War Chod Na Yaar, the rest of the box office

last week’s thread

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53 Responses to “War Chod Na Yaar, the rest of the box office”

  1. War Chhod Na Yaar Has Dull Start

    Friday 11th October 2013 11.00 IST
    Boxofficeindia.Com Trade Network

    War Chhod Na Yaar had a dull start of around 10% but was well clear of the three releases Baat Ban Jaye, Paapi and Kya Hua Achanak which had occupancies of 0-5% and that too on limited shows.

    These films have little chance at the box office as all are non starters and that too in a week when you have just five days to collect as a big star film like Boss will release mid-week.

    The huge disappointment of Besharam has meant things look better for a film like War Chhod Na Yaar in terms of screen space. It has managed to get a decent release as out of the new releases it had the best marketing. Still screen space is one thing and to collect is another matter and the latter looks tough for War Chhod Na Yaar as even if it was to pick up over the weekend, collections will come down heavily when Boss releases.

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  2. Besharam Has 52 Crore Extended Nine Day First Week

    Friday 11th October 2013 10.00 IST
    Boxofficeindia.Com Trade Network

    Besharam grossed around 52 crore nett in its extended nine day first week with the four weekdays adding just 8 crore nett approx while first five days had collected 44 crore nett approx.

    The film has seen a huge reduction of shows this week with it showing on just 4-5 shows on average at multiplexes. Looking at the weekday collections and the shortened week due to Boss on Wednesday it will be a struggle for Besharam to collect even 60 crore nett.

    The film has fared poorly all over though North is comparatively better as the first day start there was bumper while the rest of the country range from good to excellent.

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  3. “Only a fool can be absolutely original,” Khan declares. Originality, he adds, “is the art of concealing the source”.

    “For Deewaar, we took Gunga Jumna’s plot and On the Waterfront’s background but not a single scene was a straight lift.” Likewise: “Hollywood made The Magnificent Seven out of [Akira] Kurosawa’s Seven Samurai. We took a bit from The Magnificent Seven and came up with Sholay.”

    There is also no formula for anything—“except in the case of Coca-Cola and Pepsi, which produce one bottle and keep producing the same bottle from the same formula” for years. “You cannot apply the same formula to films,” Khan says.

    “And there is an example in front of us,” he concludes, referring to the Zanjeer debacle. Be that as it may, it looks like Bollywood is ready for a shake-up—with or without formula.

    http://www.openthemagazine.com/article/cinema/a-quiet-revolution

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  4. Besharam Is One Of The Biggest Disappointments Of Recent Times

    Friday 11th October 2013 11.30 IST
    Boxofficeindia.Com Trade Network

    The collections of Besharam have crashed further on its second Friday with its all India figures likely to come in below 75 lakhs nett. The way the collections are going the film will struggle to collect even 5 crore nett in its second week.

    The film has emerged one of the biggest disappointments of the year of recent times, not in terms of losses as there are other films which have lost more but in terms of what it was expected to do.

    If we take this year for example, the other major disappointments are Himmatwala, Once Upon A Time In Mumbai Dobara and Satyagraha but none of these films were expected to put up the numbers that Besharam was expected to do. With a national holiday start even a worst case scenario was 100 crore for Besharam before release but it shows that when content is totally rejected what can happen and how fast collections can come down.

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  5. War Chhod Na Yaar First Day Business

    Friday 11th October 2013 10.30 IST
    Boxofficeindia.Com Trade Network

    War Chhod Na Yaar had poor collections on day one as it collected in the 1.25 crore nett region as per early estimates. The film which managed a decent release due to Besharam crashing and being taken off screens around the country.

    The film was released on around 750 screens which is pretty good for such a film with no face value but a return of just 1.25 crore is poor. The film will need to double up on Saturday or go close to double to have any chance.

    Baat Ban Jaye, Kya Hua Achanak and Paapi practically had zero collections.

    The best collecting film of the week is set to be Hollywood film Gravity which had better figures than all Hindi films.

