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170 Responses to “Ek Main aur Ekk Tu, Agneepath (ongoing), the rest of the box office”
Saturday Important For Ek Main Aur Ekk Tu
Thursday 9th February 2012 14.30 IST
Boxofficeindia.Com Trade Network
Ek Main Aur Ekk Tu may start well at multiplexes in the big cities but as with all films aimed at the urban audience it will be Saturday that holds the key to what sort of business the film can do.
A good jump on Saturday is a must as multiplexes in the areas that Ek Main Aur Ekk Tu is aimed at do their best business on Saturday.
The last two films that had a similar audience were Delhi Belly and Ladies Vs Ricky Bahl with the former opening at 6 crore day one and the latter at around 4.50 crore.
A 6 crore first day would be a good result for the film as the urban films that have opened to around the 7 crore nett have had bigger stars or held more appeal for single screens. I Hate Love Storys got a 7 crore nett first day but had a larger audience target due to its hit musicand more massy feel, an Anjaana Anjaani got 6.75 crore due to the Ranbir Kapoor factor while Zindagi Na Milegi Dobara hit 7.50 crore but had Hrithik Roshan and a much larger canvas than the regular big city multiplex films.
yeah its obvious that gone are the days of a movie running for a ‘silver’ or ‘golden’ jubilee. thats why i have a slight problem with the trending theory because it doesn’t really matter for a star nowadays. the MAIN factor for someone to be considered a star nowadays is a huge opening week. based on this, its clear who the top dogs are: Hrithik, SRK, Aamir and ofcourse Salman.
big movies in india are now built for opening day..opening weekend…opening week…’get as much as you can’ during that week…the rest is how good the movie is which in my mind has little to do with the star at that point.
its been this way in the US for the past 15 years now. every big movie is front loaded and opens huge but has a 50-60% drop the second weekend which is actually considered good.
In the US no big film is called a hit without minimal trending. In fact there are very many well know examples where ‘pretty good’ trending wasn’t considered good enough. In other words the big bang opening weekend is considered simply the first step in the process!
But here’s the thing — the huge opening number and trending cannot be substituted for each other. A big film is expected to open big and therefore make a significant portion of its investment safe. This does not relieve it of the responsibility to then remain stable for a while because as I’ve said many times before a film cannot be truly profitable without the latter. On the other end if you have a big film that opens much below expectations (for a big film) then trending alone cannot make up the loss of a huge weekend unless something extraordinary happens. So both ends of the equation are necessary.
But also remember that big initials didn’t come about yesterday. These were the case even in the days of silver or golden jubilees. There were massive openers even then but these were expected to stay stable for a long time. It is so even today in the South where if you get a huge initial and the film is then weak most of the time it isn’t really called a hit.
Getting back to Hollywood my favorite example is the Lost World a film which opened to 92m over an extended weekend, did 220m eventually and many regarded it as disappointing (the first one opened to 60 and did 350). Or a smaller Village did 95m or so but was called a flop universally because it did 55-60% of that gross over the opening weekend.
In Hollywood there are tons of blockbusters that trend hugely well or very well. In India not as many but enough. We’ve seen this with Aamir’s film. But even elsewhere we have so many films like Rajneeti or ZNMD or Singham that minimally doubled their initial week. The point here is that when you had on the other hand films like APKGK or LAK not even being close to doubling their initials these films too were called hits by the trade. And the same principle is now being applied for the 100 crore deals. Whether it’s 40 crores or 70 or 100 the rules don’t change. Or rather the laws of physics don’t change! The model of a film making all of its money initially over the first 5 days or so and then fizzling out more or less is just an imaginary one. In Hollywood if anything they are very tough about trending standards. You see pieces routinely that examine every little detail. They will say stuff like ‘x’ blockbuster trended well but was ‘y’% lower compared to the previous release in the franchise or lower by the same for a comparable blockbuster that released around the same time the previous year. Or they’ll say huge numbers were largely due to 3D sales if the film wasn’t as strong otherwise. So on and so forth.
It is true that by and large and for obvious reasons films cannot on average trend as they once did. But there’s a difference between having lower standards and no standards!
I don’t think we have to follow what US does.
The whole film culture and viewership is a totally different matter.
Do you notice that the films that ‘trended’ well, as you say, did not have a big initial in keeping with my theory that the main factor is repeat value or if not many people saw it initially, then good WOM gets it to trend well.
“Do you notice that the films that ‘trended’ well, as you say, did not have a big initial in keeping with my theory that the main factor is repeat value or if not many people saw it initially, then good WOM gets it to trend well.”
Ghajini, 3I?! Dabanng trended WAY better than all these other films though not like the Aamir ones. Is this too high a standard. Even BG trended a LOT better than all these films. There comes a point when facts do become terribly inconvenient. This isn’t a debate. There is just no case on the other side!
As for not doing things the Hollywood way actually that’s the way every professional industry in the world does it, that’s the way the Southern Indian industries still do it. So saying one’s not going to follow this is a bit like saying one won’t follow ‘Western’ math!
And again one must get away from fallacies and/or imaginary positions. Show me the facts! One can keep believing whatever one wants to and keep ignoring the obvious facts at hand. That’s one’s prerogative. Similarly one can keep creating these imaginary propositions. The laws of physics do not change from culture to culture!
As a general matter I’ve said this many times. when I see all these films I am not at all surprised that these films don’t trend well. Because these just aren’t good enough. They’re made for effective ads and little more. The entire film functions like a massive ad campaign with little substance attached to it otherwise. And when the right factors are in place you get the big initial. These aren’t films anyone returns to, these aren’t films a very significant cross-section of the audience loves. These are for most people in the passable category which is why the box office behaves the way it does. There is no mystery at all here. And the reason Aamir’s films trend that well is because his films always have a soul. I’m not saying it. The audience is demonstrating this! Similarly even in Hollywood you get very many blockbuster types that don’t trend very well and are called out for the same. The better ones do. But the truly exceptional trenders strike a chord. This was true for TDK or true for Titanic and Avatar. But in all sorts of genres one can see this. Films that open big and trend decently and those that trend well. Even in the most synthetic age for cinema when films globally are little more than ad campaigns or video games ‘substance’ still matters. The initial rush which can be created with a number of factors can get the film a few strong days and that’s about it.
For years I used to say (and many used to laugh) that the Bombay box office was performing below its potential with the Yashraj dominant genre because a large slice of the audience was simply being written off. We’ve seen since what happens when everyone is included. Now even a ZNMD that trended very well cannot catch up with a Singham in India let alone something bigger. Similarly I am now saying or have been for sometime that most of the 100 crore grossers are underperformers or worse. Said this earlier with those 40 crore openers that did 60-65 crores. Agneepath for example will barely equal Ghajini in absolute terms. It’s only crossing Don2 by a little bit despite having an enormous advantage initially. Ghajini had 55 crores or so over it’s 7 days and 64 crores or so for the extended 9 day period. Agneepath had 85-90 crores (depending on who you believe) over its own week. This is a 30-35 crore advantage and it’s barely equaling that film. Gimme a break here! These films are in many cases terrible underperformers.
Re: Do you notice that the films that ‘trended’ well, as you say, did not have a big initial
No,I dont. Thats hog wash. There are films that open big and trend well as they were liked and there are films that open big and peter out-which get trumpeted as ‘successes’ as they made some money over the cost. But, all these films are not really liked and tend to have a very short half life. People still talk about Ghajini and 3I but Ra.One,Don 2, BG are ony talked about in terms of collections but not as films. AP is destined to the same fate. Remember,even this so called 100 crore club members are only seen by 20-30 million people.
