This entry was posted on August 29, 2013 at 10:01 PM and is filed under the bad. You can follow any responses to this entry through the RSS 2.0 feed.
Responses are currently closed, but you can trackback from your own site.
344 Responses to “Satyagraha, the rest of the box office”
The direction of discussion in box-office threads in indicative of the level that cinema in Hi-fi has plunged to. It has simply become a case of art following commerce and not vice-versa as one would expect the indicator to be in a healthy cinematic society. If the extrapolation logic tends to say that OUATIMD did x crore while BMB did y crore then why the hell Satyagraha (with the bulwark of actors in the movie being 40+ and led by an actor touching 71) can’t do 150 crores or more without taking into consideration the genre and the target audience and the majority demographic of foot-falls in disgustingly expensive multiplexes, what can one say? Why would a bubble-gum chewing, whatsapp using crowd want to spend 250 to 400 rupees on a movie that has clearly shown in the promos that it belongs to a theme that is personification of seriousness, gravitas, political skullduggery and corruption? It might, but AFTER it is sure that the WOM is positively assuring and that there are classes that can be bunked in lieu of watching SATYAGRAHA and that the mind is ready for some ‘serious’ cinema – all in that order. And this demographic forms the MAJOR part of money-spending audience today. The others, belonging to 35+ age group like me will watch it after considering reviews recommendations etc. Hell, I might still watch it for Amitabh because I am an unfailing fan. But after a certain age, this type of ‘fanaticism’ will ebb in most of the fans. So we are not generous contributors in the week-end gold rush either. This will NOT be like Barfi, which, even for its supposedly ‘off-beat’ theme managed to sprint to 100 crores thanks to the oohing and aahing umbilical cord-crowned superstar Ranbir got from girls and maybe some boys too. If people do not want to differentiate between the audiences that are inclined to prefer CHENNAI EXPRESS to YJHD to SATYAGRAHA, what kind of logic and ‘honesty’ is one talking about? During the interval of AARAKSHAN that I watched in Bangalore, the guy sitting in the next row commented when BODYGUARD preview was being shown that,’ Sallu bhai ka movie mast hain; aaram se bheja ghar mein chodke baaki sabi body parts se picture enjoy kar sakte ho.’ And no, this was not some rickshaw-owner. This was an IT guy slaving for some US multi-national. Get it? The ‘youth’ brigade that all our politicians and social commentators are so proud of, unfortunately, prefer the former type of atmosphere; the carnival atmosphere of watching a movie with carnival barkers all around. So a 22 year old girl and a boy won’t walk into a theater showing SATYAGRAHA or THE LUNCH BOX and sitting in some row making out and suddenly when the privates are talking to each other decide to analyze the political awareness of Jha and the range of Bachchan’s histrionics or the brilliance of Siddiqui. Indians are good at multi-tasking, but this ain’t gonna happen buddy.
Now to our surprise, the movie might be really good (the reviews are universally praising it, which makes one all the more scary considering the ‘critical’ standards in India). And to reach something north of 100 crores, the film HAS to be very strong content-wise and get the audience glued to the seats throughout its running length. There is simply no other ‘escape’ route. Prakash Jha primarily and then the ensemble cast and of course the good-will that Amitabh Bachchan has accumulated over the course of 40 years are the only magnets in this movie. Who else will the ‘young’ demographic or for that matter even the ‘oldies’ will come to watch? Amrita Rao? Kareena Kapoor who Saif has robbed of all the mystique that was ever present? Ajay Devgn who is a standard fare in Prakash Jha’s ventures? (He was fine in Apaharan and excellent in Gangajal but that’s about it regarding his commercially ‘successful’ association with Jha). Manoj Bajpayee? Contrast this with the escapist CE that has ROHIT SHETTY and DEEPIKA PADUKONE and then, a haggard SRK who still manages to sell vada-pav if not a cheese-burger. Who would the ‘youth’ demographic spend time with? Dispensible cinema or serious cinema? Go figure.
That people are still talking of Amitabh Bachchan in terms of box-office collections is infact, an unwittingly acknowledged back-handed compliment to the span of AB’s hold! Here he is bordering on 71, and he is still being discussed box-office wise in a solar-system comprising below 50 Khans, Kapoors, and Kumars! The winner, either way, is Amitabh himself. Because if he fails box-office wise as many non-fans would love to, why is he still the actor that Bhansali or Shoojit or Sujoy or Anurag Kashyap want to work with? So the studios, producers, distributors are pretty much the most philanthropic creatures on this earth because they keep endorsing films that stars a 70 year old guy! The basic fact that Amitabh at his age and this stage can only be measured as an indicator of cultural good-will is totally lost in this mad, mad world of crore-clubs. All that genuine AB fans (I meant fans like Dharan Raj Dharan) look for at this age is something that enhances his body of work qualitatively, that’s it. This basic fact is lost in this melee. Similarly, films belonging to the genre of Satyagraha and like should not follow commerce the way CE or YJHD follow commerce; commerce should follow it. In other words, one should know what should be the main topic of discussion at any event and discuss it; not highjack the event and take it in the only straight line that the money-clothed film-media in Hi-fi talks about.
If SRK fans feel he is being held to high standards then they should understand that that is what he set out to do with CE? So he will be measured in the ‘baniya’ mathematics of 202 crores and 12 aana. AB will be not, since neither the film-makers nor the guy himself have any delusion that he is still the mammoth one-man industry that he was in the ’70s and ’80s.
Only in India, as Satyam says, can there be a discussion as to why WE NEED TO TALK ABOUT KEVIN and PINEAPPLE EXPRESS did not make equivalent sums of money..
Looks like after the initial glowing reviews it had been average to bad..looks mixed now although should take good opening..legs will be questionable though…Bajpai and AB look to be the saving grace here with their performances.
Baap Re ! Is this long comment a caveat in case Satyagrah become Satyanash (Which looks more likely).
“without taking into consideration the genre and the target audience and the majority demographic of foot-falls in disgustingly expensive multiplexes, what can one say? Why would a bubble-gum chewing, whatsapp using crowd want to spend 250 to 400 rupees on a movie that has clearly shown in the promos that it belongs to a theme that is personification of seriousness, gravitas, political skullduggery and corruption? ”
I hadn’t heard this comment during ‘My name is khan’ days. What was is that film to attract bubble-gum chewing, whatsapp using crowd. Satyagrah’s teroteriy is more like Anna’s or Nirbhaya’s movement where these bubble-gum chewing, whatsapp using crowd participted in Thousends and Lakks. But MNIK was based in America with whom most of the indian could not indentified. So why this genre and Demographic debate only About Amitabh and Aamir.
“That people are still talking of Amitabh Bachchan in terms of box-office collections is infact, an unwittingly acknowledged back-handed compliment to the span of AB’s hold!”
No atleast i never said that AB is a force in BO after 1990. Though i didn’t wanted to point it out but i am sorry to say if we count the Bachchan duo is responsble for the most disaster in the last decade. Look at these films.
Toofan – Disaster
Jaadugar – Disaster
Ajooba – Disaster
Indrajeet – Disaster
Insaniyat – Disaster
Mrityudata – Disaster
Major Saab – Disaster
Lal Baadshah – Disaster
Sooryavansham – Disaster
Armaan – Disaster
Boom – Disaster
Deewaar – Disaster
Family – Ties of Blood – Disaster
Ram Gopal Varma Ki Aag – Disaster
Aladin – Disaster
Department – Disaster
Shararat – Disaster..Film never relesed in theatre
Umrao Jaan – Disaster
Laaga Chunari Mein Daag – Disaster
Drona – Disaster
Khelein Hum Jee Jaan Sey – Disaster – Film never relesed in TV as no one is willing to telecast it.
Game – Disaster
Players – Disaster
Through 1992 Bachchan was getting the biggest initials. No one was even close. He was also getting some of the top grossers. First off at least half a dozen films in your list are not disasters by any stretch. It destroys the credibility of your claims when you include Toofan or Indrajeet or Major Saab with films like Department or Boom which were true disasters. These other films were low by Bachchan’s standards but had no more than B or B- ratings in the trade papers. Secondly you conveniently forget to mention AAA, one of the biggest hits of 1990, through the Rath Ratra riots. You conveniently forget Hum, the hysteria for which was unparalleled at the time as was the opening. So on and so forth. While I wouldn’t argue that Bachchan in this period was at his peak by any means his initial was still untouchable. Anyone else wasn’t even close.
Not sure what the Abhishek list has to do with this!
Leaving this aside here’s the slippage in your argument. If Bachchan is the star you say he is then of course SRK should be held to a higher standard. Because while ‘different’ is always tricky for any star the more successful star should still do better! Of course the other problem here is that when SRK’s different attempts don’t do well you guys convert them into art films! MNIK by any stretch did poorly in India. There are tons of stars in tons of different films to prove this.
The anxiety remains Bachchan. Ironically your list even if exaggerated and one-sided makes the point even more than Bachchan fans could or have cared to. What must be the status of this man and this star that even after 20 years of a very mixed box office record or even an indifferent one at times he has nonetheless remained and very easily India’s most transcendent icon? This can be judged by a variety of things from his KBC stint to the extraordinary reach of his ads to his unchallenged ability to win greatest Indian polls in his field (where only Sachin has that kind of all-Indian reach).. so on and so forth. No matter how much of a ‘legend’ a star is there is always some correlation with the box office when it comes to such appeal. Bachchan has been so titanic that even a mixed or at times poor box office record following on the heels of the greatest box office record that I am aware of in cinema (anywhere in the world) has not diminished his appeal by any means. And of course every other director over the last 15 years or so has tried to feed off this appeal by making their ‘ultimate’ efforts with him. Whether it’s Aditya Chopra or Johar their biggest attempts had to account for Bachchan. Again all these examples could be multiplied. He’s continue to find success, real success in cinema, forty years or more after his debut (SRK just has to bout till 2022 and then till 2032! He’s already lost so much of his sheen and in such precisely measurable ways for more than half a decade now, even longer if one thinks of how he could never out-initial or out-gross Hrithik on some of the best films and so on). But at any rate your picture of Bachchan’s career makes the opposite side’s claim stronger. How could a man be so extraordinary relevant despite all this?! That’s the question that has to be answered. And again one can debate these matters but as I always say there has to be real honesty about it. The problem with SRK’s fans has always been the Icarus one. Fly too close to the sun and your wings of wax will burn and you’ll plummet! Whatever SRK’s achievements might or might not be there can be a debate over them but the moment Bachchan is used as a comparison the argument becomes completely absurd. Now there might always be enough people online with no sense of history or older folks with Alzheimers’s to keep these debates alive but then in some parts of the world they’re debating the roundness of the earth too!
Throughout Jha was denying that Satyagraha is based on anna ‘s movement and he refused to show the movie to the anna team. Now every critic is pointing out the similarities are too glaring.
The saving grace seems to be Bachchan’s acting plus Bajpayee’s comic villain act while some said that Devgn sleepwalked and mumbled his dialogues.
B.O. update: ‘Satyagraha’ starts well in morning shows!
By Taran Adarsh, August 30, 2013 – 12:02 IST
The business of Hindi films, of late, seems to be on a high. The new release, SATYAGRAHA, started very well in the morning shows across various circuits, with occupancy ranging between 70% and 80% at several screens [lower at places too]. The business is dependent on youth and family audiences and it will be interesting to see how the film performs from evening shows onwards. The buzz within the industry is super-strong and so are the reviews for the film.
Friday 30th August 2013 11.30 IST
Boxofficeindia.Com Trade Network
Satyagraha had an average opening with collections generally ranging in the 30-50% range. Opening at both multiplexes and single screens is average. The film had a big cast but the genre is not popular amongst the youth so a good start was always going to tough.
The film will be dependent on word of mouth which always make it tough especially for the bigger films like Satyagraha.
The best business should come in CI as the film is set in Madhya Pradesh so collections in that state will be better. Saturday will the key for the film as it will have to show an upward trend and its rare for big films with wide a release to show Saturday growth. The film has been released on 2700 screens plus.
@An Jo, what a lengthy article to once again bring down SRK and try to force people to think Amitabh is still a force at Boxoffice. I don’t think anybody said amitabh is still a force at boxoffice infact none of the bachhans are (amitabh, jaya, ash, abhisekh). Amitabh days as boxoffice were over more then 20 years ago.
SRK, salman, aamir at almost 50 years of age is giving blockbusters, what did amitabh give at age 50?
This just proves my point from all other discussion that bachhan fans are busy bringing down other actors because they can’t use any arguments to bring up bachhans.
What i and many talked about was Satyagraha that it will do good based on the trailer, reviews, market growth, etc…
Friday 30th August 2013 10.30 IST
Boxofficeindia.Com Trade Network
Madras Cafe grossed around 32.50 crore nett in week one. The film had a good weekend but the weekday collections are a little disappointing considering the huge jump it took on Saturday and the weekdays had a holiday.
The problem for the film is limited appreciation outside the premium multiplexes. The film has not done well outside the metros but even in metros it is dependent on the cinema. In a city like Delhi a PVR City Walk records very good figures but its not the same at a Fun Motinagar.
The film will gross over 40 crore nett but may struggle to get to 50 crore nett. Films like Aashiqui 2 and Ranjhanaa which had similar weekend figures but lower costs went on to do 80 and 60 crore respectively.
Yeah at the moment it is looking like a 7 to 8 cr day…if it picks up well later it can do 10 cr. The WOM is not so great. The super start which Taran is talking about is selectively focussing on UP and MP. Elsewhere it is as expected average. So nothing is lost for this movie as no one expected it to start bumper. But the initial glowing reviews seems way off the mark.
