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80 Responses to “Jodi Breakers, Tere Naal Love Ho Gaya, the rest of the box office”
Agneepath will cross the 25 crore distributor share mark in Mumbai circuit after its fourth week making it in an exclusive list of five films to have crossed the mark. The other four are Three Idiots, Golmaal 3, Bodyguard and Dabangg.
Agneepath will cross the 25 crore distributor share of Dabangg and may even cross Bodyguard which had a distributor share of 26.25 crore plus.
Agneepath is unlikely to hit the business of Three Idiots and Golmaal 3 in Mumbai circuit of 38 crore and 28 crore respectively and they will remain the the top two earners in the circuit.
Interesting Clash Between Tere Naal Love Ho Gaya And Jodi Breakers This Week
Wednesday 22nd February 2012 11.30 IST
Boxofficeindia.Com Trade Network
This week will see an interesting clash at the box office between Tere Naal Love Ho Gaya and Jodi Breakers. Both films have been made on a similar scale and promoted well.
Tere Naal Love Ho Gaya or Jodi Breakers will not take strong openings due to lack of face value for both films and therefore will be dependent on word of mouth but it will be interesting to see which film puts up a better first day number.
It is likely that collections for Jodi Breakers will be better in Mumbai city, West Bengal and South India with Tere Naal Love Ho Gaya having better collections the Hindi markets of Delhi/UP, East Punjab, Bihar, CP Berar, CI, Rajasthan and Gujarat.
Tere Naal Love Ho Gaya should edge the opening day numbers if reports are similar of both films. If one film has better reports than the other then that film will come out on top as collections will maintain or grow better than the other film throughout the day.
Ek Main Aur Ekk Tu struggled in its second week as it grossed around 6.75-7 crore nett which means a drop of 75% plus as compared to the 30.50 crore nett in week one.
The collections of the film came down very badly after Maha Shivaratri on Monday. The Tuesday figures were 50% lower than Monday at places.
The two week business of the film is around the 37.50 crore nett but it may not hit the 40 crore nett mark as collections are very low at the start of the third week and that too on limited shows.
The film has emerged a hit in Mysore while Mumbai, Delhi/UP, East Punjab and West Bengal have seen average/above average business. The other circuits dominated by single screens have given poor performance.
B.O. update: Tug of war between ‘TNLHG’ & ‘Jodi Breakers’
By Taran Adarsh, February 24, 2012 – 16:02 IST
The morning shows on Friday were clear indicator that the clash of two similar genre movies — JODI BREAKERS and TERE NAAL LOVE HO GAYA — would result in the business getting divided. While JODI BREAKERS had a better start at multiplexes of big centres, TERE NAAL LOVE HO GAYA had an edge in circuits dominated by single screens. In fact, it seemed like a tug of war kind of a situation in every circuit, with one being slightly ahead of the other.
The two films showed considerable improvement in the afternoon shows and [hopefully] should show further escalation towards evening and night shows.
Delhi Belly to be screened at Harvard
By Bollywood Hungama News Network ,Feb 24, 2012 – 17:22 hrs IST
#
After winning critical and commercial acclaim and sweeping a lot of awards at various award functions, UTV and Aamir Khan Productions’ Delhi Belly is now likely to be screened at the prestigious Harvard Business School and Harvard Kennedy School.
Director Abhinay Deo has also been invited to participate at the Harvard India Conference 2012 scheduled to take place next month.
Surely this is yet another achievement for the film that broke many barriers.
Actually jodi breakers may not be all that crap-needless to say-no showing nearby
Btw bipasha seems to be handling her ‘post John’ phase quite well & maturely
Anyhow-may catch this one
What’s Franco doig in this one though
Not sure where to post this -
Any film blog worth it’s salt deserves an Oscar thread
Anyhow
Talked about the predictability of Oscar choices
A dummy guide to Oscar suxess
Chris Taylor presents the formula for a guaranteed Oscar win.
Avoid animated features
If you want a Best Picture, don’t be an animated movie – only three have ever been nominated and Up and Toy Story 3 were pretty much only picked because they were needed to fill out the nomination list which had been increased from 5 nominees to 10. You’ll probably be stuck in the Best Animated Picture category!
Be white, straight and male
If you want Best Director, be a straight, white, male in your 40s – only one woman has ever won Best Director (Kathryn Bigelow) and only one Asian director has won (Ang Lee). As well as this, only four gay or bisexual directors have won and the youngest was Norman Taurog at 32, but that was back in 1931 so it doesn’t really count. A sad fact really.
Imitate, die or be disabled
If you want Best Actor, either play someone real, die or be disabled in some way – The Oscars love biopics and sob stories! TPhe Oscars is probably the only place in which Idi Amin will win a positive award thanks to The Last King of Scotland. A good death scene also goes a long way!
Get ugly!
If you want Best Actress, get ugly! – If you’re in Hollywood, you’re probably the closest thing to looking like an angel on earth. So if you strip back and lose all the make-up, it’ll somehow enhance your performance. “Oh she looks so different! What a great actress to do that!” Cough, Kate Winslet, cough.
Don’t be Gary Oldman
If you want any awards, don’t be Gary Oldman. Seriously. I can’t count the number of great roles he’s played because I don’t have that many fingers but it’s only this year that he’s actually been nominated for an Oscar. Oh, Academy, you disappoint me so!
Ps-lol@ Gary ‘old’ man
Though do find Kate winslet not bad
you’ve called the film just about break even. You have also said that Trade Guide and Film Information called it average. That’s quite right. I have the FI ratings on Bachchan films elsehwere on the blog and here’s the entry on Agneepath:
Agneepath 1990 – B
this is the very same rating that has been given to Toofan and Khuda Gawah. Hum and AKA on the other hand are rated ‘AA’. Now Akayla and Inderjeet have been called flops here but I’ve seen other ratings where these were rated B-. But in any case the debate here is about Agneepath.
Here is the Film Information rating on Agneepath (1990):
Agneepath 1990 – B
The same journal (India’s largest and the one associated with the Nahta) also gave a B rating to Toofan and Khuda Gawah (and for example a AA to Hum and Aaj Ka Arjun). But the point here is about agneepath. Trade Guide too (adarsh) gave it a similar rating at the time.
Once again a link I might have provided before which includes a very fair analysis of the film and which also includes a magazine scan where a 7 crore nett is mentioned for the film:
Once again the point isn’t to rewrite history by any means but to represent it more accurately than it has been by some who’ve been cynically undermining it to promote the remake. The film came with huge expectations and did not live upto the hype as a box office matter. But to call it a flop without qualification is a complete exaggeration. That is the kind of thing one can say for an Ajooba not Agneeoath. And again as I’ve said before the film had outstanding numbers in Bombay for 2 weeks.
So while the film has gained an extraordinary cult audience over the years the fact is that there were very important pockets of support even then. And it just wasn’t a film for everyone. It’s too dark a film, too ‘harsh’ a lead character. If this sort of film were released today all else being equal it would have the RGV coalition. It would do well in Bombay and the South.
But the larger point here is that the historical record can often be greatly distorted. Plus at the time there was of course a very anti-Bachchan media (this too is a long history!) that was quite happy to run narratives that exaggerated his failures or as in the infamous case of Illustrated Weekly of India called him ‘Finished’ (we know what has ceased to exist in the interim period!).
Once again not at all to understate that Agneepath came with enormous expectations but everything that does does not meet such expectations isn’t a flop. Years before this Shakti was considered disappointing by many. Again this was a rather grim film in many ways. But it did very comfortable business, again with Bombay leading the charge. However it did not match the gargantuan expectations (though it did better than Agneepath). In cinema as in politics one sometimes ‘loses’ when expectations are not adequately managed. Nonetheless the truth of the historical record must be highlighted where possible.
Today the current Agneepath after really a good 4- day run has really added very little. Once upon a time this would have been called a crash. Today the standards have become rather low, there’s a lot more propaganda in play too on the box office. But really there’s not much of a difference in the box office graphs. Let’s run the numbers on what 7 crores in 22-23 years ago would translate into in today’s money. Had Agneepath released today it would have been called a success.
I had been waiting for The Artist to release in India for a long time. Glad that I finally watched it.
It is quite simply put, amazingly simple but a breathtaking experience. Quite unlike what I’ve experienced as a cinema-going patron. It takes you to an era of professionalism and genuine art and delivers on all counts, be it performances, cinematography, or the pricesless and hilarious gestures and body language.
Hats off to Jean Dujardin for such amazing performance. Really hope he wins the Oscar this year
I wish you do Satyam.. and do it fast.. Really wish it wins some top awards this year.. Though im yet to catch up the major oscar-nominated films (War Horse, Hugo, Moneyball, The Iron Lady, Bridesmaids).. Have watched only this n Descendants..
>A secret agent is being tortured by electrocution, and he’s screaming as the volts pour into his skull – only, we don’t hear him scream.
Rangan missed the point at the beginning. The hero is screaming, “I won’t say a word.” “I won’t speak” – *this* is the centre point of the plot which negates Rangan’s next comment;
>When Valentin is cast aside as the talkies take over, he is banished to his mansion like Norma Desmond in Sunset Boulevard.
It is the *refusal* to accept the change with ‘talkies’ which is the cause of his downfall.
In fact there are other such moments. One is when his wife says;
‘we have to talk.’ Responding to his silence, ‘why won’t you talk?’
>and it’s more a marvel of engineering than a movie we warm up to,
What does he mean by *we*?
It is one of the few modern films that I and I know many others who have warmed up to.
>It is quite simply put, amazingly simple but a breathtaking experience. Quite unlike what I’ve experienced as a cinema-going patron
Exactly what I felt. I would even add *refreshing*.
Dissenting critics are just missing the point, I think.
Glad you liked it. I’ve watched it three times now, only because it has been playing here for a month and is still going on, so I accompany anyone who I hear is going.
“I’ve watched it three times now, only because it has been playing here for a month and is still going on, so I accompany anyone who I hear is going. “–
rotflol
oldgold–have some control
it seems a ‘free 4 all’ situation
Will be interesting to see who wins from amongst Oldman,Clooney and Dujardin. I think smart money is on Clooney. Just based on how this high school ( i.e the Academy) works.
The old Agneepath fared much below expectations at box-office. So it ended up with a ‘Flop’ perception from media and general public.
But this happens all the time – be it in the past or the present. And there are ample examples – Ra.One, Mangal Pandey, Mission Kashmir, Tees Maar Khan, Lakshya, Main Prem Ki Deewani Hoon, Sarkar Raj, Fiza, Kambakkht Ishq – and the list goes on.