Thats a small fraction of the potential audience.If a film is really liked , it could bring a lot more people to theatres. If nit initially, in the succeeding weeks and that is something the 100 crore lite crowd is not able to do. No amount of dirty dancing to the tune of ‘It is a success’ is going to change the fact that they were not well liked.
Show me evidence that trending is a factor in determining a hit status. One such evidence from a major entity in Hollywood. The suits in Hollywood are all about money. They understand NPV. They understand that money today is worth more than same amount tomorrow. We are not far away from the time, when a movie will release in theaters and some premium PPV channel simultaneously.
At the end of the day, everyone associated makes movies to make money, lots & lots of money. In Hollywood even color blind people (like me) know the color of money. Hence we have a thousands of lists ranking movies based on the money they made. SHOW ME ONE list (not from some stupid blog) from a credible organization in the industry which puts out a list on just trending.
There is no trending, it is just money, money, money.
After spending a trillion words, you will still need to support it with evidence. Hence I am saying, life is short, lets do away with the meat and potatoes, lets get to the deserts, show me one list on trending. It cannot be such a big deal if so such list exists.
Say I state that Americans love Ice Cream. I can support that with a list of premium brands, not so premium brands and everyday super market brands. I can show variety and depth (abundance of available flavors) to support my statement. BUT say if none of this existed, say if there was only one brand and three flavors only. Clearly you would point to the absence of variety and depth to discount my opinion.
Well, we are in a similar situation. You cannot show me one list from a credible source on trending.
Moreover, I have shown how one is better off economically by grabbing everything up front.
My position is based on i) Economics and ii) Evidence. Your position is based on what ?
Karan.. can’t ‘show’ you evidence for a simple reason.. if someone wants ‘evidence’ as to why the earth is not flat I could certainly offer it but I’d feel rather silly for doing so. Now of course fans like yourself don’t even mind the flat earth theory if it favors their favorites. Sadly (for you guys) I have a little more integrity than that! Let’s not pretend this is about the facts or there’s some serious debate to be had here. You guys are definitely not as confused as you’re pretending to be. This is just about partisanship (which many of your other statements which have as much to do with reality as the Martian attack last weekend also confirm). When I want to make my points I will make them, I’ve already laid things out as comprehensive as possible. But I’m sorry, the flat-earth types will not get evidence one way or the other from me!
yes that’s a good way of framing it.. the initial weekend is just about the initial appeal of a film based on a number of factors.. the trending indicates WOM and how much the film has been liked or not. Which is why even over the initial weekend sometimes there’s weakness in the numbers. What happens is that when the numbers are big the trade glosses over these. So you have pre-release reports about biggest opening day and opening weekend and what not and very soon the film starts falling behind. The overall number is still huge so everyone can pretend there’s no problem. But there’s always an issue relative to the film’s potential which then becomes much more apparent over time.
The problem is that the trade or those elements in the media simply out to promote certain films for one reason or another also know all of this and so they try to rig the game as much as they can in the early stages and of course prior to release. So those big openings which many films have a very high likelihood of get anyway, almost definitionally, are presented as ‘accomplishments’ and then when the initial period fades and the numbers do as well it doesn’t matter anyway because by this narrative the film is a superhit in 3-5 days!
The question that must be asked with some of these 100 crore grossers is this: how poorly would the film have to do for it to be accepted as at least an underperformer. The answer is: nothing short of a complete and total tank. How many films see that?! So at every end the game is just rigged. The day 1 number that is supposed to be poor for a much smaller EMAET is supposedly fantastic for day 8 when it’s a 100 crore film! Sometimes it’s even lower than this! Ra One did 1.75 crores all over India in week 3! This is shockingly low even by the standards of quick faders. And again the amusing thing here is that the biggest films have to live upto (or ‘down’) the lowest standards while the smaller films have much higher bars to clear!
50-60% drop is fine .. but almost every big movie in last 1 year has near to 80% fall .. Agneepath had 80% fall so was Don-2, Ra.One was even bigger, ditto story for bodyguard . . only Ready, Singham and ZNMD trended well last year and we know that these were *actually* liked movies.
Agneepath collected 23 crore nett in its second week taking its two week total around the 109 crore nett mark. The collections in the second week are amongst the top ten of all time.
The film will continue its run is single screens this week but multiplexes have seen a huge drop in shows as well as collections at the start of the third week.
After its second week the film has crossed the business of films like Don 2 and Golmaal 3 to become the the seventh highest nett grosser and by the end of its run it should emerge as the fifth highest nett grosser ever.
Ek Main Aur Ekk Tu Has Decent Opening At Multiplexes
Friday 10th February 2012 10.30 IST
Boxofficeindia.Com Trade Network
Ek Main Aur Ekk Tu took a decent opening at multiplexes with collections in multiplexes in the North being pretty good while other areas had an average opening at multiplexes.
Spice and Wave Noida opened to 65% in the first shows while multiplexes in Delhi, Chandigarh, Gurgaon and Ludhiana had 50% plus collections.
Multiplexes in other parts of the country ranged from 25-45% depending on location. Multiplexes in places like Nagpur, Indore, Jodhpur, Latur etc were around the lower end of the range while Pune and Bangalore towards the higher end.
The single screen opening is likely to be dull but the film has managed a decent opening amongst its target audience which is the major centre multiplex audience.
Ek Main Aur Ekk Tu Opens To Dull Houses At Box-Office
February 10th, 2012 by Komal Nahta
In shocking news for the trade, Karan Johar’s Ek Main Aur Ekk Tu has taken a dull opening all over today (Friday, 10 February 2012).
Multiplexes in Ahmedabad did not record a sale of more than 100 tickets in morning shows of the film. While the prevailing cold wave could be a reason for the dull initial, the fact remains that the film has opened poorly.
Ek Main Aur Ekk Tu, directed by Shakun Batra, stars Imran Khan and Kareena Kapoor.
The movie is supposed to be good. There aren’t many major releases over the next month- it should pick up with a good WOM and sustain pretty well. I don’t think it will put up any impressive first day/ weekend totals because it doesn’t have any mass appeal or item numbers but the final gross will probably be quite good- especially given the low cost.
And lack of originality can hardly be given as a reason for a Hindi film to fail. How many Hindi films have you seen in the past year that were the least bit original? ;-)
I’ll be following the box office with interest this weekend. By all accounts, EKAET is a non-filmi romantic-comedy in the style of something like “Garden State.” Time to wait and see if that is really what audiences want… versus just giving lip service to the idea of making films “on par with Hollywood.”
Dont see much of a trending issue with Agneepath. It did 90 cr is 8-day week one. Week two is 24 cr.
The movie is trending well in the single screens. The differential between the weekly collections is due to the multiplex support (higher ticket prices) that the movie got in the opening weekend. The aunties/kids or family audience wont go for a repeat watch for such a dark intense movie – it has to count on the single screens from the first monday.
In absolute terms a 24 cr week 2 figure is quite decent. Ra1 had 14 cr week 2, BG had a 20 cr week 2, Don 2 had 26 cr (this was a plex hit mainly so less footfalls).
It has been liked by single screen audience and will go past Ready’s haul soon enough.
And considering its smart costing – Karan Johar has delivered a proper big hit long after k3g – thats more than a 10 year wait for him!
B.O. update: ‘E.M.A.E.T.’ has below the mark start
By Taran Adarsh, February 10, 2012 – 18:39 IST
In a development that caught the film industry by complete surprise, EK MAIN AUR EKK TU opened to a shockingly low response everywhere. The opening was marginally better at big city multiplexes, yet the business was below the mark. What’s surprising is that the film has everything going in its favor — right from the aggressive promotions to the impressive star cast to the glowing reviews in the media. Yet, the morning and noon shows on Friday were disappointing.