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  6. Looks to be an incredible storm in the making:

    http://www.nytimes.com/2013/10/13/world/asia/india-cyclone.html?hp

    Hope no one here has family or friends in that larger area..

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    • a comment I left on twitter…

      [And not to sound flippant about this, in fact I’m trying to make a very serious point, but when was the last time a Hindi film (commercial or auteurist) showed this sort of flood or storm? Something which is an unfortunate reality for too many people year after year. It is simply another example of how the Bollywood machine denies the ‘experience’ of large swathes of the Indian population. The last major commercial film that might have depicted such an event is quite possibly Coolie (if there has been another one since I am forgetting it). Here it was of course ‘man made’ (though this too has a certain relevance in the politics of dispossession) but the point is that these events from famines to floods and so forth were regularly represented in commercial cinema. This is why those films struck such a deep chord in so many ways.

      And again it’s not just about commercial films. The auteurist efforts too are designed for multiplex consumption 99% of the time. There reason this is important is that then put forth a set of formulations and agendas which are consonant with the ideological pre-inclinations of the same audience. This is a different kind of consumption model. even films set in small towns et al then become manifestations of a certain multiplex fantasy. This is how they see the world and certainly their country and nothing in these films disturbs that complacency. Which doesn’t mean that these films are not otherwise worthwhile in an aesthetic sense or are not minimally subversive. But there is a difference between ‘nice’ films and ‘important’ films. And Bombay long along forgot how to make important films at any end of the spectrum. ‘Bollywood’ is also the name of this forgetting..]

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  7. Enuf of ‘work’
    About to watch ‘rush’ shortly 🙂

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  8. RUSH

    Unsurprisingly I loved it !! It’s what’s asked from a ‘blokes flick’ (worth it’s salt!). It has the requisite peppering of danger, passion, speeding, rivalry, fast cars and beneath all that, a subtle layering of character, attitude, charisma and the bog standard inevitable drugs n sex!!

    We are taken back to the ambience of the 1970s, with all the European flair and passion of the backdrop of the Formula 1 racing world. The centre point being the intense rivalry that pitted James Hunt, played with playboy élan by Chris Helmsworth (Thor), against Austrian rationalist and world champion Nikki Lauda, played with nuanced subtlety and control by Daniel Bruhl. The latter may well be the performance of the year for the Oscars (in my opinion) along with Leonardo da Caprio (Django unchained and the Great Gatsby) & the ever reliable Capt Philips (Hanks) -though the categories for the award may differ.

    In perhaps his best outing till date (according to me), Chris Hemsworth brings the right charisma, style and attitude to the Brit Hunt. And he is apt to play this part in this pre-HIV, ‘liberated’ world wherein a visit to the ER after a race culminated in Hunt getting ‘nursed’ in every way possible. At another crucial point, Hunts wife deserts him (for the usual ‘practical’ reasons) and the camera/scene cuts to his racing car engine going full throttle, his technical issues with the car getting sorted and Hunt eyeing the cute air hostess (obviously culminating in a restroom ‘session’) followed by Hunt discovering his winning form back!

    Daniel Brühl pitches in a ‘mood piece’ that I’m so find of, and excels as the dour methodical Lauda, who turns his back on the family’s banking business to race cars. The ace soundtrack and background music piece adds admirably.

    Howard doesn’t have a ‘signature’ style and though it has it’s problems, here he uses it to integrate himself to the requisite vibe and comes out trumps somewhat effortlessly. The choreography, the detailing and styling is spot on.

    It’s also a ‘chase’ in a way wherein two totally different men collide during a life-altering year chasing finish lines, points, chasing each other, chasing glory, all the time tempting fate and risking death!

    There’s something endearing and resonant about Olivia Wilde and Alexandra Maria Lara in their roles as Suzy Miller (Hunt’s wife) and Marlene Lauda. If their own way, they affect the proceedings significantly and contribute to the horsepower (& lack of it!)