If you dig out the facts then all these movies recovered their cost for distributors and producers – no one lost any money. But since they opened big and then crashed – they did not live up to any expectations at all.
Usually in such cases the media and the public ends up with a perception of ‘flop’. The distributors are also disappointed for not getting the profits for which they made heavy investments.
The new Agneepath on the other hand, has made big enough profits for everyone involved to be unanimously been labelled as a Superhit.
Moreso, since the movie has been liked by its target audience – it also has the advantage of getting the public perception of a ‘Hit’. When these two falls in line – the media always goes with the flow.
agree- and its even more gory
and more repulsive to certain segments like females/aunties
Think theres also a perverted element in the audience who sort of enjoys this stuff
I mean, the rape of the minor
and that too a disabled minor
plus the public selling of underage girls
Also as mentioned earlier–havent seen a more grpahic display of ‘how to perform a hanging in public’–a ‘Do it yourselves’-DIY guide
Inspite of this, am surprised with the final tally
another point on the new AP
Nobosy ages here lol
inlduing kancha, hrs mom –time just stands still
Also Dutt stabs HR few times
but a few shots later, HRs ‘abs’ are as untouched as ever –anyhow wasnt expecting much authenticity
but liked that final hand to hand combat—yaay
Agneepath may work as retro entertainment, but it is no great addition to India’s film culture. The original revenge drama, made in 1990, arrived towards the fag end of the worst decade in Hindi cinema. This vengeance genre, with variations to the plot, usually sets the stage with a flashback to a boyhood memory (a parent killed by a ‘Thakur’ or gangster), then cuts to adulthood, with the protagonist acquiring the power and weapons to settle the score. The slow march to a climax of lynching, arson, fistfights—anything but a conclusive bullet to the head—prolongs the interminable blood feud.
We now celebrate the return of this drivel in 2012. Reruns of the first Agneepath and its like on TV actually make the younger actors here, Hrithik Roshan (playing Vijay Dinanath Chauhan) and Priyanka Chopra (his love interest), look like they are in some sort of costume drama. No matter. Like a four-wheel drive on a dirt track, the film tears its way through with an energy that is admirable in terms of sheer cussedness, if little else.
In the end, it all boils down to your taste in cinema. The film is about a schoolmaster in Mandwa who is lynched for not going along with the strongarm tactics of a hoodlum called Kancha Cheena (Sanjay Dutt). The story then moves to Mumbai, where the schoolmaster’s tormented son Vijay, witness to his father’s murder, is now a handsome mobster (Hrithik).
Vijay’s personal life is divided between his disapproving mother (Zarina Wahab) and cheerful girlfriend (Priyanka). His professional life, such as it is, is largely about dodging bullets. Essentially, he is marking time, preparing for the final showdown with Kancha Cheena.
No one ages in the film, not the mother, not Kancha. Time stands still. It’s like the Theory of Relativity, all based on a formula in which energy (Hrithik) and mass (Sanjay Dutt), under certain circumstances, are interchangeable and can make the bloody late 1980s stand stock still.
The problem with Bollywood is it does not make too many gangster films. Most of them that are made actually works at box-office which makes the situation more difficult. I the last 10 years or so, I liked Company and Sarkar – both were small hits.
This is one rare Superhit in this genre – ironically it has come out of Dharma Production instead of RGV’s Factory!
The other creepy thing was rishi kapoors character in an ultraperverted sense
Every young female he saw–he threatened to put her up in the market
wtf
anyhow—
the film was a crap fest
BUT most guys wouldve like the final combat
between dutt n hr
specially the cheesy scene where HR literally lifts dutt offf the ground–gross but fun..
Which is the hollywood film u would like a bollywood remake soon?
Vicky Cristina Barcelona–the bollywood remake
Liked this woody Allen film a lot
Any suggestions–who are the best directors to be given this responsibility?
Think Zoya Akhtar may do a good job?
Anyhow to heck with it–if they dont remake it, i am threatening to remake it myself–in my own “amatuer auteur’ style
Obviously Javier Bardems role has been taken (by myself lol)
Ws wondering-
if one has to choose the 3 main female roles–who should be taken –for eg from here? any ideas?
Jodi Breakers And Tere Naal Love Ho Gaya First Day Business
Friday 24th February 2012 11.30 IST
Boxofficeindia.Com Trade Network
Jodi Breakers and Tere Naal Love Ho Gaya both did poor business of around 1.50 crore nett each as per early estimates. The final figures may come out a bit ahead for Tere Naal Love Ho Gaya due to mass centres but it will only be a few lakhs.
Jodi breakers performed better in major metros like Mumbai city, Pune, Delhi NCR, Kolkata and Bangalore while Tere Naal Love Ho Gaya had better collections in the rest of India. Both films were released on around 1000 theatres across the country and a 1.50 crore nett figure is a poor number considering the extensive release. Both films need to show huge jumps if they are to do any worthwhile business.
Tere Naal Love Ho Gaya managed decent collections in Punjab but it was limited to Punjab state only and not the the whole of East Punjab circuit. It also did well in the Maharashtra area.
Tere Naal Love Ho Gaya Second Day Shows Good Growth
Sunday 26th February 2012 11.00 IST
Boxofficeindia.Com Trade Network
Tere Naal Love Ho Gaya showed good growth on saturday as collections jumped 30% plus but problem is the collections are still low for a film which is not low budget and an extensive release across the country.
Saturday grossed around 2.40 crore nett as against the 1.80 crore nett on Friday. If the Saturday number came on Friday and then it grow 30% from there then it would have meant a decent weekend but a low starting point has made it tough for the film.
The film was helped by good growth at multiplexes in metros where collections were very low on the first day. The collections at these places were 30-40% lower than Jodi Breakers on day one but much closer on Saturday.
Jodi Breakers showed growth of around 20% on day two as collections went to around 1.90 crore nett from Friday numbers of around 1.60 crore nett. The film showed hardly any growth at mass centres while urban areas showed decent growth.
But again with a 1000 theatre release these numbers are low and with the film just depending on big city multiplexes there is not much hope for the film. Like Tere Naal Love Ho Gaya the film was well promoted but the film may not even collect its print and advertising costs which are around 6 crore from its domestic theatrical revenue.
The Best Exotic Marigold Hotel released this week as well- has anybody seen it? The reviews are lukewarm but the trailer looked good and the cast is beyond stellar- can’t see all of them signing on together for something mediocre.
Weekend Report: ‘Act of Valor’ Gets SEAL of Approval
by Ray Subers
Act of Valor
February 26, 2012
Starring a group of “active duty Navy SEALs,” Act of Valor trounced a handful of movies with major names attached this weekend. The movie wound up in first place with $24.7 million from 3,039 locations, which is just a little bit less than Tyler Perry’s Good Deeds, Wanderlust and Gone made combined. The Top 12 earned an estimated $115.8 million this weekend, which is up a whopping 20 percent from the same frame last year.
Even without any movie stars, Act of Valor’s opening was on the high end for movies that heavily feature modern warfare techniques. It was behind Battle: Los Angeles ($35.6 million) and Jarhead ($27.7 million) but ahead of Behind Enemy Lines ($18.7 million) and Tears of the Sun ($17.1 million), though it was more-or-less on par with these last two titles in estimated attendance. Also, in just two days it outgrossed 2009 Best Picture winner The Hurt Locker ($17 million), reinforcing the idea that overtly patriotic war movies probably have a commercial edge over more nuanced portrayals (though of course Jarhead’s $27.7 million contradicts this a bit).
Relativity Media marketed the hell out of Act of Valor by consistently reaching out to male audiences during sporting events (they purchased four Super Bowl spots) and with engaging tie-ins (Battlefield 3 was a big one). That strategy seems to have paid off, as the movie’s skewed 71 percent male. Additionally, the audience was 60 percent 25 years of age and older, and 63 percent Caucasian, and they awarded the movie an impressive “A” CinemaScore.
This is Relativity Media’s second first place opening in the past four months, following November’s Immortals. The upstart distributor currently has five more movies on the schedule this year, and if it can score with a couple of those it will truly solidify itself as a mid-major player.
Tyler Perry’s Good Deeds opened in second place with an estimated $16 million. That’s the second-worst debut yet for writer-director Tyler Perry ahead of Daddy’s Little Girls ($11.2 million). It’s possible that Perry’s brand has lost some of its luster in recent years, though Good Deeds was a bit of a departure anyway. Even when he’s not dealing with his most popular character, Madea, his movies tend to be comedies with ensemble casts. Based on its marketing, at least, Good Deeds leaned dramatic and focused almost entirely on Perry’s lead character. The movie’s audience was 76 percent female and 85 percent over the age of 25, and they gave the movie a strong “A” CinemaScore.
Once again, Journey 2: The Mysterious Island held extremely well. The adventure sequel eased 32 percent to an estimated $13.5 million to claim third place ahead of Safe House and The Vow. Through three weekends, Journey 2 has earned $76.7 million, or $16 million more than the first Journey. It’s hard to imagine this closing with less than $100 million, and when adding in its outstanding foreign run this looks like a huge success for distributor Warner Bros. Pictures.
Safe House fell 52 percent to an estimated $11.4 million in its third weekend. That brings its total to $98.1 million, which trails Denzel Washington’s American Gangster by just $2.5 million. Barring some kind of weird twist, Safe House is poised to end up being Denzel’s second-highest-grossing movie ever ahead of Remember the Titans $115.7 million.
The Vow crashed 57 percent to an estimated $10 million. That’s nothing to cry about, though, since it became the first Sony/Screen Gems movie to ever pass $100 million on Saturday. It’s also the first 2012 movie to reach that mark, and through 17 days in theaters the Channing Tatum-Rachel McAdams romance has made a massive $103 million.
Ghost Rider: Spirit of Vengeance plummeted 60 percent to an estimated $8.8 million in its second weekend in theaters. That’s a bit worse than the first Ghost Rider’s 56 percent decline at the same point. Through 10 days, Spirit of Vengeance has earned $37.8 million, or less than half of Ghost Rider’s $79 million.