The business should pick up towards the evening and night shows on Friday and also on Saturday and Sunday, given the fact that the word of mouth is very encouraging.
This week’s big release Dharma Productions’ Ek Main Aur Ekk Tu featuring Imran Khan and Kareena Kapoor received a mixed response from distributors across the country. While hopes were quite high from the romantic comedy directed by debutant Shakun Batra, the film managed to impress only the multiplex-urban audience. It took a decent opening but post the afternoon shows, the smaller cities, which were quite upbeat about the film’s fresh Imran-Kareena pairing, appeared quite disappointed.
According to Hemant Shah of Tilak Enterprises, “In Mumbai, the film fared quite well and has done better in multiplexes and decent business in the single screens. It will manage to earn Rs 5-6 crore in its first day.”
He says the film will do better business over the weekend and will pick up at multiplexes due to word-of-mouth. “I am not sure if it will do all that well at single screens though,” Shah avers.
Sanjay Ghai of Mukta Arts predicts the same numbers. “The film will manage Rs 5-6 crore in its first day as it is a pure multiplex film suited to the gentry. The response has been quite mixed as it’s not a film that will work with the single screen audience.”
In West Bengal, distributors feel the film will pick up over the weekend. Kamal Mukut of Mukutwalas says, “In Kolkata, Ek Main Aur Ekk Tu is doing well at multiplexes and not so well at single screens. The film might pick up over the weekend thanks to word of mouth but it’s too early to tell.”
In Punjab, distributors didn’t seem very upbeat. Surendra Saluja of Lakshya Movies remarks, “The reports of the film are not all that great. The opening of the film was quite good here, but after the afternoon shows, business has dropped. I don’t think it will improve over the weekend.”
In Mysore, BH Basha of Bahar Enterprises predicts that collections of Ek Main Aur Ekk Tu will be Rs 2 crore by its first weekend. “The film’s business is improving with every successive show. While it opened at 20 to 30 per cent, it managed 45 to 50 per cent in the evening shows.”
In the smaller cities, the film met a dismal fate. In Rajasthan, Vasudev Chachan of Sunny Films reveals, “It is an utter flop here and has managed only 14 per cent business. It will not do well even over the weekend.”
In CI, Ashok Choudhary of Neha Movies adds, “The film is not meant for the B-class audience and has not done well in our territory. At some cinemas, business is only in the hundreds and the movie might even get pulled out of some cinema halls by tomorrow.”
In Orissa, Jeetu Khandelwal of Movie Pioneers concludes, “The subject of the film has not been appreciated by the audience here. As a result, the movie has fared very badly. At some shows, collections were as pathetic as Rs 300 to 400 only. The reports of the film are not up to the mark.”
Saturday 11th February 2012 11.30 IST
Boxofficeindia.Com Trade Network
Ek Main Aur Ekk Tu has done fair business on day one thanks to high end multiplexes. The first day collections are around 5.25 crore nett as per early estimates. The film collected well in Mumbai city, Delhi NCR, Punjab and Mysore while other places had low collections. Single screens were very dull across the board.
Saturday will the key and good growth will give it a healthy weekend of around 18-19 crore nett and with Monday being Valentines Day the collections will hold on Monday as the film is of a romantic genre which gives Ek Main Aur Ekk Tu a chance to come up with a good week but all depends on Saturday which is litmus test.
The film has performed very well in Bangalore where its first day figures were better than many big films while on the other side collections in Bihar and CP Berar are very bad.
I skimmed through this. Leaving aside my disagreements on particular points one of the problems I always have with reducing cinema (or for that matter politics) to a science where a successful film is then simply the ‘consequence’ of a whole series of metrics that are put into place in the right way is that this approach completely misses the transcendence of the medium (the same happens in politics). The reason these approaches seem to hold true is because the proper resources of the medium (or in politics the proper possibilities) are not really being deployed most of the time. In other words when you have films designed like ad campaigns and simply meant to maximize the opening weekend irrespective of how much and how fast these fizzle out later then you have a kind of cinema that is very reducible to such ‘quantification’. In other words if you have x, y, z in a film and if you especially release it on a certain date you are guaranteed a certain sort of number. Whether it’s cinema or politics most people try to do things the safe way and hence they rely on the obvious hooks to get the audience (or voter) interested. But the ‘event’ that is capable in both cinema and politics is completely missed this way. Even in a limited sense. And so for example it is not at all sufficient to say that Dabanng had a great trailer or what have you. There was something else that happened here. Similarly to talk of audience tastes and genre interests in the abstract also misses the point. All of this might be true but an authentic film when it works can greatly destabilize all these equations. Why is it that Cameron has twice made films that went on and on for months? And in an age where everything else, even when successful, fades rather quickly? Why was even TDK able to sustain far better than everything else in its genre? Similarly why do Aamir’s blockbuster exhibit trending patterns that seem to be beyond even the other top stars in any conceivable genre (so far at least)?
Poll-driven cinema or politics is of course (and not surprisingly) measurable by the Shailesh Kapoor kind of methodology (which in turn of course relies on American models). But what this cannot account for is the Avatar kind of deal. Now this is not just about being the outlier. I would argue more of the latter are possible except that very few are trying to do so.
In the final analysis if the claim is that this kind of methodology simply explains cinema as it is practiced most of the time these days one can agree with it but that’s not much of a claim. Do we really need to be told why certain kinds of films have had big initials?! Do we really need details models to tell us how big ETT will open?! And so on. A lot of it is simply too obvious. The more interesting questions just cannot be accounted for in this kind of model.
Did not know that Shailesh is associated with BOI.
they talk about AB’s effect on TV vs Movies which kind of makes a lot of sense……
I had also made the same point earlier that he needs to do K3G, BMCM and Waqt kind of movies where he is in a leading role but also having a big star in it….
but on the other hand I do want see him in movies like Nishabd/ BHTB/ Rann etc.
No offence taken…
Aside- moron – personally or professionally ?
Chetan Bhagat is IIT/ IIM – have just read his one book- did not like it, but ever since he has praised Modi- I kind of like him as a person….
bhrdwaj rangan ( also from bits pilani) is the best critic we have in india btw one feel the biggest reason for bhagat’t sucess is really mixes emotional melodrama with whats is hot ( in terms of current trend among youth)…when call centres where in demand came one night in call centre ….when people where debating educational reforms you have the five point someone ala 3 diots and now when anna hazare and revoultion is the theme here comes the revolution 2020…its to much predictable and so is his writing
model and so called other paradox are simply just a cover up for substandard products which induustry is delivering for close to 2 years and simply because of lack of will even in terms of creativity now its all about either remaking old classics or lifting script directly from regional cinema…there are some who even claims they are taking indian cinema to new heights by copying various hw venture and ends up making cariature on screen
any decent and liked movie will trend anyway and since some of this junk write up took hollywood as reference well you don’t need to be rocket scientist to know what avatar or dark knight in hollywood and 3 idiots in india did in box office and what sort of trending and likability quotient they have
and ya there are just no excuses for even making a better remakes with so advancement of technology in recent times …most of these old classics have come long times back and have aged beautifully ….people know about their drawbacks more minutely and defects they had and these young filmmakers who are supposed to give tribute can easliy make a better movie technically and even in terms of script but here again the focus is more on basterdizing and making easy money by cashing in on brand value …similarly most of the south indian remakes where made as it is
Agneepath has had a huge fall in the region of 75-80% at the start of its third week. The collections are around 75 lakhs on its third Friday as against the 3.25 crore nett last Friday.