The business of Hindi films of late,seems to be on a high,The New Release,SATYAGRAHA Started very well in the morning shows across various circuits,with occupancy ranging between 70% and 80% at several Screens.
The business is dependent on Youth and family audienees and it will be interesting to see how the film performs from evening shows on words.
The buzz with in the industry is Super-Strong and so are the reviews for the film.
Saw Satyagraha today. Not sure if I liked it, but think this is, in many ways, is Jha’s strongest film in the sense that the ‘message’ of the film comes out the sharpest. And while Devgn technically plays the lead here, Jha uses AB as a sort of a ‘symbol’ (this technique probably works in parts, but this also like reducing AB to just another act. Having said that the fact that character becomes symbolic is only because of AB as well. On a personal note though, i was slightly uncomfortable with him doing this Anna Hazare trope). Bajpai, inspite of playing a caricature, steals the film very easily from everyone.
Liked the climax a fair bit though, Jha really gets his ‘drama’ right here
Good question: When that scene happened, in Regal (where I saw it), the response of the crowd was ‘deafening’. Sadly these kind of Masala moments were too far and few in the film. AB and Devgn do have one terrifically shot scene in the jail though.
The masala universe is in an interesting though not surprising sense somewhat antithetical to the purposes of political drama. With Rajneeti what you had was a masala story masquerading as a political film. There was a political backdrop but nothing specifically political here. Which does not mean you can’t marry the two but you have to err on the side of masala rather than the political drama let alone the didactic. Jha might well have done that here, I of course haven’t seen it. But a classic example here is one of my favorite films, Manoj Kumar’s Kranti. Here’s an ultimate masala film pretending to be a historical drama about 1857! It was a huge hit. On the other hand MP represented a somewhat uneasy mix and even though I find it to be one of the best commercial films over the last decade or so the director couldn’t completely decided which way he wanted to go.
The masala ‘epic’ universe which is to say in its most authentic versions and completely unlike the Telugu-inspired masala-comedy we see today is one that carries a deep cathartic resonance. It is a world where there is always a ‘cost’ even with a happy ending. But more to the point here it is a set of signs which transcends the specificity of the political in the ‘contemporary’ sense (which is to say any politics defined by the events of a present). And so when Manoj Kumar nonetheless relies on political events from the past he first of all has the advantage that these events are already mythologized. Moreover he uses them as padding for a very masala lost and found story (I believe this was a Salim-Javed script). The same could be said about that neverland Desai constructed in Dharam-Veer. This is the way historical fantasy ought to be done or indeed any kind of fantasy within the Indian context. Even Rakesh Roshan is very far from picking up on these Dharam-veer clues and Hrithik possibly is not the best messenger for an ultimate masala message.
The masala universe which at one level is derived from the great epic tradition of India and on the other hand also dependent on a certain Shakespearean construction by way of street theater and so on (a good book on this is yet to be written) is essentially a ‘super-genre’ that mixes a number of genres improbably. But this already happens in Shakespeare, it also happens in the Mahabharata in a very different way. These are worlds where in a way ‘everything’ happens. To paraphrase Voltaire it ought not to work but it does. And so by definition masala transcends any very specific set of political or historical or period coordinates. The best modern practitioner of this mode and in his own very outlandish way is Shankar in some of his films. Here you always see that marriage between a mythologized past and a very contemporary present or else even if it’s only about the present it raises this figure of the vigilante in its most mythologized guise. So either way the romance of the past keeps intruding in the present. Or better still one cannot settle the accounts of the present without (re)triggering the heritage. Anniyan is perhaps his sharpest film on this score where a number of configurations come together. The meek traditional temple priest, the web-integrated psychotic vigilante and so on. In Robot Rajnikant himself represents ‘tradition’, not just his storied past but also in a sense the masala past-as-such. I am not a great fan of Shankar’s for all this but his formulations are suggestive and have not really been bettered by masala filmmakers in his tradition who might otherwise make ‘better’ or ‘purer’ films in this context.
To return to the point I’m trying to make more precisely the political cannot become a way of limiting the epic scale of masala. It can serve as a set of cues but if you do more than this you lose the potency of masala. Put differently the politically specific can be an episode or a chapter in the larger masala framework but not an end in itself. Notice how this is the great failing of Bachchan’s own Inquilaab. It tries to cancel out his epic registers and essentially render him the hero of a political drama. He is not overman here. The struggles of masala are multi-faceted and even abstract. Which is to say they’re about cosmic principles. However what is also true is that these then find formulation in precise ‘everyman’ stories. In other words the scenarios are meant to be typical. These then give birth to the hero who uses those contexts to re-wage those cosmological battles. By the end the villain is always punished but it is always obvious that this is just one story. The larger battles rage on. The epic genealogy allows these stories to become part of that larger fabric of stories, constantly replenished over time or certainly reformulated in different ages. The political if tracked too closely tried to minimize these larger cosmological stakes through the prism of a specific event in the present. Once again even with MP the marriage was uneasy because there were moments when the film seem to push in this epic direction invoking the mythology and so forth but on the other it tried to provide a much more realistic take on the conditions of that world. Tamil cinema which has long had a rich tradition of ‘historical’ romances privileging the Dravidian-Tamil sign has performed the very same masala move at every turn. Even pre-masala Hindi cinema did the same in the 60s (Rajendra Kumar’s Suraj is an iconic example) or the 50s (Dilip Kumar’s Aan). As a related note (and I am indebted to someone for this point) it’s interesting tried to avoid Tamil hegemony (once all Southern films were shot in Madras) and this Tamil inflection of history by going back to an ‘older’ source and relying more on the Sanskrit epic tradition. Hence NTR with all his mythologicals.
I’ve probably repeated myself here in certain respects but to sum up the masala tradition is something to be taken very seriously. Jha at least understands some of the stakes. He’d probably do better if he got the political bug out of his system. on the other hand what you have with most of the other Telugu-inflected masala films is simply a superficial, ironic take on this tradition. You ‘enjoy’ it as a set of signs or ‘effects’ from a distance without investing in the very serious stakes of this universe.
Apex: It could do 150 cr if it was a good film like Bhag Milkha Bhag, with good story-telling, and grasp over genuine human emotions. But reading between the lines of various reviews, it looks like another politically correct film with good intentions. That is so boring. Therefore 60 cr. Of course I could respond to the film really if I saw it.
Vijay don’t get angry.I am telling something based on feedback that i got from various places.This movie will not sustain in weekdays.Anyway,i pray for the success of this movie but at the same time we have to accept reality my friend.Movie has collected around 8cr today in 2700 screens.Tomorrow is very crucial.
A call to all bachchan fan/atics to support their icon and go in hordes to watch ‘meaningful’ & ‘serious issue’ film satyagraha….
I hope amitabh gets his first 100 crore film here (not that he needs if but good to her another tick in the ‘new format’ box office)
Incidentally & ironically like his son, bachchan seems poised to enter the 100crores club in another ajay Devgn costarrer…
& Satyam u can relax but do check this film on the big screen -to vindicate your support (like a few have already done!)
Ps: I can’t see it though showing near me–won’t get any good ‘company’ to watch this one–these ‘serious’ topics don’t get many ‘takers’ in certain segments 🙂
Hehe sanju -maybe u are somewhat right–but not many want to go watch this movie–& I don’t watch em alone lol
btw u know a lot of ‘inside stuff’ now—
Psst the ‘coffee break’ was gr8 (& quite long)…shhh lol
This is sad to see Bachchan extraordinary talent is being wasted in half baked movies .. he deserves much better. Though I have not seen movie .. but after reading all feedback through out day .. I can sense this movie is suffering from same problem as Aarakshan. Issue based movie without proper conclusion. Given that now Amitabh has been too much selective and doing 1 movie in 1-2 years …. he deserves only best.
Agree, money is not an issue, fame is not an issue for bachhan so treat this phase of your career as bonus. Do things towards the end of career where people can say he lived and died like a king. I don’t care what anybody say but his assocation with RGV hurt bachhan and abhisekh big time.
I think Dilip Kumar scored big time in this department, until the very end, he was the HERO of the film he was in. Also, he hung up his hat at the right time, not dragging it like Dev Anand did.
Yakuza,but i’ll held Bachchan also responsible for all this.No doubt he is doing selected movies now but when you have done Aarakshan already then what is the fun to do such type of movie again with the same director.Hadn’t he a bitter experience with Ram Gopal Verma in the past by repeating same thing again and again?Now look at another forthcomming Bachchan starrer titled “Mehru Nissa” with Rishi Kapoor.This is a love story of two friends with same girl.Now tell me for God’s sake whether this is suitable to him or not?Bachchan is immensely talented actor and there is not even an iota of doubt about that but one thing we must accept is his choice of choosing films is poor otherwise he has the ability to create wonders at this age also.
@ Leaving this aside here’s the slippage in your argument. If Bachchan is the star you say he is then of course SRK should be held to a higher standard.
No..No..I am not hiding behind this genre or demogrphic excuses. My point is if you are a big star then standerd should be high. Be it SRK, Aamir or Amitabh. But i have a problem when You say Talaash did great based on its genre (this is when Aamir came after ATBB and hugely liked 3 idiots) and say MNIK by any stretch did poorly in India. I don’t know how 72 or 74 cr became poor figure. How many film in that time did 72 or 74 cr ?
Mnik was the 4th highest grossing film of 2010, talaash was 9 or 10th. Mnik did 70 cr less than the highest grosser that year, talaash did 100+ less. At the time of mnik’s release the movies that had made more than it were: 3I, ghajini, rab ne, d2, welcome. At the time of talaash’s release there were 20-25 movies that did more than it.
Guys what do you people want to prove by these kinds of statements?By bringing A down,B will never come on top and vice versa.I am a huge Bachchan fan but i always fight with other Bachchan fans over this issue.So please don’t attract fan wars and try to adhere to healthy discussions rather than these cheap fights.What Bachchan has achieved or what Srk has achieved is known to whole world and hence needs no mathemetical calculations to substantiate any claim in this regard.And the people who expect a 30 cr opening from a 70 year old man are either kids or having zero knowledge of cinema.So please refrain from fan wars.
you’re comparing a KJo ‘offbeat’ film to a film like Talaash??? im not saying MNIK underperformed (although the hype surrounding the film at the time was HUGE), but comparing these two films is showing utter ignorance on your part when it comes to judging genres. go back to high school and read some literature and learn about the word genre.
lol and then you come up with a “MNIK trended better than talaash” stat. yeah 2cr is SUCH a huge difference. actually you just proved these two films with vastly different audiences and genre more or less trended the same! good job bro.
2 cr? Good math. Forget high school,
Go back to elementary school where they taught you about fractions an percentages.
Mnik: 46/73=63% of total collections within the first week
Talaash: 65/93=70% of total collections within the first week.
That’s a 7% difference, not 2.
Now I’ll admit that I do not Know a whole
Lot about trending. But my statement is still true. The difference in trending may be very small, but that still doesn’t mean “mnik trended better than talaash” is false. Ex: jack ran a mile in 10 minutes. Jill ran the same mile in 9 min 59 seconds.
Who ran the mile better? It doesn’t matter that the difference is 1 second, Jill still ran the mile better.
And you didn’t even check to see what original comment I was replying to. If talaash is considered to have a great BO collection given its genre, then so did mnik given its genre.
ok if you want to be picky and say MNIK literally trended better than talaash then ill give you that. to me, with unreliable BO sources that India has, i would say both films trended relatively the same given the narrow difference. and honest question then, what genre does MNIK exactly fall under? i would put it in a family/drama/romance category. whereas i would put talaash in a drama/suspense/thriller category. you tell me which of these genres should do better than the other…talaash doing 90cr in its genre is good. MNIK doing 73cr or so is actually not so great.
@AmirsFan, MNIK preached about Islam thru out the movie with references from Quran and Hadith, what genre does it fall into? How many will be interested in it? Yet it still did over 70 crore. Take SRK out and see what it collects.
Do you want to talk about it’s overseas collection (the target audience this movie was made for)?
““He has always wanted to be a director,” reads the Internet Movie Database profile of Alfonso Cuarón, “and also an astronaut.” Cuarón’s double fantasy comes true—and another dream, the moviegoer’s—in Gravity, a space epic of desperate peril and profound wonder.
Gravity opens the Venice Film Festival this evening with the same blast of astonishment that greeted Ang Lee’s Life of Pi when it launched last year’s New York Film Festival. Both are thrilling 3-D dramas of survival in a hostile environment, testaments to human grit and groundbreaking technical ingenuity. Both are the rare movies that need to be seen once for the “Wow!” factor and a second time to try figuring out how Cuarón and his technical savants managed to make the impossible seem so cinematically plausible. No one dared to imagine this before; yet here it is, vividly realized. You are there, inside the awe and dread.
Pi, you’ll recall, was alone on a small boat in the stormy Pacific, his only companion a ravenous Bengal tiger. Sandra Bullock, as NASA scientist Ryan Stone, is stranded in space—no air, no sound, no connection to Mission Control—with George Clooney. So it could be worse.
Having served on shuttle flights since 1996, Clooney’s Matt Kowalsky is the bantering veteran, Ryan the novice: old cop, young cop. Earlier, he had transmitted a creepy, Apollo 13 joke: “Houston, I have a bad feeling about this mission.” But he also wants to reassure Ryan. “You’re the genius up here,” this Buzz Lightyear tells the Doctor Newbie. “I only drive the bus.” And he hopes she can enjoy the spectacle of being 372 miles above her shimmering home. As he rightly says, “Can’t beat the view.”