Despite its decent word-of-mouth (“A-” CinemaScore last weekend) and lack of compelling competition this weekend, This Means War still fell 51 percent to an estimated $8.1 million. The rom-com/action hybrid brought its total to $33.6 million.
hohoho
btw how kiddish of nargis f
she tweets this like twice
“Oh ya STARDUST AWARDS! In like 45 min!!! Gonna order in n watch! ”
“Stardust awards is ON! I m watching! aRE YOU”
ok-we will watch–NF is performing on stage for the first time
anyhow saw a bit of these awards–not sure if there any links
hold on
Nargis F perrsomed to a female version of “saada haq” –all guits n the works
was such cutely hilarious seeing her give it a great try with all the spirit lol
showed off a few minutes of rockstar to some bollywood naives..
Sachez que vous observez ceci
Revisited this –After ‘dil chahta hai”–rockstar will be next one to be ‘showcased’
Anything remotely ‘heavy’/violent wont work with certain target audience
sudden impulse———-lemme get my guitar now–
Awesome–almost everything spot on
btw the opening scene with jordan gatecrashing into his own concert sets the tone
Now will set the tone for a ‘showcase’ 2 moro
after the wonderful feedbak from dil chahta hai
will write something about the interesting ‘feedback’==if time n memory serves rite
Tere Naal Love Ho Gaya has comfortably emerged the winner in the box office clash between Jodi Breakers and Tere Naal Love Ho Gaya though collections are pretty low for both films.
Tere Naal Love Ho Gaya grossed around 7.25 crore nett over the weekend while Jodi Breakers grossed around 5.75 crore nett. Jodi Breakers failed to show much growth over the weekend while Tere Naal Love Ho Gaya showed good growth but starting point was too low.
Jodi Breakers is unlikely to do much at the box office from here on going by weekend trends while Tere Naal Love Ho Gaya has chances of putting at least a respectable number if weekdays and second week can hold up.
February 26, 2012
Movie Review
Finding Romance in Business of Divorce
By RACHEL SALTZ
The Hindi film “Jodi Breakers” (or “Couple Breakers”) starts as a slightly boundary-pushing, if not hilarious, sex farce, before turning into a more traditional romantic comedy with a panoply of Bollywood plot twists. There are poisoned Maggi noodles, faked blood tests, and pregnancies (real and less so), not to mention the usual crosses and double crosses of love and the divorce business.
That business was concocted by Sid (the beefy R. Madhavan) after he was taken for all he had by his ex-wife. He teams up with the beautiful Sonali (the beautiful Bipasha Basu) to help unhappily married clients split up, free from burdensome things like alimony. (This is not, as you might guess, a noble profession.) Before the standard morality and accompanying love story kick in, the film offers a refreshingly jaundiced view of marriage and a few sexually frank moments. Sid and Sonali not only discuss the romance of kissing, but also practice it, before tumbling drunkenly into bed together without benefit of a marriage license.
The writer-director, Ashwini Chaudhary, has some fun with split screens in a montage of complaining married people and generally injects the visuals with more comic energy than his script can muster. Scenes and gags run on long after they’ve run out of steam (the Himalayan sex guru bit is a nonstarter), and the film sags in its long second act.
“Jodi Breakers” is, in the end, pretty standard fare, though it’s enlivened by a couple of amusing dance numbers, including one in which Ms. Basu is her own scantily clad item girl. (The song is called “Bipasha,” no less.) And in a sweet twist, the actress Helen, herself no slouch in the vampy dance department back in the 1960s and ’70s, shows up as a grandmother. Her name? Madonna.
Hmm might actually check this one out on dvd. Normally I wouldn’t give it a second glance but Madhavan and Bipasha don’t exactly have releases every week.
hello guys was busy with my exams so culdnt post nything…. but was was having a sneak peak at the blog all the time…
Nyways… Dum maaro dum with 32 crores was a FLOP… as per BOI… and EK main hun aur ek tu is ABOVE AVG with 37 crores….
That too after whole one year …. with bigger budget and advertising… and Super star Imran khan…. and kareena…
On the other hand we had a non existing Jr bachchan… Budget with advertising was 22 crores…
So is he really that non existent…
And now we know that Mere brother ki dulhan and Delhy belly… success of both the films had nothing to do with Imran…. They were to do with Katrina and Aamir khan…
Dum maaro dum was also a film with drugs and sex written all over the promos… with deepika in her raunching avtar…. so the Target audience funda applied to DMD also…. But i guess Abhishek’s films dont get those excuses and benefits…
and I still remmember… whwn i wrote on this blog… that y some one is not talkin bout DMD’s avg performance and only ab’s failures…
some guy BHALO MANUSH told me “bcoz everyone else is putting up much bigger numbers then DMD”
Now y is EMAET such a big deal…. Can the real bhalo manush plz stand up
True Ek Main Aur Ek Tu should really be seen as a flop since it hasn’t crossed the expected 50 crores. Bollywoodhungama, while promoting Agent Vinod, says that Kareena has had four successes in a row (counting EMAET). Conveniently nobody remembers the failure of We Are Family and the media is willing to overlook the mediocre business of EMAET. They really want to believe that Kareena is the box office queen and is willing to overlook the little facts that get in the way of this fantasy.
Well said thakur ( we want your hands thakur ala sholay
Yes : don’t like this ‘celebration’ of kareena
For all practical purposes, don’t feel she is even ‘female’
Just like her boyfriend ..
The two seem to be cases of gender identity syndrome early
On in life and went for a ‘corrective’ surgery
Hahaha
Jodi Breakers had low collections on Monday as it grossed around 80-85 lakhs. The drop is only 45% from Friday which would be okay normally but the Friday collections were low and to drop 45% from there means little hope of even a decent run.
Jodi Breakers has collected around nearly 6.75 crore nett in four days and the week will be around 8.25-8.50 crore nett and looking at Monday trending the film will just be able to cross the 10 crore nett mark for lifetime business.
The collections are down all over, even in multiplexes that started a bit better meaning there has been no appreciation for the film with the paying public.
Tere Naal Love Ho Gaya held up well on Monday as it grossed around 1.30-1.40 crore nett as per early estimates. The collections were just 25% down from Friday although the Friday number was pretty low.
In North India the collections were better at many theatres than the Friday numbers and the Delhi/UP circuit actually managed to havea higher total than Friday. CP Berar, CI and Nizam also had similar figures to its Friday business.
The first week business of the film should be around 11.50 crore nett and with the potential of a steady second week the film can come out with a decent lifetime total of around 20 crore nett.
Nice work here Yakuza though I must say that on your second link I have some questions because I think the gap between Bachchan and the other two is far greater than that differential indicates.. also I wouldn’t take BOI data on Bachchan anywhere because they tend to underrate or underreport his films.
But also the totality of the Bachchan achievement is incredible for a number of other metrics too. For example when one compares the hits or superhits of stars one has to look at relative grosses too, in other words how much ahead of the competition Bachchan’s average success of any kind was versus that of any other star. Or the fact that a Bachchan film that actually lost money was pretty rare and hence in today’s lenient language every Bachchan film was some kind of success. Similarly the number of consecutive hits he kept putting up in very different periods and had this sort of thing going for years. So on and so forth. So often a pure counting of the hits even if accurate does not often do justice to the scale of his box office record.
On another note I am pretty sure (though I don’t remember the specifics at this point) that Film Information has also moderated their standards over the last 8-10 years. In other words they criteria were a lot tougher before this.
and with BOI again all kinds of ad hoc standards are indulged in, evaluation standards are constantly changed, and extremely arbitrary standards often rendered to ‘produce’ a certain kind of box office picture.
by the way here’s an older comment someone once left here which reproduces all the FI rankings on Bachchan movies:
Amitabh Bachchan’s Golden Run – 1973-88
There might be an never-ending debate on how perhaps the Movie business has changed in the last 30 odd years. Actors are doing increasingly lesser movies(though this trend started in the 2000′s only),increase in other mediums of entertainment, and so on.
On the other hand there have been booms too for the industry with Music(in 90′s) , Sattellite/Cable(2000′s) providing a very good avenue for Movie Revenue thus helping a lot in the movie’s recovery.
Also can be said that modes of promotions has also increased by leaps and bounds.
But leaving the above behind, and going movie to movie, Amitabh Bachchan hit an extreme purple patch for almost 15-16 years between 1973-88.
The Innings is interesting for the amount of movies done and the success rate achieved.
Infact of the 63 movies Bachchan did in that period only 7 movies faced monetary losses of any kinds, thus a loss making movie used to an Event for Amitabh Bachchan.
Also, Amitabh Bachchan had atleast 1 hit a year for 14 straight years(1973-86).
Take a look. * Verdicts Based on Film Information Trade Journal, probably the most strict system of Verdict out there.
Classifications
A111-All Time Blockbuster
AAA-Blockbuster
A11-Super Hit
A1-Super Hit/Hit
AA-Hit
A-Semi Hit
BB-Above Average
B-Average
*denotes equal universal success
SUCCESS RATIO-88.8%
36 ALL INDIA HITS(From 1973-88)
For Fairness purpose its important to highlight the not so successfull periods of Bachchan’s Career.
1969-72
This Period is the start of the Career of Big B, he mostly struggled around for few years before breaking big time in Zanjeer. The notable movies of this time are Saat Hindustani, Anand and Bombay to Goa.
1 Saat Hindustani 1969 – Flop
2 Anand 1970 – AA
3 Reshma Aur Shera 1971 – Flop
4 Pyar Ki Kahani 1971 – Flop
5 Parwana 1971 – Flop
6 Bombay To Goa 1971 – BB
7 Bansi Birju 1972 – Flop
8 Ek Nazar 1972 – Flop
9 Sanjog 1972 – Flop
10 Raaste Ka Pathar 1972 – Flop
1989-92
This Period Signifies the return of Big B from the political Arena back to movie business, again here he didnt find the same success as he did in this prime. Notable movies are Agneepath,Hum and Aaj Ka Arjun.
1 Toofan 1989 – B
2 Jaadugar 1989 – Flop
3 Main Azaad Hoon 1989 – Flop
4 Agneepath 1990 – B
5 Aaj Ka Arjun 1990 7,00,00,000 AA*
6 Hum 1991 8,00,00,000 AA*
7 Ajooba 1991 – Flop
8 Indrajeet 1991 – Flop
9 Akayla 1991 – Flop
10 Khuda Gawah 1992 – B
11 Insaaniyat 1994 – B
Since 1997 Amitabh Bachchan has starred and been successfull in uncountable number of movies, though most have been in character role capacity thus cant be counted(in this context that is), though he has again had Pivotal roles in movies like Paa,Black,Cheeni Kum and Khakee but such movies wont be 10% of his movies since 2000 and definitely dont echo back at the glorious run of 1973-88.
once again note how in the ’73-’88 period how only 6 films or so are classified as ‘flops’. I however completely disagree on the Jurmana rating here. Even Silsila isn’t a flop in the sense of actually losing money. On the other flops categorized here I agree with. Again I’d argue with some of the ratings on individual films (MKS is definitely higher than a AAA if Amar Akbar Anthony is the same because MKS is a titanic grosser and far ahead of even Bachchan’s biggest grossers elsewhere, similarly some others seem lower than they should, some higher relative to these)but for all these disagreements this list does give a good idea of the scale of the Bachchan achievement.
satyam,
Jurmaana and silsila were flops but silsila did good business here in uk,however because of video piracy in early 80s most of Amitabhs film were straight into videos.
srk is just a luck on his side when cinemas started again.