The same scenario happened with Don 2 and it is a repeat with Agneepath. Both films had cracks in collections in certain days over their first two weeks run but as long as there was no competition the films managed to hold but as soon a new major release came the collections went down heavily.
Its mainly due to the fact that most films are unable to hold good occupancies after the first seven days due to over saturated releases but exhibitors will keep them on unless there is an alternative.
The opening numbers are getting so high today for the big commercial films that the scenario is such that if films face major competition in week two then collections are likely to come down heavily unless all India word of mouth is like films like Three Idiots, Dabangg, Ready or Bodyguard.
“unless all India word of mouth is like films like Three Idiots, Dabangg, Ready or Bodyguard.”
Ha Ha .. Dabangg and Bodyguard have poor WOM .. only salman saved these movies .. and just 1-2 more such craps, audience will give Salman movies same treatment as they have given since last 20 with exception of 3-4 years in between.
Ek Main Aur Ekk Tu showed huge growth on Saturday as it collected around 7.25 crore nett as per early estimates which is 2 crore nett more than Friday. The film is being totally driven by multiplexes in Mumbai, Pune, Delhi NCR, Punjab, Kolkatta and Bangalore. Saturday was good after an average start on Friday. The film may come out with a strong first week collection of around 30 crore nett.
At some of the multiplexes in these areas the collections were double of what they were on Friday. The film is making no impact in the CPCI areas as collections hardly showed a jump from Friday but multiplex areas are very good. Early Saturday figures from some circuits with Friday numbers in brackets are below.
Box office: ‘The Vow’ leads strong weekend with $41.7 million
February 12, 2012 | 9:32 am
The Vow was the No 1 film at the box office this weekend
Moviegoers fell head over heels for “The Vow” this weekend, as the romantic drama posted the biggest opening of the year.
It was a record-breaking non-holiday weekend at the box office, as four films each debuted with well over $20 million in domestic ticket sales. “The Vow,” starring Channing Tatum and Rachel McAdams, collected an impressive $41.7 million, according to an estimate from distributor Sony Pictures. The action thriller “Safe House” also beat expectations, starting off with a strong $39.3 million. The sequel “Journey 2: The Mysterious Island” also far exceeded industry projections, grossing $27.6 million, while a 3-D re-release of “Star Wars: Episode I — The Phantom Menace” took in a respectable $23 million.
As a result of the robust ticket sales, weekend receipts were up 30% compared to the same period in 2011.
“The Vow” opened well above Tatum’s last romantic picture, “Dear John,” a movie based on a novel by Nicholas Sparks that debuted with $30.5 million around Valentine’s Day in 2010. That picture, also from Screen Gems, was previously the film label’s biggest opening ever — a record “The Vow” shattered this weekend.
Financed by Spyglass Entertainment and Screen Gems for about $30 million, “The Vow” is about a woman trying to fall in love with her husband again after suffering amnesia due to a car crash. Audiences liked it, giving it an average grade of B, according to market research firm CinemaScore. (Moviegoers responded more positively to “Safe House” and the 3-D “Journey 2,” which each earned an A-.)
The movie appealed mostly to women, as an overwhelming 72% of the audience was female. It helps that one of the film’s stars is a heartthrob; young women have been buzzing about Tatum online for weeks.
“Safe House” marks the second-highest opening ever for star Denzel Washington, behind his 2007 hit “American Gangster,” which launched with $43.6 million. In the 57-year-old’s latest film, which also stars Ryan Reynolds, Washington plays a rebellious CIA agent who heads to South Africa on a mission. The movie attracted a slightly older crowd, 62% of whom were over the age of 30. Also, 38% of those who saw it were black and 31% were white.
Universal Pictures and Relativity Media spent around $85 million to produce “Safe House,” and they could rake in even more overseas than in the U.S and Canada. Internationally, “Safe House” debuted with $10.2 million from 25 foreign countries this weekend. It has yet to open in a number of major markets abroad, including France, Germany and Japan.
A sequel to 2008’s “Journey to the Center of the Earth,” the second “Journey” film was financed by Warner Bros.’ New Line division for about $79 million. The original debuted with $21 million and ultimately brought in about $100 domestically and $140 million overseas.
In “Journey 2,” Dwayne Johnson replaced actor Brendan Fraser as the franchise’s lead star. (Fraser dropped out of the sequel in 2010 because it was not being directed by the filmmaker behind the original, Eric Brevig.) Apparently, that was good for New Line, as 45% of those who saw the film this weekend said Johnson was the No. 1 reason they chose to attend.
The movie — about a stepfather (Johnson) who goes on an adventure to try to find a secret island with his son (“The Hunger Games” star Josh Hutcherson) — did well on 3-D screens. Of those who saw the picture, 74% opted to do so in 3-D.
It was a good weekend for 3-D films, as audiences proved they’re still willing to shell out a few extra bucks to see movies in the pricier format. 20th Century Fox and Lucasfilm’s updated version of “Star Wars: Episode I” is the latest 3-D re-release to fare well at the box office, following the success Walt Disney Studios had recently reissuing two of its classic animated titles in 3-D.
Filmmaker George Lucas has converted six “Star Wars” films in 3-D and hopes to release them in chronological order, though Fox said on Sunday that no release plans for the next installment were official yet.
It does not matter what the garbage collectors told you about these movies, if KOIMOI & Co say it’s a hit then it’s a hit.
who is koimoi is it another srk paid site and why beleive them Hmm,its a crap site anyway..why not beleive the site says ra one is a flop..karan please be in a real world and not a garbage world and what ever is happening in u.s. who cares!
you need mental help,ra one is soon to be shown on a satellite channel why? only a flop will be shown so early.
karan ,never mind blockbusters both of srk films could not even break a “block”..dude you need a help,it almost seems that you have fight with everyone round here who says against srk,sorry srk who?…do you know what a blockbuster is…
Sorry. But BBC never made a list of world’s most popular stars. If this “news” were true then media would’ve reported it. Also such a list would have been on official website of BBC too. No Indian or international news outlet has reported about BBC making a list of world’s most popular stars. This blog is based on the article on SRK in which BBC reporter called him world’s most popular star. If it was indeed a list then why isn’t it on BBC website or any other national or international newspaper/website?
Ek Main Aur Ekk Tu managed to have a good weekend at the box office after an average start as the film collected around the 21 crore nett mark as per early estimates. The approx breakdowns were 5.25 crore nett on Friday, 7.25 crore nett on Saturday and Sunday is in the the 8.25- 8.50 crore nett region.
Mumbai city, Delhi NCR, Punjab and Mysore have all recorded very strong collections and its target audience seems to have appreciated the film. Mass pockets are weak especially single screens but that is expected.
The opening weekend of the film is similar to the opening weekend of Delhi Belly and for which was Imran Khan’s second best opening after Mere Brother Ki Dulhan.
The film should comfortably cross the 30 crore nett mark for its first week as the film will remain steady in the regions where it has done well over the weekend and Valentines Day will also give collections a bit of a jump upwards.
Bafta, generally “recognizes” British/euro talents over American. But what is working against three issues, 1) His performance is subtle and not outlandish; 2) He is successful ; 3) He is handsome.
But I have hope in our system here in US. We recognize true merit and talent. While I believe that BAFTA, etc will definitely influence the Oscars too, but there is hope.
I would like Descandants win three awards at least. Best Picture, Best Actor, & Best Adapted Screenplay.
For Best Original Screenpay, my candidate is Bridesmaids. Never seen the narrative drop its leads down so low yet not loose the audience’s empathy or attention. Compare that to Bad Teacher, yes the difference is script.