As Ryan works at fixing a glitch on the space station’s jutting metal arms, a message comes through from their ground control (Ed Harris, himself a movie astronaut 30 years ago in The Right Stuff): “Mission abort.” Debris from a satellite shot down by the Russians is headed their way; and, as bright chunks fly past, Matt still jokes: “Half of North America just lost their Facebook.” The laughter turns to terror when the rest of Matt and Ryan’s crew is killed. The space station arm jerks lose, and Ryan spins wildly around, finally catching Matt’s arm. Now they are tethered on a literally death-defying Cirque du Soleil bungee cord. They have lost contact with Mission Control, as well as access to their oxygen supply. Alone together, with time and options running out.
This amazing 13-min. sequence at the very beginning of Gravity is shown in a single shot. To say this is a marvel of camerabatics, of visual choreography, animation and physical acting (Bullock and Clooney worked on wires in front of a green screen) is to undersell Cuarón’s gift as a storyteller who takes the audience on a nail-gnawing space flight. He’s a cinematic astronaut whose Mission Control is his retinue of visual enablers, led by Special Effects wizard Tim Webber. As the director told Entertainment Weekly’s Jess Cagle, “Each single bit of film is a different technology.”
Beyond technology, Cuarón plays daringly and dexterously with point-of-view: at one moment you’re inside Ryan’s helmet as she surveys the bleak silence, then in a subtle shift you’re outside to gauge her reaction. The 3-D effects, added in post-production, provide their own extraterrestrial startle: a hailstorm of debris hurtles at you, as do a space traveler’s thoughts at the realization of being truly alone in the universe.
[WARNING FOR (VERY VEILED) SPOILER:] Like Life of Pi, and J.C. Chandor’s All Is Lost—which manages the even bolder narrative trick of stranding a sailor (Robert Redford) with neither words nor backstory—Gravity eventually becomes a story of self-reliance, of finding ways to survive and a reason to live. When Ryan reaches a Russian space station and sheds her astronaut gear until she’s down to Ripley’s undies in Alien, she slowly revolves, eyes closed, in a fetal position: a child waiting to be born, or die. At the end of the movie, an ancient astronaut emerges from the sea, as if to recapitulate the evolution of humankind from sea creature. [END OF TORTUOUSLY VEILED SPOILER]
Some films take forever to make. Gravity, which Cuarón wrote with his son Jonás, was in pre-production soon after the director finished Children of Men in 2006, went through two studios and more than a dozen actors for the main roles. Robert Downey, Jr., was to play Matt but dropped out in 2011, allowing Clooney to bring his nonpareil charm, bravado and maturity to the role. Cuarón offered the Ryan part to Angelina Jolie, twice, and then to Natalie Portman, Jennifer Lopez, Rachel Weisz, Marion Cotillard, Carey Mulligan, Blake Lively, Scarlett Johansson, Olivia Wilde—everybody. When these actresses see what Bullock has been given in the role, and the fiery commitment she gives to it, they should all whisper a sincere, Rick Perry-style “Oops.”
honestly after watching the first trailer i was totally put off by the movie and never bothered to watch the rest of the promos. i still went and checked out the movie because i wanted to watch a hindi movie! not to my surprise the movie was bad as the trailer indicated. prakash jha has lost it completely. i thought aarakshan was a better attempt and loved amitabh in it. in this film, bachchan is a total bore. this is where many directors have fallen in love with “Amitabh Bachchan” and they give him the same stale lines, stale scenes and its just boring to watch now. even manoj bajpai is becoming stale. Ajay had the best character and he excelled in his role. Kareena and Arjun could be replaced by sunny leone and well arjun himself, and noone would notice. Rajneeti and its success was the worst thing that happened to Prakash Jha, because he continues to use the same damn formula but in a different mold. not sure if id be too thrilled to see this film become successful, because i think PJ will then continue to dish out more stale attempts like this one.
I wish satyam would advise Amitabh on his film choices, there is SO MUCH more out there for this man to attempt.
Saturday 31st August 2013 11.30 IST
Boxofficeindia.Com Trade Network
Satyagraha had an fair first day collecting around 9.75-10 crore nett. The business was best in the Delhi/NCR, Rajasthan, Gujarat and CI. The key for the film is Saturday growth and if the film can show a good jump then it can come out with a respectable weekend total.
The disappointment is that collections are in the same range as Raajneeti which was a similar film by the same director but was released 3 years back with 1000 screens less than Satyagraha. Raajneeti had collected 10 crore nett plus on day one and 33 weekend and it could be a similar scenario for Satyagraha give or take 5%.
The film fared similarly in both multiplexes and single screens.
I wonder why BOI is bringing first day collections of Rajneeti here?Rajneeti had a hot young pair of Ranbir and Katrina which had delivered big hit APKGK some months back.The commentry of BOI is laughworthy majority of times.
its a okayish total for Day 1 but it has released in 2700 screens so something around 13-14 would have been decent. looks like a 36 cr weekend to me. The WOM is not too good so might wind up around 65 crs.
this is the usual BOI dishonesty when a Bachchan is part of the proceedings. So here they’re talking about how having the same opening day as Rajneeti is not that great. On the other hand when they’re gleefully celebrating tons of other films breaking records and what not they never make the same inflation or print count adjustments or whatever. Just recently with CE they never said that repeating 3I’s numbers 4 years after 3I might not be as extraordinary or doing so off a 150 crore initial or whatever when 3I did it off an 80 crore one was very different. So on and so forth with every other release where they’re completely oblivious to this stuff or pretend to be but the moment a Bachchan is part of the film these things are very selectively pointed out!
Chennai Express is looking at decent fourth week collections which are likely to go to 5 crore or maybe a little higher. The film collected around 70-75 lakhs nett on the first day of its fourth week.
The film is still managing to collect despite the release of Satygraha which tmeant a huge reduction of shows at multiplexes and Satyagraha took most of the single screens which were playing Chennai Express.
The film will cross the net business of 3 idiots today (Saturday) and will go to around 205 crore nett after four weeks.
Lol @ the Facebook CE post…
As for satyagraha–the presenc of Kareena here is no fake–even nargis fakhri did a better job in madras express…
“Words, both angry and contrite, are exchanged, but it is the conciliatory kiss that seals it for the twosome. This is deft minimalism.” Ha
Ps: am still waiting for the reviews of die-hard bachchan fan/atics / zealots (Satyam et al) of satygraha
C’mon folks –support bachchan films-if u won’t, how can u expect others lol
I must confess I was mildly drunk when I sat in front of the monitor. But this song … and the iceberg sensuality of Ileana D’Cruz , 7/8th submerged below the surface… knocked me out. . And Irshad Kamil’s words delivered the killer punch:
Main rang sharbaton ka,
Tu meethe ghaat ka paani…
Main rang sharbaton ka,
Tu meethe ghaat ka paani…
Mujhe khud mein ghol de toh,
Mere yaar baat ban jaani
“The tone of the video (except for the first scene) doesn’t seem to “go with” Kamil’s lyrics at all… “– agree again qalander.
Kamil is the same guy who wrote the brilliant rockstar lyrics, I think…
And note how ileana brought out the ‘dormant’ qalander out in the open lol
My main qualm with ileana is all those years she spent down south–want those years back ..
And thanx again to qalander for originally introducing us to ileana Dacruz here-easily the best heroine from down south (after ash & deeps)…
Saturday 1st September 2013 11.00 IST
Boxofficeindia.Com Trade Network
Satyagraha showed growth on Saturday as collections were 15% higher than Friday. The collections were up at multiplexes all over with a good upward trend in Mumbai, Delhi, East Punjab and Bangalore.
The Saturday collections were in the region of 11.50 crore nett taking the two day business of the film close to 21.50 crore nett. The weekend should go towards 34-35 crore nett as Sunday should show a similar trend to Saturday.
The Saturday jump has given the film a chance at the box office. Although the two day collections are on the lower side the trend is good the film may be able to sustain over the weekdays and into the second week.
Saturday 31st August 2013 12.30 IST
Boxofficeindia.Com Trade Network
Chennai Express is looking at decent fourth week collections which are likely to go to 5 crore or maybe a little higher. The film collected around 70-75 lakhs nett on the first day of its fourth week.
The film is still managing to collect despite the release of Satygraha which tmeant a huge reduction of shows at multiplexes and Satyagraha took most of the single screens which were playing Chennai Express.
The film will cross the net business of 3 idiots today (Saturday) and will go to around 205 crore nett after four weeks.
Megastar Amitabh Bachchan and actress Rekha are likely to come together for Anees Bazmee’s upcoming comedy film Welcome Back.
Producer Firoz Nadiadwala and director Anees Bazmee are reportedly in talks with Bachchan and Rekha for the sequel of their 2007 hit Welcome.
Big B has already been approached to play the role of RDX– a don played by the late actor Feroz Khan in the first part, while Rekha has been offered to play the role of a wealthy fashionista.
“We are considering Rekhaji for a role which will have love angle between Nana and Anil. But it is too early to talk about all this as nothing is decided and confirmed. As there are three-four veteran actresses that we are thinking of it all depends if they like it or not, their dates and money issues,” Bazmee said.
That’s the point though – it sounds like this tries to be ‘thought-provoking’ but ends up neither that, nor entertaining, so there’s not much to draw me to it. However if Satyam etc have good things to say then I may change my mind and give it a shot. Otherwise I have enough others to get through!
Yeah Rangan’s review doesn’t bolster a lot of confidence. Usually if it’s an interesting failure he’ll have a more dense piece up, but this is pretty abbreviated. Still might catch this. Even if Bachchan as Gandhi-like seems kind of strange. Not because he can’t “play” it, it just seems to be an odd fit for his particular icon. Throughout this later phase in his career Bachchan’s two most effective portrayals, in Khakee and Dev, had him play men who, though weathered by time, though more deliberate in action, nevertheless actively resisted the injustices within their respective worlds.
Sometimes a substandard simplistic product also appeals to certain section of audience .. #SatyaGraha is one such movie. On twitter at least 75% feedback is positive .. and I am wondering why ??
Saw yesterday and except Manoj Bajpayi and Amitabh bachchan performance, every thing else is so much predictable and straightforward .. story, screenplay, dialogue are so much pedestrian that I felt like written by 10th class student for annual function play. What was point of recreating Anna movement on screen ?? where was innovation and new dimension to story ?? No efforts put to holds on audience interest with some interesting twists and narration .. disappointing with movie. 2/5
I am surprised at Ajay being almost sidelined in movie .. He was not leading .. infact he portrayed confused guy who have no idea what to do .. SatyaGraha belongs to Amitabh and Manoj Bajpayee only and both give superlative performance. Its tough to chose who was better. No one on this earth can portray the fast scenes in climax better than Sr bachchan .. and I am happy about it.
50% jump for satyagrah on Sunday compared to saturday. Sunday multiplex collections are double of friday and single screen is 50% more than friday. Girish Johar @girishjohar 1h
KANPUR (SATYAGRAH) Sunday Multiplex-959405.60 Single Screen-302292 TOTAL-1261697,60 3days TOTAL-2723431.26
“We could see a medieval castle-like structure in the distance. We were bodily lifted by the warlords and carried there because traditionally, the feet of guest aren’t supposed to touch the ground. From the castle we went to grounds where the Buzkashi tournament had been organized for us. Colourful tents had been set up, I thought I was in Ivanhoe land. The warlords insisted that the four of us spend the night there, the palace was emptied and the four of us kept eating and drinking and looking as if we’d wandered into an unbelievable fairy tale.
“We were smothered with gifts. In Kabul, the night before we flew back to India, Najab called us to president’s residence and decorated all of us with the ‘order of Afghanistan’. That evening his uncle sang an Indian raga for us with impeccable ease. I don’t know where our hosts are, I often wonder where they are today.”
Amitabh Bachchan on shooting Khuda Gawah in Afghanistan
Monday 2nd September 2013 11.00 IST
Boxofficeindia.Com Trade Network
Satyagraha managed to have a pretty good weekend of around 34.50 crore nett as it showed good growth on Saturday and Sunday. The film still has to sustain well on weekdays and second week as the opening was not strong but the weekend trend gives the film a chance at the box office.
The film picked up in practically all circuits over the weekend and the business on Sunday of around 13.50 crore nett was actually good. Delhi/UP, Gujarat, CI and Rajasthan fared the best.
The problem for the film was the opening day and if that could have been better then the weekend could have gone to around 40 crore nett which would have put it in a good position but now weekdays and second weekend becomes all the more important.
‘Satyagraha’ scores, packs a punch!
By Taran Adarsh, September 2, 2013 – 10:59 IST
The mood within the industry is buoyant, with the much-awaited August biggies living up to the audience expectations. While CHENNAI EXPRESS has created history, setting new benchmarks, MADRAS CAFÉ has worked with its target audience — the multiplex junta. Prakash Jha’s SATYAGRAHA too sprung a surprise by opening to double digits on Friday [Rs 11.21 cr] and maintaining the pace over the weekend [Rs 39.12 cr]. The sole hiccup in this sanguine scenario was the tepid response to ONCE UPON AY TIME IN MUMBAI DOBAARA!, which did not live up to the gargantuan expectations.