    “Rush” fires on all cylinders: Anthony Dod Mantle’s cinematography is ultra-aware of the sexy-cool-moneyed vibe that permeated that world but also of the steely, arousing vigor of machines.

    This is among Howards best works. The editing is crisp yet understated and the writing knows how to handle personal charisma and ‘horsepower’ without losing the ‘plot’. The casting of the two main leads is perfect !!

    “Rush” might appear a unidimensional sports biopic and actually isn’t remotely pathbreaking in treatment or plotline but it does take risks and sticks to its guns, at crucial junctures. Not least so, since the ‘sport’ involves the driver dying 20% of the time. Also the idea of F1 racing car is deconstructed because it’s basically a highly expensive item with no comfort or safety and is not forgiving at all (some what like Hunts wife!)

    Beneath all the glitz and superficialities, Rush highlights the significant differences between hunt and lauda (infact they are ‘polar opposites’). But it also subtly dwells upon their similarities and the ‘respect’ and even camaraderie. It shows how ‘opposition’ so important to fuel ones performance consistently and what it takes to be a true consistent world-beater, not once or twice but repeatedly. It’s more than just adrenaline!

    In the end, I for one, coudnt take sides with either of them (since there’s a part of both in there lol). Somewhat fittingly though, Bruhl gets the best quote worth remembering -” Happiness is your biggest enemy. It weakens you. Puts doubts in your mind. Suddenly you have something to lose!”

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    • mksrooney Says:

      Great review apex. I have given link for my thoughts below. Though couldnt write in detail like u!

      How can u miss James Hunt’s quote, thought u might like it ” Dont go to people who are willing to kill themselves driving in circles looking for normaility”

      I also liked this one “The closer you are to death, the more alive you feel. It’s a wonderful way to live. It’s the only way to drive.”

      ps: i loved the lift scene where the heroine asks for life!

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      • Thanx review –mine aren’t ‘reviews’-just random ‘commentary’ lol
        Yeah the dialogues were quite impactful
        Also, Howard isn’t an ‘auteur’ to keep ‘intellectuals’ crying his name aloud –unlike those like Tarantino who doesn’t miss a chance to ‘masturbate’ in the name of violent fetishes and is hailed by his followers (male and ‘female’) as some sort of visionary !
        Howard doesn’t have a ‘signature’ but seems to know the basics of film making, plot and maintaining ‘grip’ . Imo that matters more..

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    • mksrooney Says:

      I am quite surprised that it surprised you!

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    • Great thoughts here Alex. Comprehensive stuff. Love the quote at the end. And thanks for the heads-up.

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  9. Rush-‘my Best Enemy’–Hans Zimmer

    “Happiness is your biggest enemy. It weakens you. Puts doubts in your mind. Suddenly you have something to lose!”

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  10. Thanx Rooney–some v good thoughts there from u & agree.

    Also bit on the
    Rush-cinematography

    Another person who might win an oscar soon for this or some other film soon is Dod Mantel who was the cinematographer for ‘Rush’ (also for ‘slumdong millionaire’!
    Now I was curious how he got the unique seventies look whilst still retaining the ‘digital features’ (this is Howard’s first ‘digital’ film) & read bits around just now–there’s lot of technical jargon but the nutshell —
    Just found out that he combined the best HD digital cameras in the market with old Bausch & Lomb lenses to retain that ‘old feel’.
    Also admirable was the ‘point of view’ facet of photography where the viewer is put on the spot !!
    Spoiler–when lauda was trapped in his ‘coffin on wheels’ in flames, Dod mentel actually put on a burn suit and got into the ‘driving seat’
    Another technique used was the ‘Dutch tilt’ of the camera to add an edginess and show the desperation and agitation of the racers.
    But the rain drenched final race in the Japanese circuit (Mount Fuji!) took the cake (in my view…)
    Spoiler
    It was a telling moment filmed elegantly when even Lauda left the race midway fearing another accident !!

