This entry was posted on June 19, 2015 at 1:16 AM 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.
199 Responses to “ABCD 2, the rest of the box office”
Dil Dhadakne Do Grosses 71 Crore In Two Weeks
Friday 19 June 2015 10.30 IST
Box Office India Trade Network
Dil Dhadakne Do grossed a fair 16 crore nett in week two taking its total to 71 crore nett. The drop is around 70% week on week which is average trending. The film has done well in five cities and eventually there is a limit to where a film can go when only five cities are performing no matter how well.
The film failed to get support outside the metros and this will probably limit the final business of the film to around 77-78 crore nett.
The performance is better in Mumbai and South with Mumbai around 25 crore nett in two weeks and Mysore around 5 crore nett after two weeks.
ABCD 2 had a good opening practically all over India. At Places the opening was very good and other places were good. The opening is as strong if not better than the biggest opening of the year so far Gabbar Is Back.
The opening was excellent in Gujarat and Jaipur. Delhi NCR was good, East Punjab decent while UP was fair. Mumbai opened well despite it raining heavily. The overall opening is around the 45-50% mark.
The film has chances of scoring the biggest opening day of the year as long as Mumbai is not affected too much by the heavy rain and the smaller centres are not too far behind Gabbar Is Back.
Varun is on a roll. His last 3 films (MTH, HSKD, Badlapur) have targeted 3 different demographics and now ABCD 2. Probably the second biggest Gen X star currently after Ranbir, but at this rate he could cross him. SRK-Rohit Shetty chose the best Young star possible, this only helps Dilwale’s case with the youth.
OK now I have to say something about this – the way this chap Varun is being glorified.
I saw him in BADLAPUR — the only film I have seen of his — and he sucked big time. Very poor. Looked like a babe lost in the woods. And when you pit him against an ace performer like Nawaz, you know the gap is going to be as tall as the Everest. When he delivered his dialogues, it seems like there is a freaking lag between what is written for him, what his mind is grasping, and what is finally coming out of his mouth — just like a Skype call to Meerut…
He might be good in comedy, as everyone suggests. I haven’t seen any other film of his — but here, in BADLAPUR, it looked like it was his diploma film.
I know we are a country of youth-worshippers. But to praise anyone who has a fluke hit and to confuse those hits with acting is just not done. I have been listening to this youth-power in acting ever since the days of Hrithik and NONE has come close to Khans… forget Amitabh…
For a Board that is not known to encourage radical changes, the appointment of the amiable, but tough, former India captain Rahul Dravid to head the India U-19 and India ‘A’ teams is a master stroke. Also, requesting Ravi Shastri to continue as the director of the Indian team while appointing Dravid to streamline the second tier will steer the ship in the right direction.
Ha! Will get to it. Also have Byomkesh lying around. To be honest I’ve got my hands on some great Japanese films from their classic period, some of which I’d never seen before but many others that I’m repeating. Getting through this stuff. every night I have a sense that I should get to Haider. I did get through DDD (somehow)! Even with home viewing I found myself forwarding through it. Didn’t seem to be a bad film but didn’t have much of a grip either. ZNMD was much more entertaining. This film seems to works in fits and starts. Now the reason I got through this and not Haider is precisely because I can’t watch the latter this way! Similarly I’ll also give Byomkesh more serious attention. Again DDD didn’t seem to bad at all for its genre but still found it a hard watch and certainly couldn’t have handled it in the theater. In the moments that work it’s much better than ZNMD but the narrative, at least to my mind, never really comes together for this one. I’m no ZNMD fan either but that was a much more even (and entertaining) film.
I think the relatability of characters is another flaw in DDD. Even though I do relate to Ranveer’s character but the general reaction would be as.. we have a very rich spoilt brat who has a company to run given to him on a platter but he’s lazy to run the company and wants to just do rather something like flying planes which is his ‘hobby’. Okay, he has another thing common with every other spoilt brat out there.. falling for a bar dancer on a vacation. And, we the audience is supposed to root for this character – poor guy, let him fly planes instead of being the CEO of his company and marry some bar dancer met on a vacation. Honestly, 90% of the folks in India would give an arm to be in his position. That’s why the connect won’t be as large with other characters.
I had the misfortune of watching Byomkesh last night…Kya Pakau picture hai…. Shanghai seems like Amar Akbar Anthony compared to this.
Everything is shot in so dark and dull way , slow as hell ….My entire family left one by one, I somehow finished it.
Did not expect this from Dibankar !!
The ending seemed to point towards a sequel, but probably isn’t happening now !!!