I watched Ek Mai aur Ekk Tu today. In fact, just returned after going through the film.
The movie takes its time to grow on you. in many ways, this film has its pacing issues just like the earlier rom-coms like I hate Luv Storys and Anjaana Anjaani. But where it works is that it has an endearing, subtle quality that was missing in the wannabe rom-coms attempted earlier for the urban multiplex audience. This film doesn’t get loud nor is in-your-face. Also, the earlier Yash Raj/SRK references arent in here.
Imran and Kareena share a cute chemistry and one scene in particular where they are a delight together is the bedroom scene where they have a long conversation together when Imran has his insecurities and Kareena displays her usual spunky self. There’s a spark in Kareena that was so unexplored in big-budget films where she gets sidelined by the hero (Salman in Bodyguard / SRK in Ra.One). But finally, here’s a film where Kareena walks away with the film with her charismatic screen presence and an interesting character.
This isnt a bad film by any means. It keeps you smiling throughout even if it doesnt make you LOL at the situations or teary-eyed at the romance. The characterizations are well-developed. Watch out for the ending. It makes it a lot different than desi love stories.
It is a perfect, harmless date film where you dont keep your expectations too high and come out feeling good. a nice weekedn outing on the whole.
Ek Main Aur Ekk Tu had a decent Monday as it grossed in the 2.50-2.75 crore nett range. It should have sustained a bit better considering the growth on Saturday but as a huge ratio of business was at high end multiplexes and they tend to drop on the first working day of the week. The drop was around 50% from Friday.
Tuesday being Valentines will see a lift in business and it could even go to around 4 crore nett. The four day business of the film is around 23.25 crore nett and the film should cross the 30 crore nett mark for the week and Valentines Day will tell by how much it goes over.
the thing is you can have it one of two ways, either judge both films the same way or else accept that DMD was a bigger film at least in terms of expectations of not budgets and Abhishek is bigger in the same sense no matter how poor his box office fortunes and so on. The problem is that BOI much like many of the partisans on blogs engage in this game where they engage in this very elementary logical contradiction. If Abhishek is no one then the DMD performance is very good. A number of films with lesser stars are celebrated for as much and actually less than this. If Abhishek is a bigger star then the commentary might be ok. But of course they don’t accept this either. Both propositions cannot be held at the very same time.
A similar problem holds with the films he does sign. So a nobody keeps getting the industry to bet on him. Now the absurd explanation (let’s take it seriously for a second) is that it’s because of his father or last name or what have you. The obvious question then is: why weren’t the same kinds of people betting on him in his early years?! If box office success is not expected at all why were they holding back then?! Again there’s a very elementary contradiction here.
In a sense I don’t blame people entirely. because very many and leaving aside the total partisans just cannot get their heads around this ‘problem’. What explains Abhishek’s career precisely when he fails a lot?! I’ve responded to this question many times before and won’t repeat myself here but those who laugh at my ‘essays’ don’t have a better answer themselves. In fact they’re so stumped (whether they accept it or not) for the most part that they increasingly have to come up with more absurd and implausible explanations and create all kinds of silly conspiracy theories to explain all of this!
You live in a world not governed by economics. Hence, matters other than total revenue and total expense (less subsidy) matter to you.
If EMAET does not deliver, the BO results will be there for all to see. For the moment it has had a decent weekend domestically as well as overseas. The cost has been relatively very low. Plus we don’t know how much the city of Las Vegas has subsidized EMAET ( given how good Las Vegas looks in the movie, they should give some extra bonus).
Ranbir, Imran and Emraan are going from strength to strength.
Dharma is good at this. Previously with Wake Up Sid and now this. These movies somehow manage to get collections which are barely noticeable – but Dharma’s good offices holds enough clout to throw around a success-perception in the media.
These movies get footfalls only in plexes (high ticket prices) which means very few people are actually watching this in theaters.
We are suddenly celebrating 20 cr weekends! What next?
But EMAET will probably gross more though. Unless it does nothing after the first week it should be able to get to 45 crores or so. Since the reviews were good here and the WOM seems better than the day 1 number would suggest I’d expect some minimal stability here. Anything could happen of course but if it has a half-decent second weekend it should be able to do 40-45.
EMAET success intensifies Imran-Ranbir battle for supremacy
By Joginder Tuteja, Feb 14, 2012 – 12:44 IST
Imran Khan,Ranbir Kapoor The battle that had started when Imran Khan’s debut flick Jaane Tu… Ya Jaane Naa had tripled the business of Ranbir Kapoor’s Saawariya has further intensified now. Once down and out after couple of back to back flops, Imran’s fortunes have now shot further up with Ek Main Aur Ekk Tu being his fifth straight film that has done well at the box office too. Icing on the cake is the fact that this is now Imran’s biggest opener overseas as well.
“Imran is going through a great patch and after I Hate Luv Storys, Break Ke Baad, Delhi Belly and Mere Brother Ki Dulhan, he has now enjoyed patronage from audience yet again with Ek Main Aur Ekk Tu. This is superb because not many actors have seen such consistent run. Amongst the young brigade, his only competition is Ranbir Kapoor”, informs an insider.
Though Imran (Luck, Kidnap) as well as Ranbir (Rocket Singh – Salesman of the Year) have suffered their fair share of flops, Bollywood’s confidence in the duo has stayed intact through thick and thin. Moreover, with Imran ensuring good returns for his films and Ranbir gaining accolades for his performance in films as diverse as Rockstar and Raajneeti, it is a healthy battle that has ensued.
“However, what Ek Main Aur Ekk Tu has now done is establish Imran in overseas as well. In places like USA, UK, UAE, Australia etc., it is Ranbir who has held fort over the years while Imran’s presence was in its infancy. That has now changed with Ek Main Aur Ekk Tu which has overtaken not just Imran’s own films but even Ranbir’s Rockstar in certain markets”, the insider adds.
Says an official release from UTV which has distributed the film overseas, “In UK, despite bad weather, Ek Main Aur Ekk Tu has opened at GBP 67,465 which is higher than I Hate Luv Storys and Mere Brother Ki Dulhan. Rockstar had opened at GBP 57,000. Even in North America, the opening has been fabulous while in Gulf too it would be Imran’s highest ever.”
With Imran’s next release Matru Ki Bijlee Ka Man Dola still a while away and Ranbir getting ready with Barfi and Yeh Jawaani Hai Deewani in the interim period, it would be interesting to see which of the two youngsters races ahead.
in my mind Ranbir is miles ahead of Imran. Ranbir is contending for that top tier…whereas Imran is still looking for that break through performance and that huge hit. Rockstar has made about 70cr and it wasn’t your typical movie and a break through performance by Ranbir. Imran had Delhi Belly but his performance wasn’t up to par. I find his acting very weak and Ranbir has much much better screen presence. I’ve said from sometime now, Ranbir and Hrithik are the future of the industry.
Really feel sorry for Joginder that he is reduced to writing such meaningless pieces.
Agree Ranbir is miles ahead of Imran. I like Imran but Ranbir is at a different level as a star,actor and the projects at hand.
“in my mind Ranbir is miles ahead of Imran. Ranbir is contending for that top tier…whereas Imran is still looking for that break through performance and that huge hit.”
I agree here that Ranbir is far ahead at this time. Although i don’t like Imran much as an actor but this guy is sustaining very well with small hits. I thought he will be an one film wonder…
most of the credit goes to Mamu jaan…If he sustains we will definitely see Ranbir v/s Imran in future….