A film based on politics, generally, has its limitations, since the genre caters to that segment of audience that’s politically inclined, those who don’t mind watching realistic fares on screen. One also needs to keep in mind the fact that youngsters and families don’t really go ga-ga over these films. After attempting films like GANGAAJAL, APAHARAN, RAAJNEETI, AARAKSHAN and CHAKRAVYUH, the viewer has come to expect realistic, hard-hitting fares from Prakash Jha. Besides, Jha is known to extract wonderful performances from his actors, which is an added bonus for spectators. SATYAGRAHA has been lauded for its content and performances, although a segment of viewers are comparing it to Jha’s earlier accomplished work RAAJNEETI. Sure, RAAJNEETI and SATYAGRAHA deal with politics, but the two films are dissimilar in terms of content. The comparisons, therefore, are unfitting.
Armed with rave reviews and strong word of mouth, SATYAGRAHA grew steadily over the weekend, but it remains to be seen if it can perform well on weekdays too. With two significant films [ZANJEER, SHUDDH DESI ROMANCE] hitting the marquee next Friday, there’s not much breathing space for SATYAGRAHA, but that’s something every film-maker/Studio will have to learn to live with. Meanwhile, Jha and UTV can raise a toast, since a solid weekend = winning half the battle.
Another South star is all set to make his Bollywood debut with Zanjeer. But TOI has learnt that his heavy accent has barred the actor from voicing his dialogues for the film.
Apparently, Ram Charan Teja attempted several rounds of dubbing. Although he is proficient in Hindi, it is his heavy southern accent that got in the way. The makers then called actor and dubbing artist Rajesh Khattar for a voice test. However, later they decided not to go with a known face and voice, and zeroed in on a little-known voiceover artist.
When TOI tried to contact Khattar, he sent us a text message saying: “Yes, I did go for a voice test. But I am not the voice of Ram in the film.”
Director Apoorva Lakhia confirmed that Teja’s voice was dubbed in the Hindi version. Zanjeer is all set to release on September 6.
If that’s a serious comment, then it’s pretty naive. Because it’s quite obviously not the assumption that South Indians speak in accented Hindi that’s problematic when people complain about their depiction in Hindi films, but the exaggerated caricatures that are then the butt of every poor joke in those movies. And just to get it out of the way, I don’t think Chennai Express is guilty of this in the way some other films have been.
September 1, 2013
Gandhian Goodness Confronting Greed
By RACHEL SALTZ
A populist streak runs through Bollywood, never more so than in the work of Prakash Jha, whose new movie, “Satyagraha,” states plainly what concerns him: “The system is rotten.”
It certainly is in this tale that pits Gandhian righteousness against greed. In a town called Ambikapur, smirking villains with government jobs and pictures of the Mahatma on their walls milk the people dry and put them in harm’s way.
Enter a hero — or two. First there’s Dwarka Anand, a retired teacher played by Amitabh Bachchan, his long body draped in traditional white cotton and a home-spun-style shawl. Fed up, Dwarka does something most un-Gandhian: He slaps a corrupt official and is tossed in jail for his trouble.
A movement springs up around him, led by Manav (Ajay Devgn), a telecommunications mogul who grows into Hero No. 2, as he learns that truth and justice matter more than money. (Satyagraha, a word coined by Gandhi, means something like truth force.)
“Satyagraha” has a third hero, too, a woman: Yasmin (Kareena Kapoor Khan), the crusading journalist whom Manav loves. She’s not just a love interest, though. More than the volatile, autocratic Manav, she is the true inheritor of Dwarka’s idealism.
It may strike viewers as a bit much to have such a collection of wealthy, beautiful stars playing Gandhian truth soldiers. (Arjun Rampal is also in the mix.) Even Mr. Jha seems to have realized this. At one point he has a poor woman ask Dwarka, “What do you know about going hungry?” (He promptly starts a hunger strike.)
And who better, you might think, to lend Dwarka unimpeachable moral force than Mr. Bachchan? As Bollywood’s Mr. Big, he has been battling the establishment and miscreants since the 1970s, when he was Hindi movies’ Angry Young Man.
Mr. Jha and Mr. Bachchan have done this act before. In “Aarakshan” (2011), too, Mr. Bachchan played a teacher waging war on corruption and fighting for the soul of the nation.
It worked better the first time around. “Aarakshan” folded its message into a rousing, pulpy melodrama. “Satyagraha” tries to do the same but is more preachy than stirring; it hits its themes too squarely on the nose and hits them for about an hour too long.
It’s certainly heartfelt, though. As is a question that really does have extra force coming from Mr. Bachchan’s mouth, his blue eyes gone sad: “What kind of nation have we made?”
Satyagraha Performs Well In Its Opening Weekend | Box Office
September 2nd, 2013 by Joginder Tuteja
Satyagraha opened on expected lines and with the kind of massive release that it got for itself, even an opening that hovered around the 50%-60% mark was good enough to make it go past the 10 crore mark on Friday. Collections continued to be stable over the rest of the weekend, hence resulting in around 39 crore coming in. In the process, it has also left behind the 30 crore opening weekend of Raajneeti.
Now it has to be seen if the Prakash Jha directed affair brings on consistent collections during the weekdays as well and leaves behind the 54 crore first week that Raajneeti had enjoyed. Considering the fact that it belongs to the socio-political genre that has seldom brought in moolah, this would be fantastic. The film is mounted on a huge scale though with a massive star cast to boast of which means it needs to have a good run for many more days to follow.
For those connected to the film though, there are some cheers as Prakash Jha’s last two films Chakravyuha and Aarakshan hadn’t done well. Ajay Devgn too can leave the disappointment of Himmatwala behind while Kareena Kapoor is assured of better collections than her last release Heroine. Same holds true for Arjun Rampal and Manoj Bajpai since weekend collections of ‘Satyagraha’ are more than lifetime total of D-Day and Gangs of Wasseypur.
With audience word of mouth ranging from fair to good, all eyes are on the kind of footfalls that the film enjoys before Zanjeer and Shuddh Desi Romance hit the screens on the coming Friday
I wanted to catch Satyagrha on the big screen this weekend but unfortunately am caught up in stuff till Sept 13. Hope its still around then.
I expect it will be a good mvie going experience inspite of some of the movie’s shortcomings.
‘Satyagraha’ does well, despite genre limitations!By Taran AdarshSATYAGRAHA may not have registered great numbers like other biggies, but keeping in mind its genre and limited appeal for the international circuit, the film has grossed approx $ 1.4 million [Rs. 9.26 crores] in its opening weekend, which is quite good. Has fared the best in U.A.E.-G.C.C. and U.S.A.-Canada.
35% fall in Kanpur on Monday as compared to Friday. and 65% fall compared to Sunday.
Girish Johar @girishjohar 48m
KANPUR (SATYAGRAH) Monday Multiplex-320034 Single Screen-131521.50 TOTAL-451555.50 4days TOTAL-3174986.76
Irrfan khan says no to Nolan
( for eating his ‘lunchbox’ on ‘d-day’ !!) wtf…
ThePlaylist reveals that actor Matt Damon will have an unknown cameo in Christopher Nolan’s Interstellar. It’s just another stunning addition to the cast which includes Matthew McConaughey, Anne Hathaway, Jessica Chastain, Casey Affleck, John Lithgow, Topher Grace and Michael Caine.
The site also picked up on Indian actor Irrfan Khan (Slumdog Millionaire, Life of Pi, Amazing Spider-Man ) telling TheTimesOfIndia he was in talks for a major role in the film but had to decline because of other projects. Khan was absolutely magical in Life of Pi, so it’s a shame we won’t be seeing him in the film. Fingers crossed he’ll end up in future Nolan films.
“I was in talks with them for an important role. It had a great compact cast, but I can’t divulge much about that. They expected a huge commitment from my end. I had to stay in the U.S. for four months at a stretch. I tried to work out my schedule and suggested if I could shuttle between India and the U.S. as it wouldn’t have been possible for me to be there for that long,” he told The Times Of India. “I wanted to be here for ‘The Lunchbox’ and ‘D-Day.’ They couldn’t allow that. I don’t have a tendency to regret what I do, but knowing it’s a Christopher Nolan film, I can say that this has been one of the most difficult decisions I’ve made.”
D: Why don’t you write about a Bollywood movie and make a lot of references to obscure Japanese cinema and use words like ‘post-colonialism’ and ‘gender tropes’?
K: I don’t know what a ‘trope’ is.
D: I don’t think you need to know what it means to write about it. What movie have you seen recently?
K: Bal Brahmachari, Maa, Kangan and Krodh. At the same time.
D: Ok. So maybe not that.
K: It was superintense and there was dancing.
D: It’s weird that you’re watching these movies when you can’t actually understand Hindi.
K: How is that weird?
D: You know when they say something in Hindi? And you can’t understand what they’re saying because it’s in Hindi? And you watch the whole movie anyway?
D: Yeah, that.
K: How about I write something like ‘Why I Love Bollywood Even Though I Can’t Understand Hindi and Don’t Really Know What Anyone is Saying’.
D: I think you can only do that if you’re white.
K: So now what?
D: I think you should write something called ‘Bollywood Post-Colonial Perspectives Kurosawa Gender Tropes’.
K: But I don’t know what a trope is!!
D: Then write something mean about white people but with Bollywood and colloquial Tamil and ‘yougaiz’.
K: You’re not helping.
D: Write a story then.Your usual what-the-fuck stuff but in Bollywood.
K: I’m going to talk to someone else who isn’t you.
D: Write about a dead girl watching a Bollywood movie. And there are insects. Eating her left eye. AND IT’S RAINING BABIES!!! Hello?
R: Write about how you deleted all the Bon Iver I gave you to make room for your Munni Badnaam remixes. Write about how you told me that you thought Bon Iver was Bon Jovi.
K: They are both Bon-Bon, it’s an honest mistake!
R: Your taste in music is gross.
K: Why are you so racist against Bollywood?
R: Why are you the only person on the planet looking for a remix version of Don’t Touch My Ghaghariya?
K: Did I mention that I found this Trini-chutney remix of Show Me Your Jalwa? I can send—
A: You should write about that time on Masterchef when Dalvinder won something and then everyone did that dance and they said it was a Bollywood dance and it made us feel embarrassed for them.
K: And they made that noise.
A: Right, that weird falsetto police siren thing.
K: I actually thought they were doing a cultural Australian dance. Then they said it was a Bollywood dance and now I want to know what movie it’s from.
A: I think it’s from Alice in Wonderland. The 1999 version. The cook does something similar when the Duchess sings that song about beating her boy when he sneezes. By the by, have you seen the So You Think You Can Dance Bollywood segments?
A: You should.
K: I’m scared to.
A: Dude, you should totally watch them. Open a clip now on YouTube.
K: Ok, hang on, let me just— aw man.
K: There is a dude with a big blue bindi on his forehead and he’s dressed like Aladdin.
A: Ok don’t watch that. Close it and don’t watch it.
K: Maybe I should just find out what a trope is and write that Gender Bollywood Post-Colonial Kurosawa thing.
A: A trope is a kind of fish, no? I think it is. I think I ate some once.
S: You HAVE to write about how some people in this one number country watch Bollywood ironically. Write about how that’s a thing.
K: That’s when you act like you like Bollywood but you actually don’t but you act like you do to prove how much you don’t. Right?
K: Why isn’t that called lying?
S: Actually you should write about how some people really do like Bollywood and act like they don’t and then act like they do to prove that they don’t. When they actually do.
K: What does irony mean anyway? Is it like a trope?
S: Or you could write about how when you’re watching Hum and enjoying like anything some asshole will ask if you’re really watching it.
K: As opposed to artificially watching it?
S: As opposed to watching “something good”. Like Slumdog Millionaire.
K: You wouldn’t know what a trope is, would you?
S: It’s a riddle, isn’t it? Or a cave made of tarpaulin.
N: I read with great interest your recent post on the actress Jayanthi.
K: I wrote a post on the actress Jayanthi?
N: I don’t know if I’ve mentioned this but when I was in India—
K: You’ve mentioned it. Repeatedly.
N: And I was such a great fan of the cinema there. Great food, great people. Really loved the energy.
K: Who is actress Jayanthi?
N: You just wrote about her.
K: I wrote about Gandhi Jayanthi.
N: Ok. And is that someone different?
K: Little bit, yah.
N: Member of the Gandhi family perhaps?
K: I should go before I say something really mean.
K: So a trope is, and I quote from the indisputable Wikipedia, “the use of figurative language in literature, or a figure of speech in which words are used in a sense different from their literal meaning”.
S: So what’s a gender trope then?
K: It’s all what I just said except with genders in it.
S: What does that mean?
K: I don’t know. I felt a lot better when I thought a trope was a fish.
S: So how are you going to link this to Bollywood?
K: Well I thought about it a lot and I’ve decided to call the piece ‘Post-colonial Perspectives and Gender Tropes in Bollywood and Also Kurosawa Yougaiz HAHA White People are so White’.
K: And the actual piece will be about this dead girl watching a Bollywood movie and there are insects eating her left eye and it’s raining babies.
S: This will make everyone like you.
S: No, I just thought I’d say something nice to you today.
MUMBAI: The Bombay high court freed a remake by the same name of a four-decade-old hit film Zanjeer from legal shackles for its Thursday release. The HC, on Monday, held against Salim Khan and Javed Akhtar the script writing duo of the original 1973 Amitabh Bachchan starrer and said they did not make out a case of holding copyright to the script.
Justice S J Kathawalla, before whom counsels for Khan and Akhtar had argued for days on end to claim copyright violation, said no prima facie case was made out.