I am sure if it was not for video piracy Amitabhs film would have made more in overseas,places like uk,europe,egypt amd middle-east.
khuda gawah was his last before he retired in 1992 ,although the initial was good the film later became just average..
mrityudada was his comeback in 1997 but that was declared flopped as it released.
jurmanaa was a flop,also zameer ran for straight for 15 weeks in mumbai ,infact it ran in 2 cinemas but they were flops..its weird why jurmana was flop?
On Zameer though I’ve seen a consistent flop ranking every single source I’ve checked. Not so on Jurmana. With Zameer it’s also not surprising given the ‘incest’ theme here. Rather bold for any age. Other than this the film would I believe have done decently at the very least.
part of a much longer comment I left on Bachchan’s blog sometime back:
[Raj Khosla made some very recognizable films with Dev Anand. Yesterday when I drew up the list I finally decided not to include Bombai Ka Babu (because the narrative tends to be a bit uneven here) but it's a very interesting film in some ways from its moody Bombay shots to its 'Zameer-like' angle before Zameer where the heterosexual pair of the film uneasily crosses a sibling-like relationship at one point. Of course Zameer took this much further (which is why the film not doing well isn't surprising in the least) and really took this 'crossing over' to the abyss. Lovers who think for a while they're actual siblings!
In one of the great (though not well-known) 19th century novels by the Portuguese giant Eça de Queiroz, the Maias, there is such a story. A pair of lovers discovers a long-suppressed genealogical link. And let us they have gone the distance before discovering the truth. At the heart of this novel then lies the horror of incest but the author was presumably saying something about the aristocracies of Europe and also the 'decisions' that 'bred' that culture and politics of the continent. Can't attempt a full criticism of this novel here but it is so fascinating that someone could even touch upon such a theme in the 70s or earlier (though far more surreptitiously) in Bombai ka Babu.]
Silsila was around 86% in Bombay in week 2, compared to this Shakti (also considered disappointing by many because expectations were so huge) was at 92% in the same week a year or two later. And Agneepath (as I’ve kept repeating recently) was at 100% in the very same week! Again Shakti was rather grim as a film with no masala relief at all. We’ve said enough on Agneepath before. Silsila was always big overseas (where the theaters existed) and really became an instant legend (more or less) with certain segments of the audience. Not all of course. Many years later when Lamhe released and was a total washout some thought this was a similar deal but this film has become dead over time (it’s a film I like but it is often taken off the rails by some very unnecessary bits of comedy). Getting back to Silsila 86% in Bombay in week 2 was pretty unusual for a Bachchan film. Nonetheless don’t believe it lost most people money. But Jurmana is a different deal and I have seen B ratings here from more than a couple of sources.
“…even breaks down towards the end..”
That should give redemption to anyone!
On serious note
He seemed to be alluding to Daniel Pearl beheading in the interview. I think if he takes this message of love in certain parts of Pakistan, then he might be in for some surprise to put it mildly.
If poor people are given guitar instead of guns, the world would be indeed peaceful place!
You should have see this interview clip.
Forget the content and what is being said and all that but see how *nicely* and with love our people are interviewd over there
He grows on you.
Initially, I was put off as he so obviously an SRK hangover and his mannerisms in MBKD were so exaggerated. But, he comes across as a sincere, down to earht chap and sings well too.
have said this before
there is an utter shortage of genuine talent
few minutes into MBKD, one could make out that this guy zafar can act alright and has good comic timing
Plus he can sing reasonably well and can write lyrics
The media waits for ‘packages’-even if half decent, and he seems reasonable
Should do well overall if handles himself well
Alos should be received well in the highly ‘hospitable’ bollywood environs
His problems are a slight deficiency of grooming/styling somewhat for a lead star…but these things can be worked upon-Unlike lack of talent…
Liked the title song of london paris new york and even this1-
(the lyrics are apt as well)-hydari looks fine but does seem to have lots of wigs..she has a certain ‘innocence’ http://www.youtube.com/watch?v=qPf4kPAshOQ
February 23, 2012 at 10:08 PM
Agneepath Beats Dabangg In Mumbai
Thursday 23rd February 2012 13.30 IST
Boxofficeindia.Com Trade Network
Agneepath will cross the 25 crore distributor share mark in Mumbai circuit after its fourth week making it in an exclusive list of five films to have crossed the mark. The other four are Three Idiots, Golmaal 3, Bodyguard and Dabangg.
Agneepath will cross the 25 crore distributor share of Dabangg and may even cross Bodyguard which had a distributor share of 26.25 crore plus.
Agneepath is unlikely to hit the business of Three Idiots and Golmaal 3 in Mumbai circuit of 38 crore and 28 crore respectively and they will remain the the top two earners in the circuit.
February 23, 2012 at 10:08 PM
Interesting Clash Between Tere Naal Love Ho Gaya And Jodi Breakers This Week
Wednesday 22nd February 2012 11.30 IST
Boxofficeindia.Com Trade Network
This week will see an interesting clash at the box office between Tere Naal Love Ho Gaya and Jodi Breakers. Both films have been made on a similar scale and promoted well.
Tere Naal Love Ho Gaya or Jodi Breakers will not take strong openings due to lack of face value for both films and therefore will be dependent on word of mouth but it will be interesting to see which film puts up a better first day number.
It is likely that collections for Jodi Breakers will be better in Mumbai city, West Bengal and South India with Tere Naal Love Ho Gaya having better collections the Hindi markets of Delhi/UP, East Punjab, Bihar, CP Berar, CI, Rajasthan and Gujarat.
Tere Naal Love Ho Gaya should edge the opening day numbers if reports are similar of both films. If one film has better reports than the other then that film will come out on top as collections will maintain or grow better than the other film throughout the day.
February 24, 2012 at 1:48 AM
Ek Main Aur Ekk Tu Struggles In Week Two
Friday 24th February 2012 10.30 IST
Boxofficeindia.Com Trade Network
Ek Main Aur Ekk Tu struggled in its second week as it grossed around 6.75-7 crore nett which means a drop of 75% plus as compared to the 30.50 crore nett in week one.
The collections of the film came down very badly after Maha Shivaratri on Monday. The Tuesday figures were 50% lower than Monday at places.
The two week business of the film is around the 37.50 crore nett but it may not hit the 40 crore nett mark as collections are very low at the start of the third week and that too on limited shows.
The film has emerged a hit in Mysore while Mumbai, Delhi/UP, East Punjab and West Bengal have seen average/above average business. The other circuits dominated by single screens have given poor performance.
http://boxofficeindia.com/boxnewsdetail.php?page=shownews&articleid=4074&nCat=
Hah!! now it wont even touch 40crs.
February 24, 2012 at 8:21 AM
and there’s already inflation on these numbers.
February 24, 2012 at 8:23 AM
B.O. update: Tug of war between ‘TNLHG’ & ‘Jodi Breakers’
By Taran Adarsh, February 24, 2012 – 16:02 IST
The morning shows on Friday were clear indicator that the clash of two similar genre movies — JODI BREAKERS and TERE NAAL LOVE HO GAYA — would result in the business getting divided. While JODI BREAKERS had a better start at multiplexes of big centres, TERE NAAL LOVE HO GAYA had an edge in circuits dominated by single screens. In fact, it seemed like a tug of war kind of a situation in every circuit, with one being slightly ahead of the other.
The two films showed considerable improvement in the afternoon shows and [hopefully] should show further escalation towards evening and night shows.
February 24, 2012 at 8:24 AM
Delhi Belly to be screened at Harvard
By Bollywood Hungama News Network ,Feb 24, 2012 – 17:22 hrs IST
#
After winning critical and commercial acclaim and sweeping a lot of awards at various award functions, UTV and Aamir Khan Productions’ Delhi Belly is now likely to be screened at the prestigious Harvard Business School and Harvard Kennedy School.
Director Abhinay Deo has also been invited to participate at the Harvard India Conference 2012 scheduled to take place next month.
Surely this is yet another achievement for the film that broke many barriers.
February 24, 2012 at 9:05 AM
Actually jodi breakers may not be all that crap-needless to say-no showing nearby
Btw bipasha seems to be handling her ‘post John’ phase quite well & maturely
Anyhow-may catch this one
What’s Franco doig in this one though
Sent from my iPhone
February 24, 2012 at 11:57 AM
Not sure where to post this -
Any film blog worth it’s salt deserves an Oscar thread
Anyhow
Talked about the predictability of Oscar choices
A dummy guide to Oscar suxess
Chris Taylor presents the formula for a guaranteed Oscar win.
Avoid animated features
If you want a Best Picture, don’t be an animated movie – only three have ever been nominated and Up and Toy Story 3 were pretty much only picked because they were needed to fill out the nomination list which had been increased from 5 nominees to 10. You’ll probably be stuck in the Best Animated Picture category!
Be white, straight and male
If you want Best Director, be a straight, white, male in your 40s – only one woman has ever won Best Director (Kathryn Bigelow) and only one Asian director has won (Ang Lee). As well as this, only four gay or bisexual directors have won and the youngest was Norman Taurog at 32, but that was back in 1931 so it doesn’t really count. A sad fact really.
Imitate, die or be disabled
If you want Best Actor, either play someone real, die or be disabled in some way – The Oscars love biopics and sob stories! TPhe Oscars is probably the only place in which Idi Amin will win a positive award thanks to The Last King of Scotland. A good death scene also goes a long way!
Get ugly!
If you want Best Actress, get ugly! – If you’re in Hollywood, you’re probably the closest thing to looking like an angel on earth. So if you strip back and lose all the make-up, it’ll somehow enhance your performance. “Oh she looks so different! What a great actress to do that!” Cough, Kate Winslet, cough.