He will be a regular hero in AKP like Emraan hasmi in Bhatt camp. And the kind of script sense Aamir has he will keep on getting those hits rather blockbusters under AKP and small hits here and there…After doing 14/15 films he will also turn out to be better actor like Abhishek Bachan after 14/15 flops…if Abhishek got a Manirathnam film.. Imran has also got a VB film..
Aamir might be able to get Imran films (just like Amitabh, Jaya, & Ash get Abhishek movies), but at the end of the day only Imran and his ability can make it a hit. At this point Imran has got one hit too many to be still not looked at seriously.
Michael Bay Directing ‘Transformers 4,’ Release Date Set For 2014
Access HollywoodAccess Hollywood – 21 hrs ago
“Transformers 4” is officially on.
The next installment in the franchise is set for release on June 29, 2014 and will be helmed once again by director Michael Bay, Paramount confirmed on Monday night.
Bay signed a two-picture deal with the studio, which begins with “Pain and Gain,” and includes the fourth installment in the “Transformers” series.
Production on “Transformers 4” will begin after “Pain and Gain,” his feature film starring Mark Wahlberg and Dwayne “The Rock” Johnson, is completed.
Bay isn’t the only returning member of the “Transformers” team. Paramount said also on board will be producers Lorenzo di Bonaventura, Don Murphy, Tom DeSanto and Ian Bryce; and executive producers Steven Spielberg, Bay, Brian Goldner and Mark Vahradian.
As for “Pain and Gain,” a passion project for Bay, the film will follow “a group of bodybuilders who engaged in a campaign of kidnapping, extortion and murder in Florida,” based on a true story, Paramount confirmed.
Copyright 2012 by NBC Universal, Inc. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
loved the first transformers. the second one was boring and the third was in between. so looks like none of the cast members will be returning for the fourth one. a whole new leading cast most likely. interesting.
US-Indian co-productions have performed dismally – but Bollywood’s need for global expertise could reverse the trend
When WikiLeaks went public with diplomatic cable 248355 last April, it revealed that even the Americans weren’t too optimistic about their chances of breaching one of the last bastions against them: “Unfortunately, all of the joint Hollywood-Bollywood productions released thus far have been unsuccessful at the box office, signalling that a successful entry into Bollywood is not easy,” some unsparing bureaucrat had written. Perhaps there was also a note of admiration there, for another country with a formidable popular cinema (about a 90% share of its own market), and a deep resistance to watching anything foreign.
But Hollywood isn’t quitting yet. This week sees the release in India and the UK of the latest Hollywood wolf in Bollywood clothing, 20th Century Fox’s Ekk Deewana Tha. A glossy-looking romantic drama with a pair of extremely winsome leads in real-life couple Prateik Babbar and Miss England finalist Amy Jackson, it’s following Hollywood’s current worldwide mantra of conquering from within. Traditional US blockbusters, hobbled by being so culturally alien, had been struggling to gain more than a 5% clawhold in the Indian market during the noughties. Efforts at assimilation, like adding Hindi songs to Casino Royale (but unfortunately not forcing Daniel Craig and Eva Green into a dance sequence on the Eurostar), haven’t had much impact. So by late last decade, most of the Hollywood majors had decided to make Hindi-language movies.
Returns, as the cable said, have been mixed. Sony’s first effort, the pricey romantic drama Saawariya, based on a Dostoyevsky story, was steamrollered at the box office in November 2007 by the Bollywood dream-team musical Om Shanti Om. Roadside Romeo, Disney’s first Indian animation, bombed. Warner Brothers India tried to talk up the international credentials of its wuxia-masala hybrid Chandni Chowk to China, but it performed indifferently. Only 20th Century Fox, through its Fox Star India imprint, has come close to the big time: with crime thriller Dum Maaro Dum, which took a respectable $11m in India, and Shahrukh Khan vehicle My Name is Khan – the “desi Forrest Gump” and Hollywood’s one palpable hit ($16.4m in India/$44m worldwide).
Why the disappointments? It is Indians, through local companies, who are making these films, so there’s been nothing culturally off about them. Hollywood is simply suffering more than most from the law of averages in cinema because it’s not investing anything like as seriously as it needs to if it wants to break into this vast territory. In 2009, Warner Brothers India promised Rs200 crore (about $40m) for Hindi-language projects. That’s enough for about four big-budget films by Indian standards, but it’s unlikely all of them would make a splash. In another WikiLeaks cable, Siddarth Roy Kapur, the CEO of the studio UTV, estimated that only 5% of all Bollywood films made any kind of profit. The Americans are going to need more than a thin scattering of films to sow this terrain sustainably.
It doesn’t help that the newcomers don’t have a deep understanding of how things function in India – at least according to an executive at Reliance Big Pictures quoted in the cables: “US studios need to reorient their strategies, rescind control and empower local people if they want to succeed in India. The Indian film-making process is not organised, and, unlike the professionalism in Hollywood, dealing with creative talent in India requires tact and flexibility.”
And at the end of the day, Hollywood remains the competition – the communiques also highlight how reluctant Bollywood studios are to partner with American ones. Which leaves boardroom belligerency as the only remaining way of breaking in, as with Disney’s recent acquisition of the controlling stake in UTV (and, of course, Indian studios are busy looking for the same opportunities in the States, like Reliance Big’s financing of DreamWorks).
One thing could make this suspicion dissipate: China, and its repeated attempts to give an adrenalin shot to its own blockbuster production, something Reliance Entertainment chairman Amit Khanna has said he follows with “enormous attention”. The area in which Bollywood can really learn from Hollywood, the cables suggest, is global marketing and distribution; if Bollywood has to shed its traditional insularity in order to stay competitive with Chinese films, it might have to learn how to apply a little American-style snake oil. It was 20th Century Fox that pushed My Name is Khan into the global mainstream, carefully exploiting Shahrukh Khan’s star glow, the pertinence of its 9/11 plotline and the huge Indian diaspora. Bollywood’s trade-off for a full apprenticeship in these ploys might be helping Hollywood with its dance moves, and holding the door of Indian box office open to it.
The WikiLeaks cables show that governments really do think along these strategic lines about the entertainment industry. They call it soft power. Let’s hope that they don’t forget that someone – Hollywood, Bollywood, or Chinese – is supposed to be making the next generation of classic films at the same time.
It’s been a while since we critics said something nice about Imran Khan, but, to be fair, the young man has made it a decidedly difficult task. Ever since his sparkling debut Jaane Tu Ya Jaane Na – where he played an affable but understated college graduate and let the spunky girl take the lead – he’s fallen over roles that demand more than meekness. Until now, when he’s gone back to what he can do.
First, by golly, he tried. There was the phenomenally miscast Kidnap, where he kept demanding “Revenge” as if it was the latest Playstation game, and then came horrid actioner Luck, where he hammed embarrassingly hard, desperate to show he can play a man too.
Then came the insipid I Hate Luv Storys, a romcom where he, as the cocky know-it-all, looked incredibly out of place trying to shoulder the film, and Break Ke Baad, where he can be excused for sleepwalking through the role if only to keep up with his heroine.
Then suddenly, things started clicking into place. First came Delhi Belly, a film where all he had to do was keep a straight, somewhat-bemused face while the world around him collapsed into slapstick chaos. Check. Mere Brother Ki Dulhan, where he sat back and let the girl lead him through the film. Check. (Okay, half-check.) And last week, in the refreshingly-treated Ek Main Aur Ekk Tu, he plays a stuck-up square gradually and helplessly drawn to a Manic Pixie Dream Girl, and again, Check.