Khan and Akhtar ”are certainly guilty of approaching this court”, the judge said and observed that they themselves asserted, from the start, even publicly, that “Rs 6 crore would be a fair and reasonable compensation to permit a remake”, and hence are not entitled to their only plea now to stop the film’s release, even if the court were to hold that they were indeed the holders of the copyright.
The remake, also called Zanjeer, stars Priyanka Chopra and south Indian actor Ram Charan and is produced by Sumeet and Puneet Mehra, sons of Prakash Mehra, the producer of the original Zanjeer.
Khan and Akhtar appeared glum. Their contention was that Prakash Mehra was granted only a one-time permission to use their script to make Zanjeer in 1973, not for remakes. They immediately moved in appeal against Justice Kathawalla’s interim order. A bench of Justices D Y Chandrachud and Mahesh Sonak said it will hear their appeal on Tuesday.
The single judge said it was hard to believe that Khan and Akhtar ”so closely associated with the Film Industry” were not aware till April 2012 about the remake which the producers had ”widely publicised since November 2011”. The judge said the duo also approached the film writers’ association only nine months later this January and was unconvinced when they said they were ”being led to believe that the producers would seek their permission for the remake” as the Mehras had disputed their rights to the script last year itself.
Delay apart, the judge went by a media interview, which even the judge viewed in court, given by Khan in 2010 to hold that he had sold the script and its rights to actor Dharmendra for Rs 2,500 when Akhtar was not on the scene. Dharmendra, said the Mehras, then sold it to Prakash Mehra for Rs 4,000. The writers rubbished this claim as “false and bogus” and produced a letter from Dharmendra to back their claim of never having sold it but at receiving only a token “shagun amount”.
The producers said Prakash Mehra had paid Rs 55,000 to Salim-Javed to write a full bound script of the original Zanjeer, which the writers denied.
The judge however was not convinced. “From reading Dharmendra’s letter I am prima facie satisfied that it is procured from Dharmendra…only to use it in court to deal with answering the facts placed by the defendants (Mehras).” The appeal will now decide the film’s fate.
Q. Can Boss do 125 or 150 crore nett as it fetching huge prices and super hot in the trade?
A. The film is not being sold for high prices or fetching huge prices as you put it. A circuit like Rajasthan has gone for 3 crore where a Khiladi 786 which was not a major grosser did a share of 3 crore. Today a hot film will easily go for 5 crore in Rajasthan. 150 may be too tough for the film as it is Pre-Diwali but 100 is possible if content is good.
Q. Is Yeh Jawaani Hai Deewani a bigger grosser than Chennai Express if we take out the holiday factor?
A. The fact is you can’t take out the holiday factor, a film releases and it does X amount of business, holiday or no holiday. Star power you have to compare by taking the holiday factor out as star power is only about a day or three.
Q. Does Satyagraha have any chance of being a hit or super hit?
A. Not really the opening was not good enough, although it trended well it had to a little more. It won’t be a hit.
Q. Does Shudh Desi Romance have any chance against a big film like Zanjeer?
A. Shudh Desi Romance will probably do better business as core Hindi markets will be better. Zanjeer only has chances in South while North will be bad.
Satyagraha had a bigger than normal drop on Monday as it grossed around 4.25 crore nett taking the four day business to around 38.50 crore nett. The drop from Friday is around 55%. The film is looking to collect around 48 crore nett in its first week which is low.
The film even dropped more than 50% in CI which makes it a huge struggle for the film because if one circuit had a chance it was CI because the film is set in Madhya Pradesh and most of that state is in the CI circuit.
The drop was universal with Delhi/UP circuit holding up a bit better that the rest but that is the norm for Monday. The film will find it tough going in week two with two new releases and a decent final number which looked possible after the weekend can be ruled out now.
true but films with a higher opening number still have an advantage in terms of the overall gross. specially since no one considers trending these days. Leaving aside BOI’s dishonesty which has mostly been evident on this film since day 1 it is true that the film now has no safety net. In other words it cannot fall further from this level. It has to stay more or less stable at this point and then one could think about the second weekend. However if it keeps falling during the weekdays it’s not likely to do much over the second weekend or week. Even by Taran’s numbers it’s around 45 crores. So it has an uphill climb just to get to Rajneeti’s 90 crores or so. However if it can average around 4 crores the rest of the week it would suggest stability.
Going by BOI’s numbers this one will finish 65 crore or less. The problem is Thursday will be 3.5 or less and the 2nd weekend off a number like that can’t be more than 10 crore with some competition added too. 48 + 10 = 58. If it holds up little better maybe 70 crore.
This one is a bit like Talaash. There was some optimism as the weekend business grew, but the Monday figure is lower. Really needed a 6 crore figure, 5 crore or 4 crore depending on the source suggests first week will be decent but thereafter the legs are more like Rani’s than Deepika’s.
Tuesday 3rd September 2013 10.30 IST
Boxofficeindia.Com Trade Network
Madras Cafe has found it tough going in week two with collections coming down all over. The film grossed around 5.75 crore nett over its second weekend and around 75 lakhs on its second Monday. The second week business is looking to be in the 8.50 crore nett region.
The two week total for the film will be around 41 crore nett and a lifetime total looking to be around 45 crore nett. The film has not really consolidated after a decent weekend and despite a holiday boost last Wednesday the collections have generally been on the slide.
Overall the film is an average fair thanks to a decent weekend and Janmashtami holiday last Wednesday.
A O Scott on Gravity and the Lunchbox among others at the Telluride film festival:
“The Herzog relieved the lining-up bottlenecks at some of the other theaters, and was the scene of the frenzied first screening of “Gravity,” which arrived from the Venice Film Festival on Saturday evening on a vapor trail of hype. “Gravity,” which stars Sandra Bullock and George Clooney as astronauts stranded, like David Bowie’s Major Tom, far above the world, brought a 90-minute shot of pure, giddy entertainment to this high-altitude gathering of serious-minded cinephiles.
Directed by Alfonso Cuarón from a script he wrote with his son, Jonás, the film uses 3-D to evoke the feeling of weightlessness experienced by the characters. It also brings some of the wonder and mystery back to cinematic space, inviting comparisons to Stanley Kubrick’s “2001: A Space Odyssey” and Ridley Scott’s “Alien,” and making most recent science-fiction epics seem clumsy and earthbound by comparison.”
“Modern urban loneliness is also among the themes of “The Lunchbox,” the deft and charming first feature by Ritesh Batra. He uses Mumbai’s lunch-delivery system — which transports thousands of meals every day from kitchens to offices — as the background for a quasi-romantic fable that might be thought of as an Indian variation on “You’ve Got Mail.” An unhappy housewife (Nimraut Kaur) and a mopey accountant (the indispensable Irrfan Khan), accidentally linked by a rare glitch in the delivery process, begin a culinary and epistolary friendship that is traced with a perfect balance of tact and sentimentality.”
yes but the comparison ought to be for week 1, not with the tail end when films stabilize at that low level. If not they’re out of the theaters! So in week 1 CE went from a 30-33 crore Fri to a 12 crore Mon. Even taking the lower Fri number it dropped 65% or so.
This is interesting, with so much talk about 100 crore club and many believing getting into 100 crore club is no big deal; here is some numbers from this year:
8 months have passed and only 4 movies in 2013 have made 100 crore. Of these 4, 2 (BMB, Race2) of them barely made it and may not have made it depending on whose boxoffice total you follow.
I think we’ll have 2 at minimum (K3 and D3) and maybe one more before the year ends. So this gives us 6 to 7 100 crore club movies for the year or less depending on which number you follow. I assuming there are about 100 Hindi film that will release in 2013, that’s 0.06% of the films making 100 crore.
For 3 Khans, HR and Ranbir, this should be a line that they cross in first week. For them the goal should be 150 crore assuming it’s a big film.
Totally the wrong way to look at it – you should probably compare the budget to top grosser ratios. The reality a vast array of those 100 or so films are small to medium budgets, no star, less marketing – they are not aiming for 100 crore. Anyone can see the club is hardly exclusive anymore, especially when there was only one in 2008 and one in 2009. Since then probably more than a few every year.
150 crore is the new 100 crore and probably only for another year or so. Then it will be 200 crore.
If a film is making 100 crore in 4 days (sure aided by holidays) its surely not a target borne out by films credentials, but by in large the market being played in now i.e. it should not be seen as a huge achievement if achieved so easily! It’s like Usain Bolt winning 100 metres with a time of 11 seconds and his competitors running 12 seconds, when the world record is 9.4 seconds! Sure he’s won, and you pat him on the back for winning a gold, but hardly the greatest sprint was it? when the quality is pretty low all around!
It’s not the same at all.
The growth in the market has to be taken into account. If these films were making 100 crore in the same market conditions as 2008, then yes, it’s great.
But that is not the case.
The sense of achievement is not much when a non star film like BMB (and I don’t consider Farhan Akhtar an elite actor or breakout star) is making 100 crore!
Consider CDI in 2007! A Sports film with a superstar practically in every scene and it made 60 crore!
100 crore is no longer a club to be proud off. If anything, it is now a case of a big film potentially being considered as a failure if it does not get there! There’s been plenty of that on this blog for example for Talaash!
The moment biggies are considered failures when they don’t get there is the moment the target is deemed too easy!
100 crore is like the old 250 score in ODI cricket. When a team batting first scored 250 before 1995, that score was seen as a winning score. Fields have changed, rules have changed to favour batsmen, the game has changed (note Sri Lanka in 1995 WC going after the first 10 overs) etc, where 250 is no longer a winning score, it’s more like a losing score!
This will be true when a film gets the widest possible release with no significant competition around. That is for the initial. And if the film is well liked, then sky is the limit. If it it not well liked, it will start limping towards the nearest winning post.
It would be hard not to understand the points Jay is making unless of course one were pretending not to! I assume you’re not genuinely dense! On the rest your claims are in bad faith and you know it. You’re speaking like a typical and typically dishonest SRK fan. Let’s move on now!
My SRK timeline. The assumptions here are that SRK was a bigger star in 2004 than in 2007 and also a bigger star in 2007 than 2013.
Also that Main Hoo Naa, Om Shanti Om and Chennai Express, albeit not exactly the same film, they do owe themselves to attempts at masala, comedy, family entertainment etc. so I am comparing the business of these 3 films and assuming they are similar genres and SRK is a depreciating star but still relevant star.
2004 MHN made 35 crore
2007 OSO made 85 crore
2013 CE is making 205 crore
Growth between 04 – 07 is approx. 243%
Growth between 07 – 13 is approx. 241%
Even for Aamir between 2001 to 2009 comparing Lagaan, RDB and 3 Idiots (I’d argue equally liked, and he probably becomes a bigger star with 3 Idiots than he was with RDB) his films go from 30 crore to 55 crore to 200 crore…growths of 167% between 01 – 05 and 400% between 05 – 09.
The whole point here is to illustrate film business has just grown massively. It’s not a lot to do with the quality of the product or the size of the star (although Aamir’s films have grown bigger in time as he has become a bigger force, SRK I would say has gone the opposite way – but still huge growth in business).
Do it for Ajay Devgn or Saif in that period. It’s just a big growing business. So why would in this instance a 100 crore in 2013 be rated compared to those in 2011 let alone 2009. Bars have to change, targets are revised.
Your talking about a total market growth (infrastructure and inflation) of 6 times between 04 – 13 for SRK and 7 times between 01 – 09 for Aamir. “obviously” loose projections.
Now to the noise about 100 crore and why 200 crore for CE today is a good achievement but nothing extra-ordinary. It’s taken 4 years but even a RNBDJ in 2008 was making only 85 crores so the market has at least grown twice since then. My surprise is it’s taken this long but that is purely down to the quality of the biggie or rather lack off.
And that’s my whole point, that we can talk about market growth etc, but the fact is only 2 movies has done over 200 crore. So let’s not treat it like it’s normal and every other biggie is making 200 crore.
Let alone 200 crore, same thing with 100 crore, only small portion of biggie are going over 100 crore.
“only small portion of biggie are going over 100 crore” this is a false statement.
A higher proportion of biggies are reaching 100 crore in 2012-13 than say 2009-2010. Just cos only 4 have done so this year, does not falsify my claim. Film business in general can fluctuate from year to year, but overall the market is growing and still is. Till the releases stop widening, than you can call it a market of growth only in inflation like the US. The US, biggies release between 4000-5000 cinemas always. It’s saturated.
India is not. Every big film opens to a wider audience.
Apple does not open up stores in markets to capture the same audience in quicker time! They open up more stores to capture more people! Why would any “serious” investor do this. This is not the “short” stock market!
People open up more locations, more stores, more shops, more theatres to tap into more people, increase accessbility….and basically increase revenue (at a cost). It’s so simple, its business and finance. This whole 200 crore is a “ceiling” is hogwash, for those use to mediocre films.
“On the rest your claims are in bad faith and you know it. You’re speaking like a typical and typically dishonest SRK fan. Let’s move on now!”
Should we analyze your comments on SRK since 2000?
Please get over this SRK fans are dishonest, are in bad faith, etc… you use every possible factors to bring down SRK movies but as soon as somebody puts up one factor they’re acting in bad faith and are dishonest?
I don’t have time to bring down other actors, look at all my posts and you’ll know what i mean. I’m a fan or SRK and hindi films in general and will put up a good arguments keeping all factors in mind without picking and choosing factors based on who the star is.