Don’t be Gary Oldman
If you want any awards, don’t be Gary Oldman. Seriously. I can’t count the number of great roles he’s played because I don’t have that many fingers but it’s only this year that he’s actually been nominated for an Oscar. Oh, Academy, you disappoint me so!
Ps-lol@ Gary ‘old’ man
Though do find Kate winslet not bad
February 25, 2012 at 12:12 AM
Agneepath 133.6 cr in 4 weeks – Dharma numbers I guess:
http://www.dailymail.co.uk/indiahome/indianews/article-2106251/New-order-A-breed-debutant-directors-redefining-Bollywood-mainstream-suit-new-audience-time-retaining-masala-basics-Hindi-cinema.html?ito=feeds-newsxml
February 25, 2012 at 6:32 AM
Agneepath(1990) Scans from Magazine (Footfalls of 3.5 Crore audience testified here)
http://bollybusiness.wordpress.com/2012/02/25/agneepath1990-scans-from-magazine-footfalls-of-3-5-crore-audience-testified-here/
February 25, 2012 at 9:41 AM
thanks Yakuza.. this only adds to the soundness of your earlier analysis.
February 25, 2012 at 9:47 AM
you’ve called the film just about break even. You have also said that Trade Guide and Film Information called it average. That’s quite right. I have the FI ratings on Bachchan films elsehwere on the blog and here’s the entry on Agneepath:
Agneepath 1990 – B
this is the very same rating that has been given to Toofan and Khuda Gawah. Hum and AKA on the other hand are rated ‘AA’. Now Akayla and Inderjeet have been called flops here but I’ve seen other ratings where these were rated B-. But in any case the debate here is about Agneepath.
February 25, 2012 at 10:03 AM
left this note on twitter:
Here is the Film Information rating on Agneepath (1990):
Agneepath 1990 – B
The same journal (India’s largest and the one associated with the Nahta) also gave a B rating to Toofan and Khuda Gawah (and for example a AA to Hum and Aaj Ka Arjun). But the point here is about agneepath. Trade Guide too (adarsh) gave it a similar rating at the time.
Once again a link I might have provided before which includes a very fair analysis of the film and which also includes a magazine scan where a 7 crore nett is mentioned for the film:
http://bollybusiness.wordpress.com/2012/01/30/boxoffice-operation-agneepath-1990/
Once again the point isn’t to rewrite history by any means but to represent it more accurately than it has been by some who’ve been cynically undermining it to promote the remake. The film came with huge expectations and did not live upto the hype as a box office matter. But to call it a flop without qualification is a complete exaggeration. That is the kind of thing one can say for an Ajooba not Agneeoath. And again as I’ve said before the film had outstanding numbers in Bombay for 2 weeks.
So while the film has gained an extraordinary cult audience over the years the fact is that there were very important pockets of support even then. And it just wasn’t a film for everyone. It’s too dark a film, too ‘harsh’ a lead character. If this sort of film were released today all else being equal it would have the RGV coalition. It would do well in Bombay and the South.
But the larger point here is that the historical record can often be greatly distorted. Plus at the time there was of course a very anti-Bachchan media (this too is a long history!) that was quite happy to run narratives that exaggerated his failures or as in the infamous case of Illustrated Weekly of India called him ‘Finished’ (we know what has ceased to exist in the interim period!).
Once again not at all to understate that Agneepath came with enormous expectations but everything that does does not meet such expectations isn’t a flop. Years before this Shakti was considered disappointing by many. Again this was a rather grim film in many ways. But it did very comfortable business, again with Bombay leading the charge. However it did not match the gargantuan expectations (though it did better than Agneepath). In cinema as in politics one sometimes ‘loses’ when expectations are not adequately managed. Nonetheless the truth of the historical record must be highlighted where possible.
Today the current Agneepath after really a good 4- day run has really added very little. Once upon a time this would have been called a crash. Today the standards have become rather low, there’s a lot more propaganda in play too on the box office. But really there’s not much of a difference in the box office graphs. Let’s run the numbers on what 7 crores in 22-23 years ago would translate into in today’s money. Had Agneepath released today it would have been called a success.
February 25, 2012 at 11:08 AM
I had been waiting for The Artist to release in India for a long time. Glad that I finally watched it.
It is quite simply put, amazingly simple but a breathtaking experience. Quite unlike what I’ve experienced as a cinema-going patron. It takes you to an era of professionalism and genuine art and delivers on all counts, be it performances, cinematography, or the pricesless and hilarious gestures and body language.
Hats off to Jean Dujardin for such amazing performance. Really hope he wins the Oscar this year
February 25, 2012 at 11:13 AM
still haven’t caught up with this!
February 25, 2012 at 12:13 PM
I wish you do Satyam.. and do it fast.. Really wish it wins some top awards this year.. Though im yet to catch up the major oscar-nominated films (War Horse, Hugo, Moneyball, The Iron Lady, Bridesmaids).. Have watched only this n Descendants..
February 25, 2012 at 11:16 AM
David Edelstein has an interesting dissent on it:
http://www.vulture.com/2012/02/edelstein-why-is-the-artist-a-lock-for-best-picture.html
and here’s Rangan who’s half-way there:
http://baradwajrangan.wordpress.com/2012/02/25/the-artist-98345783/
February 25, 2012 at 2:21 PM
>A secret agent is being tortured by electrocution, and he’s screaming as the volts pour into his skull – only, we don’t hear him scream.
Rangan missed the point at the beginning. The hero is screaming, “I won’t say a word.” “I won’t speak” – *this* is the centre point of the plot which negates Rangan’s next comment;
>When Valentin is cast aside as the talkies take over, he is banished to his mansion like Norma Desmond in Sunset Boulevard.
It is the *refusal* to accept the change with ‘talkies’ which is the cause of his downfall.
In fact there are other such moments. One is when his wife says;
‘we have to talk.’ Responding to his silence, ‘why won’t you talk?’
>and it’s more a marvel of engineering than a movie we warm up to,
What does he mean by *we*?
It is one of the few modern films that I and I know many others who have warmed up to.
February 25, 2012 at 2:00 PM
>It is quite simply put, amazingly simple but a breathtaking experience. Quite unlike what I’ve experienced as a cinema-going patron
Exactly what I felt. I would even add *refreshing*.
Dissenting critics are just missing the point, I think.
Glad you liked it. I’ve watched it three times now, only because it has been playing here for a month and is still going on, so I accompany anyone who I hear is going.
February 25, 2012 at 2:04 PM
“I’ve watched it three times now, only because it has been playing here for a month and is still going on, so I accompany anyone who I hear is going. “–
rotflol
oldgold–have some control
it seems a ‘free 4 all’ situation
February 25, 2012 at 3:49 PM
Will be interesting to see who wins from amongst Oldman,Clooney and Dujardin. I think smart money is on Clooney. Just based on how this high school ( i.e the Academy) works.
February 25, 2012 at 11:16 AM
The old Agneepath fared much below expectations at box-office. So it ended up with a ‘Flop’ perception from media and general public.
But this happens all the time – be it in the past or the present. And there are ample examples – Ra.One, Mangal Pandey, Mission Kashmir, Tees Maar Khan, Lakshya, Main Prem Ki Deewani Hoon, Sarkar Raj, Fiza, Kambakkht Ishq – and the list goes on.
If you dig out the facts then all these movies recovered their cost for distributors and producers – no one lost any money. But since they opened big and then crashed – they did not live up to any expectations at all.
Usually in such cases the media and the public ends up with a perception of ‘flop’. The distributors are also disappointed for not getting the profits for which they made heavy investments.
The new Agneepath on the other hand, has made big enough profits for everyone involved to be unanimously been labelled as a Superhit.
Moreso, since the movie has been liked by its target audience – it also has the advantage of getting the public perception of a ‘Hit’. When these two falls in line – the media always goes with the flow.
February 25, 2012 at 11:17 AM
And too give credit to the makers of the new one, they have made the remake as dark as the previous one.
February 25, 2012 at 11:46 AM
agree- and its even more gory
and more repulsive to certain segments like females/aunties
Think theres also a perverted element in the audience who sort of enjoys this stuff
I mean, the rape of the minor
and that too a disabled minor
plus the public selling of underage girls
Also as mentioned earlier–havent seen a more grpahic display of ‘how to perform a hanging in public’–a ‘Do it yourselves’-DIY guide
Inspite of this, am surprised with the final tally
Hiritk has signed imtiaz alis next?
February 25, 2012 at 12:18 PM
another point on the new AP
Nobosy ages here lol
inlduing kancha, hrs mom –time just stands still
Also Dutt stabs HR few times
but a few shots later, HRs ‘abs’ are as untouched as ever –anyhow wasnt expecting much authenticity
but liked that final hand to hand combat—yaay
Agneepath may work as retro entertainment, but it is no great addition to India’s film culture. The original revenge drama, made in 1990, arrived towards the fag end of the worst decade in Hindi cinema. This vengeance genre, with variations to the plot, usually sets the stage with a flashback to a boyhood memory (a parent killed by a ‘Thakur’ or gangster), then cuts to adulthood, with the protagonist acquiring the power and weapons to settle the score. The slow march to a climax of lynching, arson, fistfights—anything but a conclusive bullet to the head—prolongs the interminable blood feud.
We now celebrate the return of this drivel in 2012. Reruns of the first Agneepath and its like on TV actually make the younger actors here, Hrithik Roshan (playing Vijay Dinanath Chauhan) and Priyanka Chopra (his love interest), look like they are in some sort of costume drama. No matter. Like a four-wheel drive on a dirt track, the film tears its way through with an energy that is admirable in terms of sheer cussedness, if little else.
In the end, it all boils down to your taste in cinema. The film is about a schoolmaster in Mandwa who is lynched for not going along with the strongarm tactics of a hoodlum called Kancha Cheena (Sanjay Dutt). The story then moves to Mumbai, where the schoolmaster’s tormented son Vijay, witness to his father’s murder, is now a handsome mobster (Hrithik).
Vijay’s personal life is divided between his disapproving mother (Zarina Wahab) and cheerful girlfriend (Priyanka). His professional life, such as it is, is largely about dodging bullets. Essentially, he is marking time, preparing for the final showdown with Kancha Cheena.
No one ages in the film, not the mother, not Kancha. Time stands still. It’s like the Theory of Relativity, all based on a formula in which energy (Hrithik) and mass (Sanjay Dutt), under certain circumstances, are interchangeable and can make the bloody late 1980s stand stock still.