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  11. Let’s see if Satyam has seen it –doubt he will like ‘rush’ though !
    Also it doesn’t have the ‘big names’ one ought to be watching (& hailing!!!) lol
    At the moment Satyam is watching the repeats tv telecast of murder2 (again!) 🙂

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  12. Saw Ben Wheatley’s “A Field in England”- while the film is definitely too indulgent (and even a bit ‘wannabe’) at points and is also plain inaccesible at points, there is no denying that this a very ambitious work- probably the most ambitious film of the year alongwith Gravity. And it instantly reminded me of Jarmusch’s ‘Dead Man’ in its tone and visuals. Also this has some really fantastic visuals- hallucinogenic in the truest sense (would have loved to see this on the big screen). Very unique stuff. With the excellent Kill List and now this (I did not like Sightseers too much), Wheatley has become one of the most interesting contemporary filmmakers as far as I am concerned.

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  13. Besharam Has 2.75 Crore Nett Second Weekend

    Monday 14th October 2013 10.00 IST
    Boxofficeindia.Com Trade Network

    Besharam grossed 2.75 crore nett approx in its second weekend takings its total 54.25 crore nett. The film has seen the sort of crash that is rare for big films with the film falling 90%.

    The 60 crore nett looks a huge distance away and the film will finish at around 56 crore nett with a distributor share of 30 crore approx.

    These totals have come with a big national holiday on day one and if that had not been there the collections of the film would have been even less. The loss on the film will be around 20 crore with recovery from all revenue sources to be around 65 crore on a 85 crore investment.

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  14. Weekend Report: ‘Gravity’ Holds, ‘Captain’ Floats, ‘Machete’ Bombs

    by Ray Subers

    Gravity

    October 13, 2013

    Captain Phillips did strong business in its maiden voyage this weekend, though it didn’t come anywhere close to topping Gravity.

    After setting an October opening weekend record, Gravity eased just 21 percent to an estimated $44.3 million. That’s the best non-holiday hold ever for a movie that opened over $50 million. Also of note: Gravity added $9 million in IMAX, which is the highest second weekend ever for the format ahead of The Dark Knight Rises ($8.99 million). Through 10 days, Gravity has earned a fantastic $123.4 million.

    Gravity’s unprecedented hold can be attributed to strong word-of-mouth that’s focused on the experience of seeing the movie on the big screen in 3D. This is a very powerful sentiment that’s getting people out to the theater who may otherwise have waited to watch at home. Additionally, it’s ensuring that people are buying the premium-priced tickets—Gravity’s 3D share was 82 percent this weekend, which is up from 80 percent in its opening.

    This is only the beginning for Gravity. The movie is likely to maintain its momentum at least through early November, when it begins to lose IMAX and 3D screens to Ender’s Game and Thor: The Dark World. A total north of $250 million is a guarantee at this point, and $300 million could be within reach.

    Playing at 3,020 theaters, Captain Phillips opened to a very good $26 million. Among recent comparable titles, it’s a bit better than Zero Dark Thirty ($24.4 million) and way up on Argo ($19.5 million), which opened on the same weekend last year. It’s also one of the better starts for star Tom Hanks, who is coming off disappointing box office performers Cloud Atlas, Extremely Loud & Incredibly Close and Larry Crowne.

    The Captain Phillips opening is a great success for Sony Pictures, which just had a very rough Summer at the box office. Sony’s marketing team ran a strong campaign that clearly outlined the movie’s high stakes true story while also promising plenty of thrills. It helped, of course, that the movie they were selling was of a high quality, and the fantastic reviews (95 percent on Rotten Tomatoes) surely helped push Captain Phillips a bit higher.

    The audience for Captain Phillips was 52 percent male and 62 percent over the age of 35, which is nearly identical to Gravity’s demographics from last weekend. There was some fear that, because of the similar audience breakdown, the two movies would cannibalize each other this weekend. Considering both movies over-performed against historical comparisons, it’s unlikely that this turned out to be the case. Instead, it’s likely that both movies played so well because there wasn’t really anything else of interest in the marketplace; the Top 12 earned an estimated $108.2 million this weekend, which is off 10 percent from the same frame last year.

