholics or Christianity in general, is a territory that is somewhat alien to Bhardwaj. And so he uses the standard Bollywood approach to represent Susanna’s Catholic existence.
A lot of Susanna’s daily life as well as her costumes, home, production design have a strong Bollywood tone to them. I felt I was back in the unreal, over-the-top world Sanjay Leela Bhansali created in Black.
Even the most talented creative people can have limits. Martin Scorsese excels in stories that explore the world of mafia, with dark menacing characters. But, with Kundan he stepped out of his comfort level to show the quieter world of Tibetan Buddhism and the Dalai Lama.
Kundan was an earnest film with a reverential tone, but it lacked a central drama, seemed quite boring and ended abruptly.
So my advice to Bhardwaj stick to the basics and the worlds you are familiar with. You can still surprise us with many more stories you will find in those worlds.
http://www.mumbaimirror.com/article/54/201102202011022002431064732a007e2/How-7-Khoon-gets-murdered.html
February 20, 2011 at 3:05 PM
She’s been declared dead earlier so I guess this was a good solution spiritually.
It might mean something when related to religious theory I guess instead of a copout.
I did read a couple of reviews posted here who tended to call the end as silly as the religion.
So I think it involves some great understanding of another’s religion.
And those who don’t believe in religion might be disappointed.
One can’t please all I guess.
February 20, 2011 at 6:13 AM
Watched 7 khoon maaf yesterday and the first thing that came to my mind was why the hell it was given low ratings by many of the well known reviewers we have..
Agreed that many may not find it particularly entertaining but this one leaves its effect upon you.. the cinematography, visuals and direction are such that would linger in your mind for long ..
This one as a subject could have faltered badly had any other regular director bothered to make it.. but VB adds lots of layers to it..
Pretty good film. Annu Kapoor was the best.. Priyanka’s makeup was a tad better than her performance, which itself wasnt bad after all
February 20, 2011 at 9:08 AM
Saturday Update: Saat Khoon Maaf
Sunday 20th February 2011 14.00 IST
Boxofficeindia.Com Trade Network
Saat Khoon Maaf had similar business on Saturday when compared with Friday. It was fair business on Saturday as most expected the film would fall 20% or so on Saturday due to the first World Cup which featured India.
The collections were around 3.35 crore nett approx on Saturday while Friday was 3.30 crore nett approx.
The business on Saturday was up in the metroes but fell at other centres. Surprisingly Kolkata showed a good jump and that is known to be a cricket lowing city.
February 20, 2011 at 12:35 PM
@satyam- brangan rating system exist since time immeorial imo. i guess from memory
because when he reviews for newspaper he has to rate them i guess.
so when he places on blog he keeps that aside separately so that those who want to see them they can see it.
http://baradwajrangan.wordpress.com/2000/01/01/star-ratings/
February 20, 2011 at 1:38 PM
thanks… didn’t know this..
February 20, 2011 at 1:48 PM
Interesting, he have Drona 3 stars
February 20, 2011 at 2:14 PM
now that is hard to defend.. the film was visually interesting at points, specially in the second half, the idea of a ‘reluctant’ superhero was also an interesting choice. But the whole thing was so terribly executed that it was near-impossible to sit through the film. Did like one moment a lot in the second half where Abhishek plunges into a dark river to get to a tree at the other side and encounters ghosts in the water. The other problem here was that Goldie Behl couldn’t decide whether this was a superhero film or more of a ‘mythic’ landscape. Similarly there were moments here that seemed out of the Arabian Nights. It was a horrible mess of a film. Could have been great had it been handled by the right director. And of course this was a big blunder on Abhishek’s part because one ought not to trust a relatively inexperienced director with this sort of subject.
February 21, 2011 at 8:12 AM
Midweek B.O.: ’7 Khoon Maaf’ is below expectations
February 21, 2011 at 8:34 AM
7 Khoon Maaf Box-Office: Rs 10.5 Crore Weekend
6 hours ago by Komal Nahta
Priyanka Chopra’s 7 Khoon Maaf had very low collections at the box-office with Rs. 10.5 crore (Rs. 105 million) in all-India box-office nett collections in its first weekend.
more here:
http://www.koimoi.com/featured/7-khoon-maaf-box-office-rs-10-5-crore-weekend/
February 21, 2011 at 8:35 AM
Saat Khoon Maaf Weekend Business
Monday 21st February 2010 14.30 IST
Boxofficeindia.Com Trade Network
Saat Khoon Maaf has underperformed over its first weekend. The collections are in the 10.25-10.50 crore nett region. The approx breakdowns were 3.30 crore nett on Friday, 3.35 crore nett on Saturday and 3.75 crore nett on Sunday. Friday and Saturday can be called okay but a very limited jump on Sunday does not go well for its business in the long run.