February 25, 2012 at 1:27 PM
The problem with Bollywood is it does not make too many gangster films. Most of them that are made actually works at box-office which makes the situation more difficult. I the last 10 years or so, I liked Company and Sarkar – both were small hits.
This is one rare Superhit in this genre – ironically it has come out of Dharma Production instead of RGV’s Factory!
God is truly great!
February 25, 2012 at 1:28 PM
Correction – “Most that are made actually does NOT work at box-office which makes the situation more difficult.”
February 25, 2012 at 1:45 PM
The other creepy thing was rishi kapoors character in an ultraperverted sense
Every young female he saw–he threatened to put her up in the market
wtf
anyhow—
the film was a crap fest
BUT most guys wouldve like the final combat
between dutt n hr
specially the cheesy scene where HR literally lifts dutt offf the ground–gross but fun..
February 25, 2012 at 2:16 PM
Which is the hollywood film u would like a bollywood remake soon?
Vicky Cristina Barcelona–the bollywood remake
Liked this woody Allen film a lot
Any suggestions–who are the best directors to be given this responsibility?
Think Zoya Akhtar may do a good job?
Anyhow to heck with it–if they dont remake it, i am threatening to remake it myself–in my own “amatuer auteur’ style
Obviously Javier Bardems role has been taken (by myself lol)
Ws wondering-
if one has to choose the 3 main female roles–who should be taken –for eg from here? any ideas?
February 25, 2012 at 2:18 PM
and any good options from the current bollywood actresses
(Actresses who charge ‘peanuts’ will be given a priority)
February 26, 2012 at 9:25 AM
Jodi Breakers And Tere Naal Love Ho Gaya First Day Business
Friday 24th February 2012 11.30 IST
Boxofficeindia.Com Trade Network
Jodi Breakers and Tere Naal Love Ho Gaya both did poor business of around 1.50 crore nett each as per early estimates. The final figures may come out a bit ahead for Tere Naal Love Ho Gaya due to mass centres but it will only be a few lakhs.
Jodi breakers performed better in major metros like Mumbai city, Pune, Delhi NCR, Kolkata and Bangalore while Tere Naal Love Ho Gaya had better collections in the rest of India. Both films were released on around 1000 theatres across the country and a 1.50 crore nett figure is a poor number considering the extensive release. Both films need to show huge jumps if they are to do any worthwhile business.
Tere Naal Love Ho Gaya managed decent collections in Punjab but it was limited to Punjab state only and not the the whole of East Punjab circuit. It also did well in the Maharashtra area.
February 26, 2012 at 9:25 AM
Tere Naal Love Ho Gaya Second Day Shows Good Growth
Sunday 26th February 2012 11.00 IST
Boxofficeindia.Com Trade Network
Tere Naal Love Ho Gaya showed good growth on saturday as collections jumped 30% plus but problem is the collections are still low for a film which is not low budget and an extensive release across the country.
Saturday grossed around 2.40 crore nett as against the 1.80 crore nett on Friday. If the Saturday number came on Friday and then it grow 30% from there then it would have meant a decent weekend but a low starting point has made it tough for the film.
The film was helped by good growth at multiplexes in metros where collections were very low on the first day. The collections at these places were 30-40% lower than Jodi Breakers on day one but much closer on Saturday.
February 26, 2012 at 9:26 AM
Jodi Breakers Day Two Business
Sunday 26th February 2012 12.00 IST
Boxofficeindia.Com Trade Network
Jodi Breakers showed growth of around 20% on day two as collections went to around 1.90 crore nett from Friday numbers of around 1.60 crore nett. The film showed hardly any growth at mass centres while urban areas showed decent growth.
But again with a 1000 theatre release these numbers are low and with the film just depending on big city multiplexes there is not much hope for the film. Like Tere Naal Love Ho Gaya the film was well promoted but the film may not even collect its print and advertising costs which are around 6 crore from its domestic theatrical revenue.
February 26, 2012 at 9:27 AM
BOI providing some more laughs once again with some of this commentary..
February 26, 2012 at 11:06 AM
The Best Exotic Marigold Hotel released this week as well- has anybody seen it? The reviews are lukewarm but the trailer looked good and the cast is beyond stellar- can’t see all of them signing on together for something mediocre.
February 26, 2012 at 3:24 PM
Weekend Report: ‘Act of Valor’ Gets SEAL of Approval
by Ray Subers
Act of Valor
February 26, 2012
Starring a group of “active duty Navy SEALs,” Act of Valor trounced a handful of movies with major names attached this weekend. The movie wound up in first place with $24.7 million from 3,039 locations, which is just a little bit less than Tyler Perry’s Good Deeds, Wanderlust and Gone made combined. The Top 12 earned an estimated $115.8 million this weekend, which is up a whopping 20 percent from the same frame last year.
Even without any movie stars, Act of Valor’s opening was on the high end for movies that heavily feature modern warfare techniques. It was behind Battle: Los Angeles ($35.6 million) and Jarhead ($27.7 million) but ahead of Behind Enemy Lines ($18.7 million) and Tears of the Sun ($17.1 million), though it was more-or-less on par with these last two titles in estimated attendance. Also, in just two days it outgrossed 2009 Best Picture winner The Hurt Locker ($17 million), reinforcing the idea that overtly patriotic war movies probably have a commercial edge over more nuanced portrayals (though of course Jarhead’s $27.7 million contradicts this a bit).
Relativity Media marketed the hell out of Act of Valor by consistently reaching out to male audiences during sporting events (they purchased four Super Bowl spots) and with engaging tie-ins (Battlefield 3 was a big one). That strategy seems to have paid off, as the movie’s skewed 71 percent male. Additionally, the audience was 60 percent 25 years of age and older, and 63 percent Caucasian, and they awarded the movie an impressive “A” CinemaScore.
This is Relativity Media’s second first place opening in the past four months, following November’s Immortals. The upstart distributor currently has five more movies on the schedule this year, and if it can score with a couple of those it will truly solidify itself as a mid-major player.
Tyler Perry’s Good Deeds opened in second place with an estimated $16 million. That’s the second-worst debut yet for writer-director Tyler Perry ahead of Daddy’s Little Girls ($11.2 million). It’s possible that Perry’s brand has lost some of its luster in recent years, though Good Deeds was a bit of a departure anyway. Even when he’s not dealing with his most popular character, Madea, his movies tend to be comedies with ensemble casts. Based on its marketing, at least, Good Deeds leaned dramatic and focused almost entirely on Perry’s lead character. The movie’s audience was 76 percent female and 85 percent over the age of 25, and they gave the movie a strong “A” CinemaScore.
Once again, Journey 2: The Mysterious Island held extremely well. The adventure sequel eased 32 percent to an estimated $13.5 million to claim third place ahead of Safe House and The Vow. Through three weekends, Journey 2 has earned $76.7 million, or $16 million more than the first Journey. It’s hard to imagine this closing with less than $100 million, and when adding in its outstanding foreign run this looks like a huge success for distributor Warner Bros. Pictures.
Safe House fell 52 percent to an estimated $11.4 million in its third weekend. That brings its total to $98.1 million, which trails Denzel Washington’s American Gangster by just $2.5 million. Barring some kind of weird twist, Safe House is poised to end up being Denzel’s second-highest-grossing movie ever ahead of Remember the Titans $115.7 million.
The Vow crashed 57 percent to an estimated $10 million. That’s nothing to cry about, though, since it became the first Sony/Screen Gems movie to ever pass $100 million on Saturday. It’s also the first 2012 movie to reach that mark, and through 17 days in theaters the Channing Tatum-Rachel McAdams romance has made a massive $103 million.
Ghost Rider: Spirit of Vengeance plummeted 60 percent to an estimated $8.8 million in its second weekend in theaters. That’s a bit worse than the first Ghost Rider’s 56 percent decline at the same point. Through 10 days, Spirit of Vengeance has earned $37.8 million, or less than half of Ghost Rider’s $79 million.
Despite its decent word-of-mouth (“A-” CinemaScore last weekend) and lack of compelling competition this weekend, This Means War still fell 51 percent to an estimated $8.1 million. The rom-com/action hybrid brought its total to $33.6 million.
http://boxofficemojo.com/news/?id=3379&p=.htm
February 26, 2012 at 5:08 PM
hohoho
btw how kiddish of nargis f
she tweets this like twice
“Oh ya STARDUST AWARDS! In like 45 min!!! Gonna order in n watch! ”
“Stardust awards is ON! I m watching! aRE YOU”
ok-we will watch–NF is performing on stage for the first time
anyhow saw a bit of these awards–not sure if there any links
hold on
Nargis F perrsomed to a female version of “saada haq” –all guits n the works
was such cutely hilarious seeing her give it a great try with all the spirit lol
February 28, 2012 at 8:00 PM
showed off a few minutes of rockstar to some bollywood naives..
Sachez que vous observez ceci
Revisited this –After ‘dil chahta hai”–rockstar will be next one to be ‘showcased’
Anything remotely ‘heavy’/violent wont work with certain target audience
Anyhow enjoyed this again
February 28, 2012 at 8:07 PM
sudden impulse———-lemme get my guitar now–
Awesome–almost everything spot on
btw the opening scene with jordan gatecrashing into his own concert sets the tone
Now will set the tone for a ‘showcase’ 2 moro
after the wonderful feedbak from dil chahta hai
will write something about the interesting ‘feedback’==if time n memory serves rite
February 28, 2012 at 8:23 PM
Rahman having fun for a change and gettin carried away somewhat
but ethereal stuff…
Like the essence of this films music
February 28, 2012 at 8:31 PM
OMG…the crowds are going crzy…who is the dude in cap…looks very familiar…I hope it is not lip-sync
February 28, 2012 at 8:25 PM
What is neetu singh doing here in drag….oh wait a minute…so this is what/how celebs beat up the general public and cops!
February 28, 2012 at 8:32 PM
hahaha
btw sorta loved the scene-
for the passion element
and the one in the bath tub
killer intensity, man
welldone rahman, ranbir and imtaiz ali (besides nargis f)
wots life without some passion
February 28, 2012 at 8:34 PM
the guy in the cap is satyam
he keeps it capped up nowadays
sorry couldnt resist
btw a few nice indian chicks in the crowd–are they really enjoying the music or just…
February 28, 2012 at 8:49 PM
mohit chauhan! This one has Ranbir appearing…the band has done really good job!
February 27, 2012 at 5:57 AM
Tere Naal Love Ho Gaya Ahead Of Jodi Breakers
Monday 27th February 2012 12.00 IST
Boxofficeindia.Com Trade Network
Tere Naal Love Ho Gaya has comfortably emerged the winner in the box office clash between Jodi Breakers and Tere Naal Love Ho Gaya though collections are pretty low for both films.