I actually stand by all my comments on SRK. People might think I have a bias against SRK but no one would find it hard to figure what my positions were in a very precise sense. The smarter ones would easily be able to connect these with my overall ideological positions as well (so it’s not really an anti-SRK position the way many think it is). Also I’m not arguing against CE. What it’s done is pretty obvious. However whenever this sort of moment occurs there’s this effort by SRK fans to completely exaggerate things and at the same time deconstruct other achievements. Both go hand-in-hand. So 200 was supposed to be completely impossible, nothing could be compared with 3I even 4 years after release and what not. Suddenly CE does it and it’s supposed to be ‘record-shattering’?! What about all the other ‘details’ now? How did this even happen if it wasn’t possible? This is the kind of ridiculous stuff SRK has himself been peddling since CE became successful. The fans often reflect the ethics of their favorite stars! So SRK after making all kinds of claims which revealed his anxieties about the competition and his own inability to keep up for so very long finally said something which took the cake — the idea that for years HAHK seemed unbreathable but then that record was broken by many films in recent years! Yeah HAHK doing 75-100 crores in ’94 (depending on who you believe) is just the same as Race 2 doing it this year! There is this constant move by SRK fans to try and deconstruct anything that questions their narrative on SRK. And this move is evident in SRK himself (or Johar). And so you there’s the old trick of questioning Bachchan or somehow trying to deconstruct his track record or whatever. Or doing the same with Aamir more recently. So on and so forth. Now you can do it blatantly or be more subtle about it but it becomes very obvious very soon. I’ve spent too much time around ‘fans’ like yourself not to spot one almost instantly. And everything you’ve said for a while has confirmed this. No one’s stopping you from being a SRK fan or celebrating his success or thinking he identified the Higgs boson before anyone else. It’s the overall set of totally dishonest claims. And it’s pointless saying one hasn’t done this when every exchange one gets into including the present one reveals this in spades for anyone who has eyes to read.
The “growth in business” argument would have been crystal clear if there been no 3I. With wider releases facilitated by increasing # new multiplex available screens, the business gradually grew. From Ghajini to CE, the steady rise in business (weekend, weekly, lifetime) is crystal clear. Its only when an anomalous event like 3I is inserted into this growth chart, that we start getting these 200cr ceiling arguments. The fact is that 3I was just that: anomalous. It was a true ATBB in 2009, because it almost doubled the previous best. For an equivalent anomalous event today, a film would need to make upwards of 300crs.
“For an equivalent anomalous event today, a film would need to make upwards of 300crs.”
agree with this upto a point. If one considers the fact that the 3I final gross was 2.5 x its week 1 number and then if you consider how films can do 140-150 crores in a 7-9 day period today 300 seems minimal to meet that standard. 330 or more gets you closer to that 3I superlative initial and excellent trending model. We’re not even at Ghajini levels forget 3I ones. So Ghajini too with the 115 crore gross and the 60 crore or whatever extended week total (55 crores or something similar for a 7 day period) was well in excess of what seemed possible at the time. Even this standard hasn’t been met by any of these big films. ETT should have done 280 crores or so just to live upto the Ghajini standard. CE should have been doing 300! But we see that even by the highest Taran numbers (which one would be right to suspect!) it’s getting to 225 or whatever. So we’re very far from the Ghajini model even with CE. And at both ends. Because CE was still within the ETT range even in terms of initial whereas Ghajini cleared the competition by a huge percentage at the time. Of course we here all those bankrupt arguments once again that everyone saw it in week 1 so it couldn’t trend well and what not. We heard the very same for 200 not being possible. These are of course dishonest or delusional claims or both. But in any case 3I is in many ways the red herring here. Even the Ghajini bar hasn’t been cleared! The absolute number doesn’t mean anything. Otherwise many films have crossed 115! Meanwhile SRK’s pretending that it’s a musical chairs deal where sometimes he breaks records and sometimes others. Of course even this is a comedown for the ‘I am the king’ proponent. To admit that he’s just keeping up with the competition. But of course this isn’t really true as we’ve just discussed and as he’ll soon discover with either K3 or D3 or both. Unless both films underperform. Always a possibility in this business. In Hollywood box office reporting you see everything accounted for even from year to year when inflation isn’t that big a factor. But they still account for it, then they account for 3D inflation or IMAX inflation in addition to screen counts. They look at how well other movies have done in that month and week of release. So on and so forth. They really look at everything. In India you can’t even apply the broadest trending standards because from the trade to the fans there’s enough corruption or plain dishonesty involved for people to pretend otherwise. As I’ve said in the past the laws of physics (or in this case economics) don’t change from the US to India. For instance we’re supposed to believe that all this growth is only at the gross end and only in week 1! Or similarly were supposed to believe that all these huge additional grosses whether in India or in the overseas territories come at no additional production/distribution costs. So Barfi doing a 100 is more or less the same as Don2 doing a 100. They’re both equally part of a 100 crore club. This nonsense is peddled and it is swallowed by partisans or various stripes.
Another way to put it: Ghajini at 115cr in 2008 was followed by Dabanng at 145cr in 2010, followed by ETT at 195cr in 2012. These are increases perfectly in synch with the rapidly increasing market size. CE (at approx 210cr) is just another datapoint in this rising graph. It would not be surprising to see a 250cr movie by 2014.
How can one even argue about a 200cr ceiling, if a non-holiday release like YJHD ends up making 180crs, just 3 months previously? Would KJo not have traded the release dates of YJHD with CE? In the final count, there will be about 25-30cr difference between their gross. But CE had an extra 3 national holidays which boosted its collections. If their release dates are exchanged, the gross would have been exchanged as well.
This is exactly what I was drafting
2006 – D2 – 80
2007 – OSO – 85
2008 – Ghajini – 115
2009 – XX
2010 – Dabangg – 135
2011 – Bodyguard – 145
2012 – ETT – 185
2013 – CE – 205
Loosely this is 15% per annum growth if you plot this. Of course this assumes the “credentials” of each movie are the same, which they are not. OSO is underperforming, Ghajini doing a bit more than expected, Bodyguard underperforming. I leave out 3 Idiots as it butchers the debate. But even without it, its clear that generally the market is growing at 15% per annum and yes its LINEAR. There will be a tail off but why now if the evidence suggests its still growing. Its not so hard to suggest this…that every 6 years the market doubles. In 2006 D2 makes 80 crore, in 2012 a film makes more than 160 crore…why not in 2018 a film making 320 crore? Is it beyond the realms of possibility? Or is the 200 crore ceiling still there in 5 years time?
Thanks guys for injecting some sense in the inane BO discussions. CE is a big success no doubt and the biggest grosser of the year so far. But, to spin it as some kind of BO revolution without understanding/acknowledging the market dynamics is somewhat stupid and dishonest. One cannot take anything away from a movie that has made 200 crore plus regardles the increase in market size/capacity but at the same time one needs to be aware that the eventual total is already under threat from the coming biggies and in the annals of history is going to go down as a big success but not the biggest.
As NYKavi said it is a data point in the rising graph.
Yes, for a brief ( very brief period), it will be the highest grossing film of all time but is not going to be a land mark that 3I or even Ghajini was.
“Loosely this is 15% per annum growth if you plot this. Of course this assumes the “credentials” of each movie are the same, which they are not. OSO is underperforming, Ghajini doing a bit more than expected, Bodyguard underperforming.”
Do you consider all factors such as OSO released against another big movie? Or one movie might had clear run for 3 to 4 weeks while another had to deal with biggie every week?
“Another way to put it: Ghajini at 115cr in 2008 was followed by Dabanng at 145cr in 2010, followed by ETT at 195cr in 2012. These are increases perfectly in synch with the rapidly increasing market size. CE (at approx 210cr) is just another datapoint in this rising graph. It would not be surprising to see a 250cr movie by 2014.”
Agree 100%,keeping in mind each of those movies you’ve listed were treated as big hits but for CE, some want to claim it’s no big shake. And that’s the point i’m arguing, that it is a big shake. By the way, CE is not capped at 200 crore, it’s over 220 crore now.
I don’t think we have to wait till 2014 for 250 crore, we’ll see it before end of this year. CE will be about 225 crore so I think K3 or D3 will easily earn 25 crore more with same market and no competition in subsequent weeks.
No one is saying CE is not a big shake. Argument is about how big of a shake it is. Not that it really matters in eventual scheme of things. But, if we are going to indulge in this discussion, one has to keep it honest. Obviously, SRK fans will portray this as an attempt to deny him any credit. But, it couldnt be further from truth. Just keep things in perspective. CE has performed way beynd expectations. No doubt about it. But at the same time, it is not 3I.
If D3 and K3 don’t beat the opening day/weekend/week records of CE, does that mean SRK is #1 this year? If the answer is no, then one is taking other factors into account such as the perfect release date of CE.
Now SRK critics will take other factors into account when trying to prove if K3 and D3 don’t beat CE’s opening day/weekend/week why SRK won’t be the biggest star of the year.
At the same time, they won’t take other factors into consideration such as that BG faced competition and a substantial screen loss a week later from Mere Brother Ki Dulhan or that OSO and Saawariya released on the same day to pretty similar screen counts (as far as I remember).
This is hypocrisy or insecurity. One of those things describes Bollywood’s first midget superstar.
Why do we forget that Avatar released along with 3I. If you take crap like Saawariya, Jaaneman or OUATIMD to be dent-factors in SRK movies, why should the colossus of Avatar be forgoteen versus 3I?
Your argument holds only if the competition has some ‘dum’. So a SOS dented JTHJ, and certainly, brought down its business. JTHJ had YRC demise as a major emotional boost going towards its opening. Even then, the content was not good enough to knock off SOS.
Lets see how many films cross 400cr worldwide in the next few years. We can then assess how big of a success CE is. Even in countries like Peru, Germany and Poland this one did business in excess of 1cr. It has done 113cr in overseas already and it hasn’t even released in South Korea and China yet. Respect should be given when deserved.
Avatar had a third of the screen count of 3 Idiots. It made less in India than OUATIMD. Sure it affected 3 idiots worldwide gross, but it’s impact on 3 idiots’ domestic BO was less than ouatimd for CE and even mbkd for bg. Saawariya had more than half the screens of Om shanti om.
All this 100 CR 200 CR number will look puny once D3 comes out. Mark my words. That movie is making 300 CR….minimum and there is a good chance that it will do 400 CR. Think of all that’s going for that movie. Aamir just doesn’t dish out praises for his own movies !
I have no doubts that K3 will cross CE and D3 will cross K3. And if we go by logic of satyam, jayshah and couple others, it will be by a wide margin since you get a sense that boxoffice collection CE is no big shake.
I think you are interpreting it wrong. There are couple of movies which came near 3 idiots in spite of being not universally liked: ETT and YJHD. So it was matter of time somebody did little more and cross 3 idiots. D3 and K3 are big movies, if they are liked similar to CE they may cross CE marginally just because of expanding market. If they are liked more they should do more than 250.
ps – Just remove 3 Idiots from picture as it clutters and make all analysis biased.
Munna, it is like saying lets take Everest out in discussion of world’s tallest peaks. It would be meaningless. Every BO report from bozos is how CE has broken 3I ‘s record and it is true in a sense but it is not even 60% of the movie that 3I was at BO. That is the point.
So Usain Bolt bettering previous mark by .11 second was something great. If you better the record by .01 or .02 – You have world record but someone else would come and better it by another .01. That is why there is a chatter that K3 and D3 will break CE record; But no one is saying who will better Usain Bolt’s 9.58. Someone will break it eventually but not by much.
I think 100m is a good analogy but there is no such thing as a perfect analogy. The point is 31 is the first amongst equals. There is something intangible about the meausre of how much a movie is liked or appreciated and there is no standard measure for it. Some would say IMDB ratings sre one way to look at it but even that data is skewed. Quite a few are able to sense or grasp it. A fewer amongst them who are honest will admit it. The rest will be just beating the senseless BO drums.
Would 31 have made 300 crores if released today? Very likely.
End of discussion.
No one is taking away from CE’s achievement. It indeed was a paisa-vasool entertainer, which managed to draw in large family audiences, as well as lots of Southern audience because of its content. It could not have bested the trend if it did not indeed have the content. If K3/D3, are rich in content, they may just conform to the trend and make in the range of CE. These 250cr scenarios only play out if the movies have superlative content. IMHO, CE did have great content (and I know Satyam/Rajan will not agree with me, but then I am just a common man).
Lets not forget that Roshans last gave a brain-fart in Kites, so K3 could be another constipation-reliever. Similarly, YRF have delivered unedible crap like Tashan and few others.
On a separate note Satyagraha is behaving more and more like a 70 crore grosser that I predicted. Fools rushed in with a 150 crore projection. Average stuff at best. And a pity as the subject had takers but Jha couldnt make an engrossing film. Yes, the genre was a limitation but it could have easily made more as the audience was willing to give it a chance.
I still think if it was a well made film, it would have gone to 150. One can’t make an argument that romatic angle of Ranbir/Katrina made Raajneeti go over 90 crore, if that’s the case than what was the total of APKGK?
There are many things that has to go right in order for the movie to work. All these claims of how easy it is to make 100, 150, 200 crore is baseless.