The film will probably do a 15 crore nett first week. The territorial breakdown is as follows.
Mumbai – 4.30 crore
Delhi/UP – 2.33 crore
East Punjab – 97 lakhs
West Bengal – 53 lakhs
CP Berar – 32 lakhs
CI – 28 lakhs
Rajasthan – 30 lakhs
Nizam – 47 lakhs
Mysore – 60 lakhs
Others – 32 lakhs
TOTAL – 10.42 crore
February 22, 2011 at 7:44 AM
Saat Khoon Maaf Drops Badly On Monday
Tuesday 22nd February 2011 15.00 IST
Boxofficeindia.Com Trade Network
Saat Khoon Maaf dropped badly on Monday with business around 1.50 crore nett. The low business on Sunday hinted at a Monday drop and that is what has happened.
The Monday business is 55% lower than Friday and the week seems to be heading for 15 crore nett business as weekday business looks to add around around 4.25-4.50 crore nett. Delhi/UP was steadiest with 45% drop.
Overall its a disappointing performance, in fact after the first two weeks of the year its been a poor box office run for all films and its down to Tanu Weds Manu to finish on a high note before we go into the lull period due to the World Cup.
February 22, 2011 at 7:45 AM
Patiala House Has 4-4.25 Crore Nett Second Weekend
Tuesday 22nd February 2011 12.00 IST
Boxofficeindia.Com Trade Network
Patiala House grossed around 4-4.25 crore nett in its second weekend. The drop from first weekend is around 75%. The approx breakdowns were 90 lakhs on Friday, 1.45 crore nett on Saturday and 1.75 crore nett on Sunday.
The film has grossed around 28.50 crore nett after ten days and after the second week the film will have around 30.50 crore nett.
The film should finish with around 33 crore nett business, even 35 crore nett can be a possibility as there will be no major releases after this week so the film can hang around at theatres through March.
If the 35 crore nett mark is reached its still poor fare. Akshay Kumar’s successful ventures like Housefull and Tees Maar Khan last year did much more Patiala House will not be much better than Action Replayy which was also a poor far.
February 22, 2011 at 7:47 AM
Salman, Hrithik face-off averted!
Nothing sells like success in Bollywood. Why else would distributors choose Salman Khan’s next release over Hrithik Roshan’s upcoming film? Khan’s bumper hit Dabangg has resulted in him winning the race to have his film, Ready, released before Roshan’s Zindagi Milegi Na Dobara (ZMND). Initially, both films were set to clash on May 27.
It is believed that distributors were worried about two big movies releasing on the same day. Apparently, certain distributors also tried speaking to producers of both the films to avoid a clash. However, the makers weren’t willing to budge.
Suddenly, news came in about Excel Movies postponing ZMND to June 23. Trade sources say the release date of ZMND might have been postponed because a large chunk of distributors, especially from the smaller centers, were more excited about Ready rather than Hrithik’s ZMND.
Salman Khan“After Dabangg, Salman is a huge star at the box-office while Hrithik’s last two films, Kites and Guzaarish flopped miserably. Also, Zoya Akhtar’s first film Lucky By Chance was a flop. Distributors wanted a solo release for Ready because they feel the film is safer than ZMND, which looks like a niche film,” says a senior film distributor, not wishing to be named.
However, ZMND producer Ritesh Sidhwani says that the film has been postponed to June 23 because “it won’t be complete” by May. “I seriously don’t know anything about distributors from smaller or bigger centers preferring Ready over our film,” says Sidhwani, who has been in Malaysia for several days for the shooting of Don 2.
“As far as I know, one major distribution firm handles the distribution. And if Ready stars Salman Khan, our film also has a number of big names such as Hrithik, Abhay (Deol) and Katrina (Kaif). Plus, Salman is like family to us. So, there’s no question of competing with his films,” adds Sidhwani.
A Delhi-based distributor says that Salman has always been the “god of smaller centers.” He says, “After Dabangg, he has become a huge star with the masses. No other actor, including Hrithik, can compete with him in that space. Naturally, Salman’s Ready, thanks to Wanted and Dabangg, inspires more confidence than ZMND.”
Interestingly, Ready too has been postponed to June 3 to avoid clashing with the Indian Premier League finals on May 29. “Due to the IPL finals being postponed, the release date of Ready has now been pushed,” says producer Bhushan Kumar.
It may be recalled that Khan had earlier stated: “film (Guzaarish) ko ek kutta bhi dekhne nahi gaya” (not even a dog went to watch the film). Hrithik had retorted, “It’s not heroic to laugh or make fun of a filmmaker just because his box-office collections are not up there with yours (referring to Dabangg). In my opinion a hero never gloats. When you are super-successful, it should make you more gracious and loving. This is the time one should use to turn even enemies into friends… just give love, not laugh at others. By the time I finish this sentence, I would have already forgiven his words, because I know deep inside he only has love for me and this must have been just a momentary lapse of judgment. Will expect a big hug the next time I meet him.”