He’s actually impressive in EMAET, both credible and likeable, with some moments of actual charm. And based on that and JTYJN, the two films where he’s genuinely good, it’s clear that in his comfort zone – playing the soft, smiling, submissive hero armed with a smile and what used to, in his uncle’s day, be called ‘chocolate boy’ looks – he can actually perform. (This, if you’ve watched even three minutes of Luck, comes as a revelation.)
If, then, he is so visibly at ease being the led man as opposed to the leading man, why must he even try to step out of his cute, ribbon-wrapped box? Why can’t he just do what he’s good at, instead of trying vainly to master ‘mature’ roles in catastrophically immature films? Why do all our heroes these days have to be all-rounders anyway? Sanjeev Kumar never walked dark streets weilding a chainmail arm, Amol Palekar never peeled his shirt off while breaking into a disco jig, and Farooque Shaikh spent very little time on a Harley.
I’m not comparing young Khan to those marvellous actors, but they knew what they could do, while our current cinema very unfairly decrees that every actor be good at everything. Which is a horrid idea, as evidenced by Abhishek Bachchan walking with a swagger, or Shahid Kapoor trying to carry off a moustache.
So if there is a kind of role Imran Khan can do, make him. There are so few actors who can manage anything right, least of all from Khan’s generation. He shouldn’t be shoved into things outside his zone just to make him another everyman all-rounder who can’t field or bowl or handle the slog overs. Let him do what he’s good at till he’s ready to try other things.
Speaking of which, the currently bearded Khan has just started shooting for Vishal Bhardwaj’s Matru Ki Bijlee Ka Mandola, and that is happy news indeed. One hopes he gets to shine as the master director ideally gives the meatier, more showy acting bits to his heroine Anushka Sharma. Failing which Vishal should do the one thing that always seems to work with Imran: cast the exceptional Ratna Pathak Shah as his mother. Because that mom knows best.
By Taran Adarsh, February 15, 2012 – 08:10 IST
Friday is the judgment day. Every Friday, the industry awaits the verdict pronounced on new release/s. The producer in question is a bundle of nerves. The studio/distributors are on tenterhooks. Will the film open to an energetic response? Will the film pass the examination of the paying public? What will be the opening day trends? What will Day 1 settle at? What’s the estimate for the weekend? And what figure will Week 1 close at? Will it sustain in the second weekend? Will the investors recover their investment in the final tally?
Does anyone have an answer to these questions?
Two weeks ago, Karan Johar’s AGNEEPATH shattered all previous records by collecting a massive Rs 23 cr nett on its opening day. But the prolific film-maker’s new release, EK MAIN AUR EKK TU, failed to take off, sending shock waves across the length and breadth of the entertainment industry. Of course, it’s foolhardy to compare the two films, since the genres are different, the cast is different, the budgets are different, the release period is different, the target audience is different. But what I am trying to highlight is the unpredictable nature of this business. It zooms upwards one week, it recedes the very next week.
EK MAIN AUR EKK TU caters to a different segment of viewers. It’s targeted at the elite, those with an appetite for Hollywood rom-coms. That explains why its business is clearly divided in India. Strong at urban centres, but poor at single screens. After a shaky start on Friday, EK MAIN AUR EKK TU consolidated its status on Saturday and Sunday and the advantage of Valentine’s Day on Tuesday will only make its Week 1 figure look robust.
Now let’s look at the economics of EK MAIN AUR EKK TU…
Cost to UTV: 28 cr
+ P&A expenses: 10 cr to 11 cr
Total cost [inclusive of all expenses]: 38 cr to 39 cr
Sale of Satellite Rights: 14 cr
Music Rights: 6 cr
Home Video Rights should fetch 1 cr
Which means, UTV has to recover 17 cr to 18 cr from India and Overseas theatrical business, out of which they have recovered close to 11.5 cr from pre-sales. The balance amount to be recovered [6 cr] was *recovered* from the shares in its opening weekend itself. The film has performed very well in the international arena and it should add to a hefty total.
Both Karan Johar and UTV should post healthy profits in the final tally.
Ek Main Aur Ekk Tu had a huge jump on Tuesday as business was in the 4.50 crore nett region thanks to Valentines Day.
The business was a huge 80% higher than the previous day as multiplexes at all metros and tier one cities with most multiplexes recording better collections than the first day for the film. The jump was limited at places like CPCI and Rajasthan as the film has not gone down well with that audience.
North India was phenomenal as collections in Delhi/UP and East Punjab were almost the same as Friday. Gujarat also recorded similar collections to Friday.
Ek Main Aur Ekk Tu has grossed around 27.50 crore nett over its first five days but there will be a drop today as Tuesday was so high. The first week should come out over 31 crore nett which would be a good first week total for the film.
Compare the boring and dull romantic comedies we watch now and the romantic comedies of the bygone era. Those romcoms did have a solid story, not aimed at certain audience only, real fun and the works. Examples, Chupke Chupke(old one), Farook Sheik, Amol Palekar’s. Old Gol maal, Chotisi Baat, Chit Chor, Naram Garam, Baaton baaton mein, Rajanigandha, even Gharonda. Farook’s Chashme Buddoor, Katha, Saath Saath. Even Randhir Kapoor’s Jawani Diwani. And more.
Those movies are timeless, evergreen and did not put us to sleep.
The romcoms by Imran and Ranbir are shallow, monotonous and we need popcorn to sit through these movies.
One or two brilliant scenes are not enough to create a lasting impact.
But this genre wont die so easily. We will have more of these average fares.
Even the much hyped ZNMD is a fluffy movie. Shallow and one time watch.
And Karan Johar is threatening to make 12 movies at one go.
Just got a min free
Sanjana-another reason for someone not liking rockstar, ZNMD etc but havin loved gharonda and old (golmaals ) etc other than ‘quality concerns ‘
Age maybe catching up ;-)
Sorry for the direct bluntness
Btw good new name sanjana :-)
Oops bak 2 work
what was so special about rockstar and znmd and what makes those who didn’t liked it with any sort of age factor,,,
may be rockstar was poor in showing the emootion of true love like what pyasa did or for that mater what doors( the movie from which it was bluntly lifted depicting life of jimmy morrison)…may be there could have been a reason because of which ranbir constantly shouted morrison in the movie but failed to act like rockstar….just using that name is not enough or for that matter a travel movie like znmd becomes a masterpiece
most of the so called oldies have simplicity,script and real acting stuff including those you have mentioned
I think that one can never blindly celebrate one age or the other which is to say one cannot simply have a perspective of generational bias. Having said that some ages are simply richer than others. There are examples of this in all the arts. All generations, all periods are not made equal.
Recently Woody Allan made a movie on the issue you have touched. The fact is, every generation feels that the generation before had more meaning.
ZNMD & EMAET speak about today. As I have said before, they are as shallow/profound as you would like it to be. Sure they are primarily meant to entertain, they are sugary sweet like a smoothie, but they are fortified with Anti-Oxidants and other goodness. Karan Johar and Zoya Akhtar have made this generation proud, they have more substance in their finger nails than someone like Manmohan Desai had in his whole body.
lol its actually opposite learn to make a proper analogy first which you never does anyways .. …these are hollywood rip off with so called good first world and it can never have substance ( of real emotions and mass consumptions)…let these kids first have any sort of body of work
and for comparison with desai you need to learn some history first and why all after these years he is still the inspiration of many including farah khan and srk
Karan.. I will give you this.. not many can make the kinds of appalling statements you do with as much confidence! The most profound ignorance (hate to put it so bluntly but this is merely being factual) often rests on the greatest confidence and complacency.
And I’m not just basing this on today’s comment. You are impossibly ill-informed in these matters. Even leaving aside the history your statements just on the present are so utterly impoverished that with just a half-degree of self-consciousness one would be embarrassed to indulge in them.