You were certainly right on the prediction. I was hoping for 100 based on the early word. Although it could be argued that irrespective of content (unless of course a sensationally good film were made which is always a high bar) you can’t get those numbers without a very strong initial which in turn you cannot get for this kind of subject without stars who attract a younger demographic in some serious sense. Now a better film could trend stronger than the current film is looking to but that might be the difference between 70 and a 100 at the most. It still wouldn’t go beyond this. So you either need a genre override for stars who might not be very strong at the box office or else a star override for a genre that isn’t hot. Devgan is fine in certain kinds of outings (though note how whether it is Golmaal or Singham his current big box office numbers can almost entirely be correlated with Rohit Shetty.. on the other hand you have disasters in Himmatwala or Aakrosh or some poor performances otherwise.. in Jha’s big efforts he’s not come in for great praise or else he’s felt sidelined.. barring the earlier films which were much more modest grossers) but he isn’t enough to get a big opening on a political film. Once again with Rajneeti the Ranbir-Katrina pair was important not to mention the love triangle and of course the Godfather plot made it a rather universal story. This was regular masala fare (admittedly absorbing) pretending to be political drama. On the other hand Aarakhshan or Satyagraha despite their flaws are issue-based. These kinds of films never hit those very high benchmarks unless something completely unusual happens in terms of content.
Even otherwise in terms of trending if you notice there’s Ghajini/3I or (and if the history is followed here) Krrish/Dhoom or even giving some allowance YJHD recently as examples of big openers/grossers that trend minimally well. Most of the other good trenders are at the lower end from OMG to Raanjhanaa to Kahani or whatever. Because at that lower end you can’t get anywhere without content. Obviously with any more appeal the film would open a lot bigger. Conversely the big openers are just extended ad campaigns that get the audience in. Few are liked. Most of the time the audience considers them just passable. The moral of the story is that no matter how big a splash you get this way content is eventually important. Of course to add to the dishonesty chronicles of many this too is held against the film. It’s like ‘hey don’t count 3I that was liked too much’! That’s absurd. Even the biggest stars still gross more with better content (barring Bachchan who could often turn even these laws upside down!). The smaller films reveal that if a film is truly liked it will find enough of an audience to trend well.
I’m not sure about Dhoom 3 because on one hand Aamir is in it and boasting about the good script which is a good sign. But At the same time, it’s directed by the Tashan director. Plus Aamir in this type of role is like SRK as a superhero. Ehh for both stars from me. YRF can probably get it 4000 screens. Xmas is on a Wednesday so opening day records will be destroyed. YRF will probably go for paid previews which can hit 10cr. It’ll have almost a 40 cr opening day if not more. But then the standard drop will come on thursday, making it 20-25. It’ll need a 30ish friday to be CE’s first 3 days. After that, no idea, it depends on content and WOM.
I totally agree. Very skeptical about Aamir pulling off an act in the footsteps of HR and JA. But then, he always has been acutely aware of his own physical shortcomings. So there mustve been some change in presentation to account for it.
As for junta, if they can accept a 5’4” ripped body flinging taller/bigger gangs of 10-20 goondas around like ninepins in Ghajini, they can accept Aamir flying around in a superman cape as well. Bhartiya Junta ki imaginative liberties ka takaaza koi nahi laga sakta.
Great analogy would be SRK beating the crap out of that giant Tamil bully in CE. So Thina-Gaaru (or whatever his name was) practically tears up SRK’s body, and has him biting the dust in a bloody blob. But, all it took was for Deepika to utter ‘Rahul’, and our hero sprang back up to beat the shit out of Mt Olympus. So is “Rahul” kinda like “chen-kuliki-men-kuliki-chen”?
I will agree that Aamir’s involvement suggests the best script of the franchise which might not necessarily be the same as the biggest grosser. Having said that Aamir is no one’s fool and is not likely to take Talaash-like risks with a subject which he has just done to put up some big numbers. Nonetheless it adds a degree of uncertainty given the genre. And yes the director does as well. In this sense Krrish is safer because both father and son have pulled of spectacular numbers and trending twice with this franchise. But here too there’s still a risk of trying to do too much. I did like the trailer but the double role and excessive attempt at SFX might well make this a trickier juggling act for Rakesh Roshan. The key to the first two films was essentially very simple plot-lines. Still I would be more surprised at Rakesh Roshan not finding the sweet spot here versus the Dhoom team doing the same. Also with Aamir while he might be expecting a blockbuster here he might not necessarily be in it for a film that breaks all existing records. There’s a difference. Unlike SRK Aamir has never gone into a film with that explicit aim even when he’s had the most commercial ends in mind. So yes obviously he wants huge numbers on D3. Just don’t think he’s waiting to break the 300 barrier!
But according to the logic you’ve laid out it isn’t knowable whether one has hit the bull’s eye or not! How does one verify this?!
On a related note even if a star were to appear on the blog and say some of this stuff he or she would hardly be likely to use his or her actual name. Nor would the same person be likely to say too much for fear of revealing something that ought not to be revealed. One could say the very same things in that scenario. In any case my sense is that people really find the stories unpalatable which is when they start bringing up the verification point. Otherwise everyone is quite happy to believe anything they wish to about their favorite stars or films, they’re equally happy to engage in all kinds of reasoning without real verification. So it cannot be a truth standard that suddenly becomes all important. It is really the nature of the utterance that one doesn’t like. I could say something completely different about some of these stars and you wouldn’t object at all!
LOL! SRK fans cant help being pathetic! It is their lot in life!
Dishonesty,snarkiness, tendency to play the victim etc comes naturally to them and compliments their rather poor judgement and taste! Even when their favorite actor delivers a mosntrous hit, they cant seem to disengage their head from its favorite position!
Rajen : “The point is at no point was it a 150 crore film. If it was better, it had a shot at 90-100 but never 150 crores.” Ifa biography like Bhag Mi.lkha Bhag van do 105 cr, there is no reason why Satyagraha could not do 150cr if it was a really good film.
Patriotic sports films will always find more takers than standard political drama. BMB was not just a biography, it was a well done patriotic movie. With Milkha Singh himself promoting the movie, along with host of other Indian Olympic stars past and present were a big boost. If BMB were only a biography, PST should’ve done a lot more as well.
Aside, one can reflect on the irony of Indian athletics through these 2 movies. Where did both these gifted individuals end up at.
actually I’d say that the biopic is actually a safer multiplex genre than a political issue-based subject. What political films have done hugely well? I cannot think of one huge grosser or huge hit irrespective of quality in the entire history of Hindi cinema. None whatsoever. And again I don’t really define Rajneeti as a political film. It had a generic political backdrop but otherwise was personality-driven and with a lot of masala tropes and so on. There was nothing specifically political here.
This history holds for at least two reasons. Such subjects seem less entertaining to many people but also to the extent that they’re sharper in terms of content they’re also more likely to alienate one group or the other.
Aaj Ka MLA made more news than money. the gross here was pretty low. Of course the bar for Rajesh Khanna by that point was the lowest one imaginable in any case. It probably made a fourth or fifth of what Inquilaab did which itself was considered a disappointment (average perhaps but every Bachchan failure was this barring a handful).
It’s certainly not a political ‘issue’ film. it’s a coming of age story with a political drama attached to it. But the latter is refracted through the former. And in any case the political exists here in abstract fashion (‘let’s end corruption’) as does the ethical (‘let’s do something’). Which itself is taken back by the end so that the multiplex audience doesn’t go home thinking they have to get themselves shot to be true to their conscience! The protagonists themselves say theirs was a cry of pain more than anything else and no one need follow! This is first off muddled but in any case about as political in any precise ‘issue-based’ sense as Rajneeti.
Satyagraha , if one just takes the facevalue, has to do more than BMB which did not have a star to open the movie. I would go with what Utkal say here. Satyagraha if liked could have topped 120 crs. I dont think one can call it a proper political movie. This is not a Shanghai by any means. This is as political a movie as Rang De Basanti was, which wasnt really a proper political movie but make statements on the country’s politics. And considering corruption is one of the most burning topics in India, the Anna Hazare angle in the movie etc, think the movie had a good chance to top 120 crs if liked.
The fact that the movie opened to 40 crs though being a ‘political’ movie means that the audience were always ready to give this movie a chance irrespective of WOM. The issue is that Jha disappointed rather than the genre of the movie.
“The issue is that Jha disappointed rather than the genre of the movie.”– yeah but jha disappointed less than bachchans ‘core’ fans
Atleast jha gave bachchan a ‘dignified’ lead role in a reasonable setup at a stage when not many are willing to do that
Shanghai is a political thriller. It too is not an issue based political movie in any precise sense. If anything it adapts Z by shedding the latter’s precise political contexts. It then becomes a much more generic tale. Which is why it was celebrated by the media!
On the rest Satyagraha is not a biopic by any stretch. And once you have that crucial Anna Hazare archive you also can’t say the political references are not clear enough. The film might have other faults but this isn’t one of them. As for the rest any film can do anything. The point isn’t what an exceptional film can do but what a decent or better effort can do in a given genre. YJHD isn’t some stirring kind of entertainment, it still did a lot because that kind of genre does well. Similarly Salman Khan’s movies aren’t some outstanding examples of the genre. They still do well. The same goes for these genres at somewhat lower ends of the success spectrum. On the other hand with certain other genres the public really has to like them for these to work in any roughly comparable way. The bar is very differently placed on them. Which by the way is true for BMB or RDB also. I’m not suggesting it was easy for these movies to become successful. But the comparison with Satyagraha or Aarakshan colors the debate differently. And again I stand by what I’ve said — I cannot think of a serious political movie in the entire history of HIndi cinema that was a great success. And I mean by this a political movie with either an ‘issue’ or at least one with precise political referents. Even with looser political coordinates such films are not often very successful but you can at least find examples. Again all of this doesn’t mean Satyagraha couldn’t have done 100 or more. But for the same quality films in other genres would probably do 200! So one has to compare like for like. Maybe in the best of all possible worlds, which is to say with the best of scripts Satyagraha could do 120. But then in that same scenario ETT would do 275! The gap remains the same. Which is also one of the points I’m trying to make.
But satyam one cannot deny that whatever be the genre of this movie, people still showed up over the first 3 days irrespective of WOM. There was an interest in this movie due to the face value associated with it and the issues it was raising. And even with a below par WOM this will end up around 65 to 70 which is the houseful range. So there was a chance here of going past 100 if the content was accepted. The issue was the script not the genre of the movie IMO as people did flock to the cinema to sme extent overlooking the genre – doesn’t matter if it is political or not.
I don’t disagree with anything here but you’re missing the point. I’m not saying this film couldn’t have done 100 or even 120. Just that the content bar with certain subjects is much higher than with others. You regularly see garbage in masala these days gross a lot. The same with multiplex romance. If you made a film of that quality in Satyagraha you’d gross Rs 2! Even as things stand the reviewers aren’t consistent. a YJHD on average gets much better reviews than an Aarakshan. Now I had some serious problems with the film myself besides the fact that I never expect great things from Jha. But a film like YJHD is also by no means the best or close to the best that is possible within that genre. It’s not a DCH or something! In the name of the ‘enjoyable’ a lot of very substandard cinema gets kind reviews while a more serious film is taken to task for not being truly great! Now I too believe that the bar is higher when you tackle more serious issues. At the same time this doesn’t mean that Salman Khan gets a pass just because he’s attempting junk! So again I’m not disagreeing that it could have done more. But the way things stand that total for this kind of film is always an improbable one. My argument is that often there’s this logic that’s advanced — if the film was better it would have done more. That’s fair except that being less than this doesn’t stop other genres from doing a lot more! Every age has its dominant genres where films belonging to these do disproportionately well. At the same time not every dominant genre in every age has put out such substandard stuff. Or the kind that is celebrated today.
the only scenario in which 150 was a possibility was with the Rajneeti sort of deal where despite the script going haywire at points things were constantly entertaining. Lots of characters that were interesting on their own (the film had a huge cast), Jha kept things moving at every point. So this sort of thing but then the presence of a relatively popular younger pair to entice a certain demographic that wouldn’t normally show up for such a film in stronger numbers. Rajneeti surprised at the time with the start it got and it remained stable. An equivalent film could certainly clear 120 and maybe more. 150 would still be a stiff target but perhaps possible. But everything would have to be just right in the film.
One cannot make such generalisations imo
Yeah there ARE genre limitations and yeah satyagraha comes in that category which doesn’t attract the ‘whatssup’ crowd…
But it’s NOT unachievable—
There ARE ways around it …some of those ‘ways’ being —
Replace ajay devgun with a more box office friendly star –eg ranbir or even hritik–devgun is a better actor in this space but not a real box office force beyond a point..
Replace (what should I say!) Kareena with any non/poor actress but whose more in currently aka katrina or deepika
Replace the cute Amrita row with someone more saleable now
Get in kjo into the mix as producer (not director!!!)
Retain Prakash jha since he is good for this terrain and he would work more earnestly with the above setup
RETAIN bachchan but make his role more ‘unpredictable’ and somewhat ‘edgy’ with borderline ‘grey’ tone
The product with the same subject and director will cross 150 crores (& more!)
For gods sake–plz give Bachchan a role deserving his legend!!!
C’mon saw a promo just now
Even now the guy is crying out for roles worthy of his presence
And he gets a unidimensional predicable drab role
INSPITE of that, amitabh apparently is the best thing about the flick as per reviews!!
The other uncomfortable thing is the ROYAL DITCH Of amitabh bachchan by his ‘supporters’ here–
Barring one or two, NONE of his vocal supporters here have bothered to see this film not he big screen paying bucks…
This is the reality/ the hard fact 🙂
Dude, the youngest of Amitabh’s core supporters are 40+ yo, with kids and families. His older supporters already have grandkids. Do you realistically expect that demographic to go flock to see a movie? If yes, then Stallone should be coming to you for tips on how to take Expendables past 100M at the US BO. The guy will practically fill Part3 with the whos-who of 80s male leads, just to take a shot at 100M. (Part1 ended at around 105, Part 2 at 85).