A few weeks ago, it was reported that Salman, buoyant with his Dabangg success, had decided to lock horns with Hrithik at the box-office and asked producer Bhushan Kumar to release the film on May 27, along with ZMND.
February 22, 2011 at 8:14 AM
I must point out again that Salman never made any comment whatsoever about Guzaarish. The “kutta” quote above was about his own film, Phir Milenge. I have posted the link to the video of his remarks earlier. I don’t know why the media persist in perpetuating these proven lies. (Well, I guess I do know why.)
February 22, 2011 at 11:57 PM
Business Talk With Taran Adarsh
Disappointing!
February 23, 2011 – 07:43 IST
Is it the World Cup effect? Or should the disappointing theatrical business of 7 KHOON MAAF be attributed to its erratic writing? In my opinion, it’s a mix of both. Thoda cricket mania, thoda demerits. There was tremendous curiosity to watch 7 KHOON MAAF prior to its release. Plus, the credibility that Vishal Bhardwaj has built over the years ensured that a good chunk of movie-going audience would make a beeline to theatres to watch his latest creation on celluloid. A catchy title, a quirky plotline, novel promotional strategies that caught one’s attention and of course, the popularity of ‘Darling’… 7 KHOON MAAF had several factors going in its favor. But box-office is most unpredictable, isn’t it?
If PATIALA HOUSE sent shock waves last Friday thanks to its low occupancy, the sad opening numbers of 7 KHOON MAAF, another biggie helmed by a reputed director, brought grief to the industry. The initial reactions ranged from shock to disbelief, since the occupancy was at par, at places even lower, than last week’s PATIALA HOUSE. It seemed like the audience had already made up its mind to skip the film, even before the word of mouth was out. A leading North India distributor had, in fact, told me before its release that the film will enjoy limited patronage in his circuit because the mindset is still traditional and the womenfolk wouldn’t really fancy a theme that depicted a woman marrying multiple times… and killing the husbands as well.
One expected the multiplex junta to react far more positively, patronize the film in good numbers, but barring a handful of plexes, where the film drew decent audiences, the response at the plexes in general was equally disheartening. After a weak start on Friday, the business picked up marginally on Saturday, while Sunday showed some good improvement. But the business slipped considerably on Monday and Tuesday.
Now let’s discuss the economics! UTV has sold a few territories, while the corporate house is distributing the film in the balance territories itself. However, given the texture of the film, the recovery from India theatrical and Overseas wouldn’t be much. The film will have to rely on Satellite and Music Rights [combined price: 11] to recover the investment. But the recovery seems remote and the losses are guaranteed.
The remaining two releases, KACCHA LIMBOO and MASTI EXPRESS, grossed negligible figures.
February 23, 2011 at 5:08 AM
I have to say that a film not having a famous 40+ hero bringing in money against odds (matches etc) gets my appreciation.
Priyanka must be the first actress in recent times to have shouldered all the responsibility on her shoulders for this film.
So whatever it brought in is great. The financial loss is another story (if at all there is after selling various rights).
Vidya and Rani, along with a well known incidence shared the success of NOKJ, so even there it’s more weighted.
I think one has to bring up such unique happenings in an otherwise screechingly stereotyped bollywood goings on.
February 24, 2011 at 7:13 AM
Tanu Weds Manu: Profit All The Way
2 hours ago by Komal Nahta
Tanu Weds Manu, this week’s biggest Bollywood release, is going to prove a profitable venture for all concerned. Let’s take a look at the economics and at the expected revenue breakdown of the film.
R. Madhavan, Kangana Ranaut (Tanu Weds Manu Movie Wallpaper)
Tanu Weds Manu: Budget
The R. Madhavan – Kangana Ranaut starrer was produced at the cost of Rs. 11.25 crore (Rs. 112.5 million), while another Rs. 6.25 crore (Rs. 62.5 crore) was spent on the print and publicity costs of the film. This takes the total investment in the film to an estimated Rs. 17.5 crore (Rs. 175 million) only.
Since ‘Tanu Weds Manu’ has been made on a medium budget, and the sale of the film’s satellite rights will rake in an approx. Rs. 10 crore; in order to break even, the film’s producers will have to recover only Rs. 8 crore from combined theatrical revenues (India and Overseas) and from the sale of music rights. Given the positive buzz the film has created, this is going to be a cakewalk. Hence, the film is expected to be a profitable venture for all concerned.
Cost (Production) Friday Collections
Cost (Print and Publicity) 3.1
Total Cost 17.50 crore
Estimated Satellite Revenues 10 crore
Combined Revenues required to Break Even 8 crore