Decide what you want to debate/discuss and then stick to it. Are you trashing EMAET vis a vis “The Good Old” days or vis a vis the “Quality Films” of my friend Salman Khan.
Also kindly clarify your position on films without suspense ? There was no “suspense” in Titanic, yet it did quite OK (attempt at making an understatement).
Fell free to call me names, and rant against my position. That is easy. Feel free to take the easy road. But it would be difficult (some will say impossible( to support that rant. On the other hand, I respectfully substantiate my position with evidence and logic. Now if there is something that I specifically stated that makes you “bash” me then say so, we can talk about it like civilized people. I live for such debates/talk.
When the characters endlessly start talking, discussing as though in a Oprah show, it ceases to be cinema. Many go to theatres to have cinematic experience of drama, suspense, more characters to be there other than only 2. And our audience are mainly undereduated, underemployed and from small towns. It is these people who make Salman’s movies blockbusters. The way EMAET is going downhill shows even urban audience are a bit disillusioned. The movie in itself is not a bad one but it could have been more audience friendly.
@ Sanjana–a big THANK YOU from the bottom of my heart–you said something that needs to be said. .
Will our present day slick Mumbai directors ever come up with the absolutely wacky comedies that Deepti Navl-farooq shaikh -Ravi Baswani- Naseer shah became part of and solidly entertained us with memorable lines so well enacted. Who can forget Deepti Naval and her chamko washing powder salesperson act?
From today’s directors i could well relate to the Dibankar Banerji directed Khosla ka ghosla. Really good black comedy.
Romcoms can be charming; they can also be shallow; most Indian rocoms fall in shallow category, as far as I am concerned. Wake up sid was ok, nothing special. Rangeela in 1995 was far funnier and real.
EMAET doesn’t seem like much; haven’t seen it yet, Don’t really feel like rushing to the theatre to watch it. Would rather spend my money on The Artist (the new silent film that’s winning so many awards)–hoping it shows up in India soon.
Agneepath also got advantage of Valentines Day despite it not being a romantic genre film.
The all India collections were similar to its Friday collections when the normal trend is around 40% down on Tuesday from Friday when a film is in its second week or onwards.
Valentines Day despite not being a holiday has become a good day for collections as it appears that both Ek Main Aur Ekk Tu and Agneepath have recorded 75-100% more collections then they would have on Tuesday if it was not Valentines Day.
Both films have done similar to what they would have done had Tuesday been a major holiday.
SRK -the art of stylised hamming-
Kal ho na ho- (partially) revisited
What do u do when a German gifts u a Bollywood film- u feel the power of Bollywood
What what happens when it turns out to be a subtitled Kal ho na ho!!!
Anyhow, as a matter of gesture expressed my ‘thanks’…
Also, actually watched parts of it again-as a matter of ‘grace’ but also to see why/how/what makes srk tick amongst a certain bunch of euro young female demographic
Well, when KHNH released, could tolerate openly parts of it
So overpowering was the ‘ham’ quotient
But now many years down the line, one develops a level of ‘detachment’ and even yearning for all things good and evil
Must say I enjoyed it a bit more this time
SRK does have his ‘ timing’ quite right here (if one disregards the hamming) and even kjo is in form
Err, this is only till the start of the second half wherein srks ‘sickness’ didn’t allow me to continue
But he does have a certain charm, self assured confidence and ability of build a ‘rapport’ with certain people irrespective of language, culture etc (OTT hamming notwithstanding)
Now don’t get me wrong–there are creepy cheesy manipulative and sheer imbecilic moments in the garb of ‘cool’ etc
But one does njoy the kiddish tomfoolery once in a while
Certain SRK-isms made me laugh this time ..(crapfests also can entertain when in the correct frame of Mind)
A scene I had not even registered earlier due to the ultra garbage sensibilities
‘Ramdayal’ made my day this time
Check out SRK ‘naming’ the guy ‘ramdayal’
Just bcos he looks like it hohoho
and the final word-
Just when I finally started enjoying srks antics (for a change):
Someone tells me–
“Srk’s antics are so much like yours!!!!!”
Not sure -whether to be happy or sad ;-)
Rajen uncle: ok deal done!!!
We will make the suicide pact
But the condition is the pole dance-strip tease act by rajen uncle followed by ‘bamboo treatment’ inflicted on him ;-)
If we don’t like rajen uncles ‘performance’ we will break the ‘suicide pact’ hoho :-)
Omg -what’s this- I’m posting srks scenes :-)
With me, u never know
Think SRK has a certain flow and ‘fluidity’ here ( one can’t expect him to be ‘solid’ anyhow hoho)
That’s what u call a performer @ the top of his game..
Whether one loves this ‘game’ is a different issue though
Into the second half, things got intolerably creepy
So have never seen srks ‘illness and death’
Bcos got ultra sic myself b4 that lol
Anyhow-when on song
When one sees Bollywood naive going gaga over SRK, one can be more forgiving of certain SRK diehards like Oldgold
They are not alone …. :-)
To begin with, saif played that part well
He was to only physically but mentally subservient
Not only was he learning how to ‘hook’ a gal, there was actual classroom teaching going on (on job training)
The ‘cock’ and ‘homo’ scenes got beyond irritation though…
Preity zinta–well, have always found the early day (pre IPL/pre
Yash- uncle syndrome) PZ interesting
Earlier has not seen this movie properly
But thought PZ was good here
Gets my tick in this movie (not in all scenes though, but just about)
Liked PZ In this song
A quick note on Sonali bendre here
What sort of a personalised physician was she wtf
Goin out with her ‘terminally Ill’patient dressed up as if on a date
Needless to say that kjo styles her well here and she looks reasonably endowed
A somewhat mixed mom/gf/doctor/authority figure trope employed by kjo …well, will stop here
Ha Keep guessing ;-)
“Your backhanded appreciation makes me wonder whether I should be amused or sorry”
As I said : with me, u never know…
Also depends on the mood amid time of the day
This time seems this movie caught me at the rite setting(&company)
Oldgold: tried to ‘introduce’ lots of other Bollywood heroes to certain European SRK fan girls In a get together
But they couldn’t look beyond SRK
Some know about amitabh and that he is supposed to be the biggest Bollywood star
Also know but aishwarya
Hritik”:he is good”
Not bothered bout akshay/ajay etc
As for aamir: ” who is he?”-not joking-I’m shocked,,,, :-)
Think this also has to do with kjo-yrfs smart tie ups and product placement in certa segments
They have tied with certain small time local players but importantly this gives them dubbing/subtitles and access into local stores
The rest is srks ‘charm’-I’m not the one to dilute the ‘truth’
[But then there’s Johar family values. KHNH as I never tire of pointing out was the classic one here with hopelessly stereotyped Gujaratis calling coke ‘cock’ and hall ‘hole’ among other things.. and all in bits of dialog where the lewd suggestiveness is not even left to the imagination. ]
Well, kjo is on his ‘home turf’ here
Amongst all this tomfoolery, there is an unmistakable vibe of-we are smarter than others (including the audience)
We (srk&kjo) are cooler and more hep than anyone can dare to
Check out the mention of dil chahta hais ‘cool hair style’
Or the mention of Lagaan elsewhere later
As for the cock and hole antics-not only are they quite predictable and contrived, they test ones patience
But @ the end of the day, SRK Is @ the top of his game here
Even kjos lines and screenplay is crisp
Didn’t check out the second Half and won’t for any ‘price’ lol
Finally, PZ -the revelation
(Haven’t seen her properly earlier lol)
She surely is a bubbly zingy thing