Tere Naal Love Ho Gaya grossed around 7.25 crore nett over the weekend while Jodi Breakers grossed around 5.75 crore nett. Jodi Breakers failed to show much growth over the weekend while Tere Naal Love Ho Gaya showed good growth but starting point was too low.
Jodi Breakers is unlikely to do much at the box office from here on going by weekend trends while Tere Naal Love Ho Gaya has chances of putting at least a respectable number if weekdays and second week can hold up.
February 27, 2012 at 5:57 AM
http://www.bollywoodhungama.com/trade/top5/id/838/date/2012-02-27
February 27, 2012 at 6:10 AM
First Week Record Holders Since 1979 (Updated)
http://bollybusiness.wordpress.com/2012/02/27/first-week-record-holder-since-1979/
February 27, 2012 at 6:50 AM
NY Times:
February 26, 2012
Movie Review
Finding Romance in Business of Divorce
By RACHEL SALTZ
The Hindi film “Jodi Breakers” (or “Couple Breakers”) starts as a slightly boundary-pushing, if not hilarious, sex farce, before turning into a more traditional romantic comedy with a panoply of Bollywood plot twists. There are poisoned Maggi noodles, faked blood tests, and pregnancies (real and less so), not to mention the usual crosses and double crosses of love and the divorce business.
That business was concocted by Sid (the beefy R. Madhavan) after he was taken for all he had by his ex-wife. He teams up with the beautiful Sonali (the beautiful Bipasha Basu) to help unhappily married clients split up, free from burdensome things like alimony. (This is not, as you might guess, a noble profession.) Before the standard morality and accompanying love story kick in, the film offers a refreshingly jaundiced view of marriage and a few sexually frank moments. Sid and Sonali not only discuss the romance of kissing, but also practice it, before tumbling drunkenly into bed together without benefit of a marriage license.
The writer-director, Ashwini Chaudhary, has some fun with split screens in a montage of complaining married people and generally injects the visuals with more comic energy than his script can muster. Scenes and gags run on long after they’ve run out of steam (the Himalayan sex guru bit is a nonstarter), and the film sags in its long second act.
“Jodi Breakers” is, in the end, pretty standard fare, though it’s enlivened by a couple of amusing dance numbers, including one in which Ms. Basu is her own scantily clad item girl. (The song is called “Bipasha,” no less.) And in a sweet twist, the actress Helen, herself no slouch in the vampy dance department back in the 1960s and ’70s, shows up as a grandmother. Her name? Madonna.
March 1, 2012 at 9:03 AM
Hmm might actually check this one out on dvd. Normally I wouldn’t give it a second glance but Madhavan and Bipasha don’t exactly have releases every week.
February 28, 2012 at 4:00 AM
hello guys was busy with my exams so culdnt post nything…. but was was having a sneak peak at the blog all the time…
Nyways… Dum maaro dum with 32 crores was a FLOP… as per BOI… and EK main hun aur ek tu is ABOVE AVG with 37 crores….
That too after whole one year …. with bigger budget and advertising… and Super star Imran khan…. and kareena…
On the other hand we had a non existing Jr bachchan… Budget with advertising was 22 crores…
So is he really that non existent…
And now we know that Mere brother ki dulhan and Delhy belly… success of both the films had nothing to do with Imran…. They were to do with Katrina and Aamir khan…
Dum maaro dum was also a film with drugs and sex written all over the promos… with deepika in her raunching avtar…. so the Target audience funda applied to DMD also…. But i guess Abhishek’s films dont get those excuses and benefits…
and I still remmember… whwn i wrote on this blog… that y some one is not talkin bout DMD’s avg performance and only ab’s failures…
some guy BHALO MANUSH told me “bcoz everyone else is putting up much bigger numbers then DMD”
Now y is EMAET such a big deal…. Can the real bhalo manush plz stand up
March 1, 2012 at 9:10 AM
True Ek Main Aur Ek Tu should really be seen as a flop since it hasn’t crossed the expected 50 crores. Bollywoodhungama, while promoting Agent Vinod, says that Kareena has had four successes in a row (counting EMAET). Conveniently nobody remembers the failure of We Are Family and the media is willing to overlook the mediocre business of EMAET. They really want to believe that Kareena is the box office queen and is willing to overlook the little facts that get in the way of this fantasy.
March 1, 2012 at 9:17 AM
Well said thakur ( we want your hands thakur ala sholay
Yes : don’t like this ‘celebration’ of kareena
For all practical purposes, don’t feel she is even ‘female’
Just like her boyfriend ..
The two seem to be cases of gender identity syndrome early
On in life and went for a ‘corrective’ surgery
Hahaha
February 28, 2012 at 7:04 AM
Jodi Breakers Has Low Monday
Tuesday 28th February 2012 11.30 IST
Boxofficeindia.Com Trade Network
Jodi Breakers had low collections on Monday as it grossed around 80-85 lakhs. The drop is only 45% from Friday which would be okay normally but the Friday collections were low and to drop 45% from there means little hope of even a decent run.
Jodi Breakers has collected around nearly 6.75 crore nett in four days and the week will be around 8.25-8.50 crore nett and looking at Monday trending the film will just be able to cross the 10 crore nett mark for lifetime business.
The collections are down all over, even in multiplexes that started a bit better meaning there has been no appreciation for the film with the paying public.
February 28, 2012 at 7:05 AM
Tere Naal Love Ho Gaya Holds Up Well On Monday
Tuesday 28th February 2012 10.00 IST
Boxofficeindia.Com Trade Network
Tere Naal Love Ho Gaya held up well on Monday as it grossed around 1.30-1.40 crore nett as per early estimates. The collections were just 25% down from Friday although the Friday number was pretty low.
In North India the collections were better at many theatres than the Friday numbers and the Delhi/UP circuit actually managed to havea higher total than Friday. CP Berar, CI and Nizam also had similar figures to its Friday business.
The first week business of the film should be around 11.50 crore nett and with the potential of a steady second week the film can come out with a decent lifetime total of around 20 crore nett.
February 28, 2012 at 7:21 AM
Kya baat hai. Second week steady hoga, ye prediction bhi ho gaya. And since when 1.25 Crore is holding well by BOI for movie released on 1000 prints ?
February 28, 2012 at 8:46 PM
will leave u with some more onstage antics
(and indulge in some more myself)
February 29, 2012 at 7:59 PM
My recent entries at NG :
BOI Magic : Golden era of bollywood(70′s and 80′s) looks so dull in front of 2000 decade.
http://www.naachgaana.com/2012/03/01/boi-magic-golden-era-of-bollywood70s-and-80s-looks-so-dull-in-front-of-2000-decade/
A comparative analysis of Clean Hits : Amitabh(Upto 1992) VS Salman(Upto 2011) VS Shahrukh Khan(Upto 2011)
http://www.naachgaana.com/2012/03/01/a-comparative-analysis-of-clean-hits-amitabhupto-1992-vs-salmanupto-2011-vs-shahrukh-khanupto-2011-another-love-letter-to-danish/
March 1, 2012 at 2:18 AM
Nice work here Yakuza though I must say that on your second link I have some questions because I think the gap between Bachchan and the other two is far greater than that differential indicates.. also I wouldn’t take BOI data on Bachchan anywhere because they tend to underrate or underreport his films.
But also the totality of the Bachchan achievement is incredible for a number of other metrics too. For example when one compares the hits or superhits of stars one has to look at relative grosses too, in other words how much ahead of the competition Bachchan’s average success of any kind was versus that of any other star. Or the fact that a Bachchan film that actually lost money was pretty rare and hence in today’s lenient language every Bachchan film was some kind of success. Similarly the number of consecutive hits he kept putting up in very different periods and had this sort of thing going for years. So on and so forth. So often a pure counting of the hits even if accurate does not often do justice to the scale of his box office record.
On another note I am pretty sure (though I don’t remember the specifics at this point) that Film Information has also moderated their standards over the last 8-10 years. In other words they criteria were a lot tougher before this.
and with BOI again all kinds of ad hoc standards are indulged in, evaluation standards are constantly changed, and extremely arbitrary standards often rendered to ‘produce’ a certain kind of box office picture.
March 1, 2012 at 2:21 AM
by the way here’s an older comment someone once left here which reproduces all the FI rankings on Bachchan movies:
Amitabh Bachchan’s Golden Run – 1973-88
There might be an never-ending debate on how perhaps the Movie business has changed in the last 30 odd years. Actors are doing increasingly lesser movies(though this trend started in the 2000′s only),increase in other mediums of entertainment, and so on.
On the other hand there have been booms too for the industry with Music(in 90′s) , Sattellite/Cable(2000′s) providing a very good avenue for Movie Revenue thus helping a lot in the movie’s recovery.
Also can be said that modes of promotions has also increased by leaps and bounds.
But leaving the above behind, and going movie to movie, Amitabh Bachchan hit an extreme purple patch for almost 15-16 years between 1973-88.
The Innings is interesting for the amount of movies done and the success rate achieved.
Infact of the 63 movies Bachchan did in that period only 7 movies faced monetary losses of any kinds, thus a loss making movie used to an Event for Amitabh Bachchan.
Also, Amitabh Bachchan had atleast 1 hit a year for 14 straight years(1973-86).
Take a look. * Verdicts Based on Film Information Trade Journal, probably the most strict system of Verdict out there.