Obviously, some have no idea what being an admirer/fan is about. Even when one’s favorite star or actor is involved there is no excuse for loss of objectivity.Neither is there any need to patronise their films by viewing them on big screen in the hope that it will buttress the eventual totals. Personally, it is a pleasure for me to watch AB on big screen and would not miss the oppurtunity ( last AB film I missed was the atrocious Vivek Oberia -Aishwarya pic ) but would never urge or expect all fans to watch a movie on big screen regardless of the merits of the film. AB doesnt need the big numbers.
I’m not !!!
By not even going to check it out on the first weekend –(inspite of excuses)— uve let bachchan down!!
And I’m talking to u Satyam ..,
It’s one thing to write paeans but one thing to not believe / act on your beliefs ..,
I’m ok if u don’t check out Buddha hoga tera Baap or any oh his ‘cameos’
If u had checked it out and cribbed about it later– it’s ok
But by being confident that it will be crap ( as many non/ex bachchan fans knew) — is a ‘dark day’ for your bachchan devotion… 🙂
Ps: a note of appreciation for those poor bachchan fans who did watch it on the big screen (though they cribbed later)
Apes what do you want from Bachchan fans?Fans at the best can help in innitial and that we have done.This is the Jha’s biggest opening and intresting point is it has beaten Rajneeti.It is aam janta that makes a movie hit or flop.So nothing is different here as people have not liked the movie that much.If you mean Satyam or other Bachchan fans should go ga ga over it here, will that make any difference to B.O prospects of this movie?So you are putting meaningless claims here and nothing more.
No Apex, its from the Buy1-Get1Free bikini deal which Ranbir bought for each of his leading ladies. Even the Iberian vacation was the Buy1-Get1-Free deal, that he bought as gifts. He just chose to go with Katrina and left Deeps all alone by herself.
I think they have become quite expensive but the larger issue is that unlike Hollywood the industry often budgets films in the same way irrespective of genre or potential appeal. Now admittedly Hollywood also goes crazy with budgets when there are major stars involved let alone on the blockbuster variety. But still by and large on the medium sized project or something smaller budgets are kept under strict control. I don’t know how much Satyagraha cost but in general Bollywood doesn’t do a good job on this front much as it does an even worse one on release schedules or the magnitude of these releases. In other words many films even with important stars start off with minimal or limited screenings in the US. The films are then expanded based on the response. In India more or less every film with a star releases on a similar print count. The truly big films that are gunning for the biggest possible initial then saturate the market but this is often overblown inasmuch as you can often get similar numbers on a much smaller print count as well.
Wednesday 4th September 2013 10.30 IST
Boxofficeindia.Com Trade Network
Satyagraha dropped further on Tuesday as it collected around 3.50-3.75 crore nett. A 10-15% drop is normal for Tuesday but with a low Monday, Satyagraha had to hold much better to have any chance at the box office.
The collections for five days are 42 crore nett with the week is looking at a close of 48 crore nett. The weekday trend suggest a difficult ride for the film after week one and a likely finish of around 60 crore nett which would be the same as One Upon A Time In Mumbai Dobaara! released two weeks back.
The film will record better collections in North and Central markets but still well short of what a big film should do. In Maharashtra, East and South the film has fared poorly.
The jury is still out on the fate of Ajay Devgn’s latest offering ‘Satyagraha’ but the actor looks far from perturbed as he enters his Juhu office. A cigarette break is on top of his mind and after a quick smoke, Ajay sat down with Mirror for a candid conversation.
The Prakash Jha film detailing the fictionalised life of an Anna Hazare like figure opened to a split verdict from the critics but the actor says that he is rather indifferent to the opinion of that lot. His Himmatwala was savaged by the critics and the latest one was met by accusations of sticking to the Jha formula, a mix of contemporary politics, romance and intrigue.
The question about this observation is met with a smile before the actor denies allegations of Satyagraha being formulaic.
“Bilkul nahi (Not at all)…Me and Prakash collaborate once in some threefour years. His stories are different and engaging and he has learnt that very well,” he says.
The actor accuses the critics and analysts of losing touch with the audience with their minute disection.
“You ask people within the industry, they will say things like the first half was good, the second half wasn’t. The audience always watches the film in totality. Critics are trying to sound intelligent by saying first half, second half. Kyu beech mei samosa aa gaya?” said the actor.
Jha is one of Ajay’s favourite collaborators, other names in the list being Sajid Khan and Rohit Shetty.
But did Himmatwala’s failure affect his relationship with Sajid?
“Sometimes things go right, sometimes they go wrong. You do 10 films, out of that one doesn’t work so you move ahead and learn from your mistakes. Yes, Sajid and I did have a chat about Himmatwala to figure what went wrong, and we have our own take on it, but it stays between us,” explained Ajay.
And what about the rumours about cracks in his camaraderie with Rohit, thanks to his super hit collaboration with Shah Rukh Khan, Chennai Express?
“When Rohit started Chennai Express, I was the first one to know and told him to go ahead and make it. I am making Singham 2 with him and he is like family to me. And, honestly, Rohit and I don’t even bother about all this gossip,” said the actor.
But there is one collaborator Ajay Devgn can always count on: wife Kajol. When asked about rumours of her making a comeback in his next home production, Ajay said, “Yes, it is true. We have planned something very nice.”
This has done phenomenally well in USA. The fall every week has been around the 50 to 60% bracket which is above par for an India movie. I didnt expect this one to be so huge in USA considering this is a Rohit Shetty movie. But the numbers are just very good here.
Amitabh Bachchan and Ajay Devgn starrer Satyagraha continued to perform well in its 1st Tuesday with the film’s collections for the day being estimated in the range of 4.30 crores approx. With that Satyagraha has moved closer to crossing the 50 crore mark as the film’s collections summed up to 48.40 crores at the domestic box office.
*** Too bad for GuruDutt Rohit Shetty wasn’t available then as a film consultant ***
*** Is this film-idea even alive? Has Hassan progressed on it at all since Queen Elizabeth gave the mahurat shot in 1997? ***
The visual effects have always been a well appreciated aspect in Kamal’s films and the man mostly behind the star’s films is Indian VFX Superviser N Madhusudhanan. The National Award winning Madhusudhanan is still optimistic about Kamal Haasan’s dream project ‘Marudhanayagam’ which is yet to see the light.
The VFX Supervisor said “I would love to do Marudhanayagam if that happens; at any cost! It’s a world class script which could easily challenge any film on earth!”
He further added that “I don’t feel that the film would have got outdated after all these years, especially after going through the script and what Kamal sir narrated me! It’s a Indian version of Gladiator.”
The film went on floors in 1997. It’s been 16 years, but the ace visual effect artist is positive about the film and is eager to work on it. He still cherishes all those breathtaking experiences he had while working for the mega budget film.
Yup sanju -but deepika may do better with her leggy dusky look and ‘flexible’ shrewd ways lol
On a related note —
Happened to see few minutes of ‘heroine’ —
Must say (& I’m uncomfortable saying that) Kareena CAN act!
That makes it obvious that there’s isnt a kapoor (as in raj kapoor tree) who can’t act!
I can’t believe that I’m saying this but Kareena is an ‘instinctive’ actress and sometimes effortlessly does things that others have to ‘hone their acting skills for ‘
That’s what u call genes
And the film wasn’t THAT bad –had some guilty pleasures as well
Like a sort of ‘lesbian’ scene between Kareena and another girl…
It was an ‘experimental’ “let’s try it out’ sort of thing rather than a genuine ‘hardcore girl on girl stuff’
Ps: this proves how unbiased and ‘objective’ I am —
I can even praise Kareena where deserving… 🙂
My hands tremble but i have to give the devil it’s due—thats my rule!
I can lose everything but my ‘objectivity’
Kareena kapoor may be highly allergenic and über irritant but there’s no better instinctive effortless actress of her own era (except maybe rani, PC)
But Kareena can sometimes throw in a brilliant scene without even knowing it or trying for it (atleast PC and rani have to try)
Ok there u go—
The FIRST time ever–a Kareena song from me
To hell with biases …
Man, what bad days have come–me liking a Kareena film? Need to get myself checked by a ‘mental coach’ lol
“Like a sort of ‘lesbian’ scene between Kareena and another girl…
It was an ‘experimental’ “let’s try it out’ sort of thing rather than a genuine ‘hardcore girl on girl stuff’”—
-and need to audition maggie, sanju, Oldgold and Amy for this ‘girl on girl’ scene from ‘heroine’
That should be fun 🙂
In Shoojit’s next, Vids will be portrayed as Bachchan’s daughter. Insiders say both have given their nod for the project and the film will go on the floors this year. Says a source, “It is the story of a father and his daughter and the dilemma that Bachchan’s character faces as his daughter fails to get a suitable groom.
Sircar and Bachchan had earlier worked in Shoe Bite together but the film is yet to see the light of day. Ever since that, the duo wanted to work together and now it is finally happening.”
Instead of confirming the buzz, the director remained non-committal, “Whenever I write a story idea, I bounce it off Mr Bachchan. I owe him a film. I am in the process of writing one and will show it to him when it’s ready.”
After taking a break post her son Azad’s birth, Kiran Rao is gearing up to wield the megaphone once again. Insiders say the film will be a biographical take on a dancer’s life. Kiran apparently has already begun work on the film’s script, which is said to throw light on the dancer’s journey in life.
On whether Aamir Khan will also be a part of the film, an insider says, “We are not sure if he will co-produce or work in the film. But with her husband around, she doesn’t need to go looking for producers.” The name of the dancer has not been revealed yet. A friend of the director confirms that work is going on full swing.
“After presenting Ship of Theseus, she got similar offers. But she knew it was the right time to start her next project. She has gone to Panchgani where she is currently working on it. The next film was earlier said to be based on a book but that doesn’t seem to be the case.”
The news channels in India seem to be referring to Satyagraha as a hit in an unqualified sense; references to “satyagraha ki saphalta” and the year’s “fourth biggest opening” with a 40 crore opening abound; last night, I saw a Hindi channel make the point that even at 70, “jab bhi Amitabh Bachchan angry man ka roop dikhaate gain, woh janta ko khush karte hain”, and so on (there was a wider segment about “political” films that have been successful).
When Talash’s underperformance is talked about, genre is ridiculed.
When 3 I is discussed, there is a move to sideline aamir and give credit to the other factors.
With Talaash, there is a move to give more importance to the hero than the dark mood of the film.
Dhoom 3 has a mass friendly genre and the credit should go to the genre or aamir if 3 I example is taken?
As usual the other fans will try to play games.
No one serious enough (which excludes those who think CE has done a Sholay or who consider MNIK a Satyajit Ray film) has ever said that Aamir is ‘above’ genre. what is true however is that on any given day Aamir is more likely to get a success in any given genre compared to any of his contemporaries and/or he’s able to gross more pound for pound in these different genres than anyone else. So however one chooses to rate Talaash I don’t see a similar film starring anyone else doing 90 crores or whatever.
But the most important question is once again of honesty and using mutually exclusive arguments. So when Aamir was getting a lot of success doing different the position on the opposite side was:
1)he still doesn’t have the biggest grossers
2)the films aren’t that different
3)who cares even if they are?
4)Aamir is a fake!
The classic example of mutually exclusive logical explanations. However the moment Aamir had the biggest grossers:
1)How come he’s not doing different now? he’s a sell-out like everyone else
2)Even if he was doing worthwhile films he’s sold his soul
3)He’s got big grossers by doing the worst masala
4)3I doesn’t count because people liked it too much
and then when a different film doesn’t do as much as is expected:
1)See he can’t even get different to work
2)what happened to the guy who was getting the biggest grossers?
and this goes hand-in-hand with stuff like:
1)MNIK is more risky than Pathar Panchali
2)CE is a beautiful example of masala and more wholesome than the best brown bread
3)It’s Syrian numbers were affected by the recent chemical attacks, Aamir never had to deal with this.
So ranging from the utterly ridiculous to the moronically contradictory these kinds of claims show up. The last three points I’ve set out ought to be caricature but I can’t even say this is true. It’s actually rather close to the spirit of what is often said even if not literally so.
It’s total and utter dishonesty but it’s even worse than this. It’s the worst kind of stupidity. My sense is that if you want to be a partisan at least get half a mind first! of course I don’t have time for a back and forth on this. Jay gave me a wonderful idea the other day that is as safe and sound a business decision as one can think of. I am going to produce a huge star cast film in the right genre. Will release it on 10,000 screens. My plan is to get 200 crores on day 1. On Day 2 all these screens will show different movies because a)I will have made my money and b)in any case there will be no more people left to watch the movie since my plan involves having a 100% watch it on day 1.
Chennai Express has set a new record nett gross as it passed the 3 Idiots figure over the weekend but it has got there without setting new highs in the biggest circuits of Mumbai, Delhi/UP and East Punjab.
It is the first time ever that a film has become the highest ever grosser but not held a record in Mumbai or North, normally at least one of these regions sees records grosses as they have a big contribution to the all India business.
More surprising is that its just these big three circuits where it will not hold records. Chennai Express is already a record breaker in CP Berar, Nizam/Andhra, Mysore, Tamil Nadu/Kerala, Assam and Orissa while in CI, Rajasthan, West Bengal and Bihar it will become the record grosser at the end of its fourth week.
The big three circuits contribute around 60-65% to the all India business and it basically means that if a film manages top spots in these circuits then the sky is the limit for business.