    Audiences awarded Captain Phillips a strong “A” CinemaScore. Combined with the excellent reviews, this movie is going to play for a long time; it probably won’t hold up as well as Argo, but it still ought to eventually cruise past $100 million.

    Cloudy with a Chance of Meatballs 2 fell 32 percent to an estimated $14.2 million. To date, the animated sequel has earned $78 million, which is a bit below the original Cloudy through the same point.

    In fourth place, Machete Kills bombed with just $3.8 million. That’s one of the worst openings ever for a movie in over 2,500 locations, and it’s also one of the worst openings of 2013 along with August’s Paranoia. Despite adding Mel Gibson, Sofia Vergara, Lady Gaga and “Carlos Estevez,” Machete Kills still only opened to one-third of the first Machete’s $11.4 million, which is an incredibly steep decline for a sequel.

    Machete Kills tanked because, quite simply, the joke is played out. Audiences got their fill of tongue-in-cheek grindhouse thrills with Grindhouse and the first Machete, neither of which did particularly good business anyway. It didn’t help that Machete Kills didn’t look ironically cheap—it just looked cheap. As a result, even the most die-hard fans likely decided to wait for home video (where this movie will do disproportionately well).

    Machete Kills received a poor “B-” CinemaScore, which suggests it won’t hold up well—ultimately, it would be surprising if the movie closed above $10 million.

    http://boxofficemojo.com/news/?id=3740&p=.htm

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    • quite thrilled with the Gravity box office. Didn’t expect it to fall much over the second weekend but just a 21% drop is remarkable.

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      • Remarkable staying power, and underscores that there is something more here than just remarkable visuals. I am myself a bit unsure what that “something” is — my brain tells me the film doesn’t have much to it beyond the visuals, but the heart says something else. I have a feeling this one will last (and I am curious as to what it will be like watching this on the small screen).

        Aside: even if one accepts the idea that there isn’t much beyond the visuals, that isn’t a knock on the film, but an illustration of just how cinematic it is (if Terence Malick were on crack, he might have made Gravity :-)). Cuaron doesn’t tell, he shows. And what beauty, wonder, desolation! And, in light of these, how beautiful the mud and water (even the frog) “back” on earth seem at the end!

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      • On a not entirely unrelated note:

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  15. AamirsFan Says:

    clooney’s next:

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  16. I would like to believe that but what tells us that doing a film with a director whose own record reads deals like Jawaani Deewani, Band Baaja and Baaraat, Ladies vs Ricky Behl or Shudh Desi Romance should end up being something different for SRK? The director has yet to give us anything different from the stapple Yash Raj projects. All of the director’s movies were stereotypical stuffs from Yash Raj and SRK has spent half of his career under that banner as well and doing their typical kind of deals until it has started looking very stale and very boring recently.

    It’s most probably going to be the same kind of stuff all over again. Except if both of them end up surprising us. But I wouldn’t bet on that.

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  17. The Lunchbox Does Well At The Box Office

    Monday 15th October 2013 09.30 IST
    Boxofficeindia.Com Trade Network

    The Lunchbox has a good showing at the box office with business over 20 crore nett. The business of the first three weeks is as follows and the fourth weekend would have added 40-50 lakhs nett.

    Week One – 11,66,00,000
    Weel Two – 6,68,00,000
    Week Three – 1,75,00,000

    TOTAL – 20,09,00,000

    The film started slowly but showed a healthy gain on day two which had a lot to with it having a good release due to backing of a studio like UTV. Despite coming with Phata Poster Nikhla Hero it managed to get 7-8 shows (even more at some) at metro multiplexes and this gave it potential to to put up decent numbers if there was appreciation with its target audience.