Film Year Gross(where available) Classification
1 Zanjeer 1973 5,00,00,000 AAA*
2 Bandhe Haath 1973 – Flop
3 Abhimaaan 1973 – A
4 Namak Haraam 1973 – BB
5 Kasauti 1974 – B
6 Benaam 1974 – B
7 Majboor 1974 – AA*
8 Roti Kapada Aur Makaan 1974 12,50,00,000 AAA*
9 Deewar 1975 6,50,00,000 A11*
10 Zameer 1975 – Flop
11 Mili 1975 – B
12 Sholay 1975 30,00,00,000 A111*
13 Faraar 1975 – Flop
14 Chupke Chupke 1975 – AA
15 Hera Pheri 1976 5,00,00,000 A1*
16 Kabhi Kabhi 1976 – AA
17 Adalat 1976 – AA*
18 Do Anjaane 1976 – A
19 Amar Akbar Abthony 1977 9,00,00,000 AAA*
20 Khoon Pasina 1977 5,00,00,000 A1*
21 Alaap 1977 – Flop
22 Parvarish 1977 6,50,00,000 A11*
23 Imaan Dharam 1977 – Flop
24 Ganga Ki Saugandh 1978 – AA*
25 Kasme Vaade 1978 5,00,00,000 A1*
26 Besharam 1978 – BB
27 Trishul 1978 7,00,00,000 A11*
28 Don 1978 6,00,00,000 A1*
29 Muqaddar Ka Sikander 1978 10,00,00,000 AAA*
30 The Great Gambler 1979 – B
31 Jurmana 1979 – Flop
32 Mr Natwarlal 1979 7,00,00,000 A1*
33 Kala Pathar 1979 – BB
34 Manzil 1979 – B
35 Suhaag 1979 7,00,00,000 A1*
36 Do Aur Do Paanch 1980 – A
37 Dostana 1980 7,00,00,000 A1*
38 Ram Balraam 1980 7,00,00,000 AA*
39 Shaan 1980 7,00,00,000 A*
40 Naseeb 1981 10,00,00,000 A1*
41 Barsaat Ki Ek Raat 1981 – AA*
42 Lawaaris 1981 9,00,00,000 A11*
43 Silsila 1981 – Flop
44 Yaraana 1981 7,00,00,000 A1*
45 Kaalia 1981 – AA*
46 Satte Pe Satta 1982 – AA*
47 Bemisaal 1982 – B
48 Desh Premee 1982 – A
49 Namak Halaal 1982 8,00,00,000 A11*
50 Khudaar 1982 7,00,00,000 A1*
51 Shakti 1982 – B
52 Nastik 1983 BB
53 Andha Kanoon 1983 9,00,00,000 A11*
54 Mahaan 1983 – B
55 Pukar 1983 – B
56 Coolie 1983 11,00,00,000 A11*
57 Inquilaab 1984 – B
58 Sharaabi 1984 6,00,00,000 AA*
59 Geraftaar 1985 – AA*
60 Mard 1985 8,00,00,000 A1*
61 Aakhree Raasta 1986 7,50,00,000 A1*
62 Shahenshah 1988 7,00,00,000 AA*
63 Ganga Jamuna Saraswati 1988 – B
Classifications
A111-All Time Blockbuster
AAA-Blockbuster
A11-Super Hit
A1-Super Hit/Hit
AA-Hit
A-Semi Hit
BB-Above Average
B-Average
*denotes equal universal success
SUCCESS RATIO-88.8%
36 ALL INDIA HITS(From 1973-88)
For Fairness purpose its important to highlight the not so successfull periods of Bachchan’s Career.
1969-72
This Period is the start of the Career of Big B, he mostly struggled around for few years before breaking big time in Zanjeer. The notable movies of this time are Saat Hindustani, Anand and Bombay to Goa.
1 Saat Hindustani 1969 – Flop
2 Anand 1970 – AA
3 Reshma Aur Shera 1971 – Flop
4 Pyar Ki Kahani 1971 – Flop
5 Parwana 1971 – Flop
6 Bombay To Goa 1971 – BB
7 Bansi Birju 1972 – Flop
8 Ek Nazar 1972 – Flop
9 Sanjog 1972 – Flop
10 Raaste Ka Pathar 1972 – Flop
1989-92
This Period Signifies the return of Big B from the political Arena back to movie business, again here he didnt find the same success as he did in this prime. Notable movies are Agneepath,Hum and Aaj Ka Arjun.
1 Toofan 1989 – B
2 Jaadugar 1989 – Flop
3 Main Azaad Hoon 1989 – Flop
4 Agneepath 1990 – B
5 Aaj Ka Arjun 1990 7,00,00,000 AA*
6 Hum 1991 8,00,00,000 AA*
7 Ajooba 1991 – Flop
8 Indrajeet 1991 – Flop
9 Akayla 1991 – Flop
10 Khuda Gawah 1992 – B
11 Insaaniyat 1994 – B
Since 1997 Amitabh Bachchan has starred and been successfull in uncountable number of movies, though most have been in character role capacity thus cant be counted(in this context that is), though he has again had Pivotal roles in movies like Paa,Black,Cheeni Kum and Khakee but such movies wont be 10% of his movies since 2000 and definitely dont echo back at the glorious run of 1973-88.
March 1, 2012 at 2:29 AM
once again note how in the ’73-’88 period how only 6 films or so are classified as ‘flops’. I however completely disagree on the Jurmana rating here. Even Silsila isn’t a flop in the sense of actually losing money. On the other flops categorized here I agree with. Again I’d argue with some of the ratings on individual films (MKS is definitely higher than a AAA if Amar Akbar Anthony is the same because MKS is a titanic grosser and far ahead of even Bachchan’s biggest grossers elsewhere, similarly some others seem lower than they should, some higher relative to these)but for all these disagreements this list does give a good idea of the scale of the Bachchan achievement.
March 1, 2012 at 2:24 PM
satyam,
Jurmaana and silsila were flops but silsila did good business here in uk,however because of video piracy in early 80s most of Amitabhs film were straight into videos.
srk is just a luck on his side when cinemas started again.
I am sure if it was not for video piracy Amitabhs film would have made more in overseas,places like uk,europe,egypt amd middle-east.
khuda gawah was his last before he retired in 1992 ,although the initial was good the film later became just average..
mrityudada was his comeback in 1997 but that was declared flopped as it released.
March 1, 2012 at 2:29 PM
Jurmana was hardly a flop.
I remember it ran for 25 straight weeks in Ahmedabad.
March 1, 2012 at 2:32 PM
jurmanaa was a flop,also zameer ran for straight for 15 weeks in mumbai ,infact it ran in 2 cinemas but they were flops..its weird why jurmana was flop?
March 1, 2012 at 4:03 PM
On Zameer though I’ve seen a consistent flop ranking every single source I’ve checked. Not so on Jurmana. With Zameer it’s also not surprising given the ‘incest’ theme here. Rather bold for any age. Other than this the film would I believe have done decently at the very least.
March 1, 2012 at 4:07 PM
part of a much longer comment I left on Bachchan’s blog sometime back:
[Raj Khosla made some very recognizable films with Dev Anand. Yesterday when I drew up the list I finally decided not to include Bombai Ka Babu (because the narrative tends to be a bit uneven here) but it's a very interesting film in some ways from its moody Bombay shots to its 'Zameer-like' angle before Zameer where the heterosexual pair of the film uneasily crosses a sibling-like relationship at one point. Of course Zameer took this much further (which is why the film not doing well isn't surprising in the least) and really took this 'crossing over' to the abyss. Lovers who think for a while they're actual siblings!
In one of the great (though not well-known) 19th century novels by the Portuguese giant Eça de Queiroz, the Maias, there is such a story. A pair of lovers discovers a long-suppressed genealogical link. And let us they have gone the distance before discovering the truth. At the heart of this novel then lies the horror of incest but the author was presumably saying something about the aristocracies of Europe and also the 'decisions' that 'bred' that culture and politics of the continent. Can't attempt a full criticism of this novel here but it is so fascinating that someone could even touch upon such a theme in the 70s or earlier (though far more surreptitiously) in Bombai ka Babu.]
March 1, 2012 at 4:11 PM
Silsila was around 86% in Bombay in week 2, compared to this Shakti (also considered disappointing by many because expectations were so huge) was at 92% in the same week a year or two later. And Agneepath (as I’ve kept repeating recently) was at 100% in the very same week! Again Shakti was rather grim as a film with no masala relief at all. We’ve said enough on Agneepath before. Silsila was always big overseas (where the theaters existed) and really became an instant legend (more or less) with certain segments of the audience. Not all of course. Many years later when Lamhe released and was a total washout some thought this was a similar deal but this film has become dead over time (it’s a film I like but it is often taken off the rails by some very unnecessary bits of comedy). Getting back to Silsila 86% in Bombay in week 2 was pretty unusual for a Bachchan film. Nonetheless don’t believe it lost most people money. But Jurmana is a different deal and I have seen B ratings here from more than a couple of sources.
March 1, 2012 at 2:32 AM
http://satyamshot.wordpress.com/2009/11/08/amitabh-bachchan-the-one-man-industry/
March 1, 2012 at 11:48 AM
March 1, 2012 at 11:51 AM
skimmed through this.. can hardly call myself a fan (!) but he’s remarkably down to earth.. even breaks down towards the end..
March 1, 2012 at 2:51 PM
“…even breaks down towards the end..”
That should give redemption to anyone!
On serious note
He seemed to be alluding to Daniel Pearl beheading in the interview. I think if he takes this message of love in certain parts of Pakistan, then he might be in for some surprise to put it mildly.
If poor people are given guitar instead of guns, the world would be indeed peaceful place!
March 1, 2012 at 2:53 PM
dimple-get serious
March 1, 2012 at 3:05 PM
You should have see this interview clip.
Forget the content and what is being said and all that but see how *nicely* and with love our people are interviewd over there
March 1, 2012 at 12:59 PM
He grows on you.
Initially, I was put off as he so obviously an SRK hangover and his mannerisms in MBKD were so exaggerated. But, he comes across as a sincere, down to earht chap and sings well too.
March 1, 2012 at 1:25 PM
Rohan Sippy @rohansippy
LPNY is a sweet, fresh film- & Ali & Aditi are hugely likeable!
March 1, 2012 at 1:25 PM
haven’t seen his first film, just MBKD.
March 1, 2012 at 2:33 PM
His first ‘Tere Bin Laden’ was a lovely little film. And he was the best bit of MKBD. Moving interview this.
March 1, 2012 at 2:37 PM
hmm suhan
havent seen ‘bin laden’ film
may check it out at your recommendation
who are your other favorites by the way ..
March 1, 2012 at 2:42 PM
His Srk hangover is not surprising , infact highly expected
March 1, 2012 at 2:35 PM
have said this before
there is an utter shortage of genuine talent
few minutes into MBKD, one could make out that this guy zafar can act alright and has good comic timing
Plus he can sing reasonably well and can write lyrics
The media waits for ‘packages’-even if half decent, and he seems reasonable
Should do well overall if handles himself well
Alos should be received well in the highly ‘hospitable’ bollywood environs
His problems are a slight deficiency of grooming/styling somewhat for a lead star…but these things can be worked upon-Unlike lack of talent…
Liked the title song of london paris new york and even this1-
(the lyrics are apt as well)-hydari looks fine but does seem to have lots of wigs..she has a certain ‘innocence’
http://www.youtube.com/watch?v=qPf4kPAshOQ