    The key with these type of films to get even respectable numbers is how its distributed and how screens are allocated and where they are allocated. The fact is these type of films don’t have an audience as far as numbers (footfalls) are concerned but if appreciation is there and together with a well planned release you can get a decent box office number. Sometimes the likes of The Lunchbox get appreciation from its small target audience but they don’t translate into numbers and this has lot to due with the a poor release strategy.

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    • Satyam: Sharknado! ROFL! Who has stolen all your Kurosawa and Adoor DVDs 🙂 .

      What did you think of Mammooty’s Palleri Manikyam. I am planning to see this since I have great things about this. The only 2 films of his I have seen are Pazhassi Raja and Twenty:20- found the former pretty good, but certainly not a masterpiece it was made out to be. The latter was enjoyable Masala (and certainly better than most of the recent Hindi neo-masala flms, but thought Mohanlal did a number on him here).

      The 2 Malayalam films I saw this year and loved were Annayum Rasoolum (directed by Rajeev Ravi- who works as Kashyap’s DoP usually) and Mumbai Police- the former especially is by far the best Indian romantic film I have seen in quite some years, no two ways about it. The latter, starring Prithviraj, (I used to find this guy a tad offensive before. But here he is excellent) is a riveting thriller and worked very well for me. It of course has its hollywood influences, but they really kept the pace and suspense going throughout. And it has a very bold and surprising climax.

      Also saw this very enjoyable Tamil gangster-comedy called Soodhu Kavvum. Loved the mood of the film here. But in any case this one is easily one of my fave Indian films from this year.

      On a side note Myskin’s new film seems to be the one to watch out for. Rangan loved it and has a terrific piece on it- http://baradwajrangan.wordpress.com/2013/09/29/onaayum-aattukkuttiyum-67345-0567-984857/

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      • Haven’t seen Paleri Manikyam. GF or CG would be better placed to respond to this as well as your larger question. I must say though that most of my favorite Mammootty work really comes about in the 80s or to an extent somewhat later than this.

        on the new Mysskin film yes this has been receiving really strong reviews.

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        • Didn’t really like Paleri Manickyam. It’s well made, but it left me somewhat cold. My favorite Mammootty movie in recent times is Pranchiyettan and the Saint- I adore this movie. Annayum Rasoolum is excellent. I’ve heard good things about Mumbai Police, but haven’t seen it yet. Prithvi had another very good performance recently in Indian Rupee- this is another one I highly recommend.

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      • on Sharknado all such films are unmissable!

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  18. Following the failure of besharam, ranbir-katrina making out in NYC!

    That’s the spirit m8 🙂

    Post the debacle of his latest film, Besharam, Ranbir Kapoor took off to New York for a vacation. Guess who followed in his footsteps soon after? RK’s girlfriend, who apparently had been suffering from a viral flu, flew off to the US to join him. Sources close to the actress say Katrina left the Indian shores to New York to help her recuperate.

    Says the source, “Katrina was expected to join Ranbir on his holiday but she was delayed after falling ill. She was down with a viral flu and had been wrapping up her work, which included a song shoot for Dhoom 3. As soon as she was done, she decided to take a break and rest in US.”

    Insiders say Kat allegedly was feeling so under the weather that she had to seek medical assistance on the sets. “Kat has a tight schedule as she is getting ready to start work on Kabir Khan’s next film. She also had to wrap up her endorsement shoots.”

    Buzz is that over the weekend, onlookers spotted the couple catching up on a film in a local theatre in Manhattan. The actress’ spokesperson remained unavailable for comment. Hope the American air helps Katrina feel better.
    http://movies.ndtv.com/bollywood/katrina-kaif-ranbir-kapoor-holidaying-in-new-york-432055

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  19. This is called ‘enjoying a flop’

    To hell with flops

    Haan kare saare hi karam
    Daam puchhe bina hum
    Waada karke mukarte na hum

    Be is for Beimaan,
    Sha is for Shaitaan,
    Rum pi ke jeete hum,
    Besharam!
    🙂

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