Satyam: Agreed on DDD (and a running time of three hours is just too much for this sort of a film). On Byomkesh, I found it a supremely entertaining watch in the theatre. You also might be interested in checking out the new Byomkesh (Bengali) adaptation of “Shajarur Kanta” which is my absolute favourite Byomkesh story (you should be able to find the subtitled DVD here) which came out earlier this year- it’s overlong, but serves as a good counterpoint to Dibakar’s film (it’s set in present day and has as a very old Byomkesh…but the film is a major departure from the story in terms of the plot. Also has Konkona in the lead). Of course in Bengal they have a Byomkesh (and Feluda) film out every 2-3 years (regrettably apart from Ray’s Chiriyakhana- which I didn’t like at all- and this new Sharajur Kanta, I haven’t been able to see any of the Bengali Byomkesh adaptations)
BTW I know you can’t do it for all films, but it will be nice if once in a while, you can leave a comment or two on the film you are viewing (not the least because often it happens that I haven’t even heard the name of the films you have in the “current viewing” section!).
Outlook has a good profile on Rajamouli (and what a track record this guy has- 9 films, 9 superhits. And it becomes even more special when you consider the fact that he hasn’t always worked with the topmost stars. Consider something like Eega…this was an unbelievable success story)-
The Great Passionist
Nine back-to-back hits behind him, Rajamouli fuels India’s costliest film, Baahubali, with manic commitment.
“In September 2001, a podgy NTR Junior made his debut in an unusual film called Student No. 1. His natural style, powerful dialogue delivery and startling resemblance to his grandfather Nandamuri Taraka Rama Rao rendered him an overnight star. The story of a murderer who comes to study law and shows other wayward students the right path set the box office on fire. At that point, film-goers looked twice at a circular emblem on the posters that declared: ‘An S.S. Rajamouli Film’. In the years since, the director has delivered nine back-to-back blockbusters in a row—and his latest offering, Baahubali, an ambitious period war drama, looks all set to become a super-duper hit….”
“Rajamouli’s father K.V. Vijeyandra Prasad is a screenwriter, but they have seen tough times—the family of 13 used to live in a two-bedroom house in Chennai and run up debts with the local grocer. He recounts being rudely asked to wait by the shopkeeper. “I was stunned and learnt the humiliation of running up debts,” he says. Money troubles compelled him to complete his intermediate in two spells. But, he says, he never lacked in breaks—and once that happens, he works non-stop.
“I’ve never seen a director as single-minded and passionate as Rajamouli,” says producer Daggubati Suresh Babu, actor Rana’s father. “When I saw his Eega, I was fascinated. Even then, I saw in him a desire to improve and learn. Directors in the Telugu industry are more focused on business. Not Rajamouli, who is willing to sacrifice his remuneration for a film. That’s a rare quality.”
Actors swear by Rajamouli’s work ethic. Says Anushka Shetty, heroine of Baahubali, “He pays great attention to detail—the emotion on a face, the colour of the curtain in the background, the way it’s blowing in the wind. He’s involved in all aspects of film-making and this intensity shows on screen. People assume directors are moody, but there’s nothing like that with Rajamouli. If someone is not getting it right, he’ll explain it a hundred times, each time with more patience.” Another thing actors note is how Rajamouli’s family is always around, attending to things, pampering actors. In fact, even the kids may be around, during the shoot and for the first show. Rajamouli’s wife Rama is a costume designer, his cousin M.M. Keeravani (M.M. Kreem in Bollywood) is a music director. Besides, his father, his cousins S.S. Naaga, S.S. Kanchi and Kalyani Malik, all participate in developing a film. ….”
So for unalloyed pleasure, it’s down to Mad Max: Fury Road, which reinvents action spectacle with deranged brio – and to a film that brought joy, colour and wit to a festival which has been gasping for it. I’m talking about Inside Out, the latest Pixar film, and the digital studio’s return to form after several very lacklustre years. Directed by Pete Docter (Monsters, Inc., Up), it is, I’d say, Pixar’s best since WALL•E, and one of the studio’s most interesting experiments both in terms of form and in terms of how to make animations that appeal to adults as well to children of various ages. The answer is a witty, riotously hued film that takes childhood as its subject (just as Monsters, Inc. and the Toy Story films did, indirectly) and builds the child’s imagination itself into its narrative and its execution.
Can movies think? This is a longstanding critical question, usually answered in the negative. Literature, the thinking goes, is uniquely able to show us the flow of thought and feeling from within, but the camera’s eye and the two-dimensional screen can’t take us past the external signs of consciousness. We can look at faces in various configurations of pleasure or distress, but minds remain invisible, mysterious, beyond the reach of cinema.
One of the many accomplishments of “Inside Out” — a thrilling return to form for Pixar Animation Studios after a few years of commercially successful submasterpieces — is that it demolishes this assumption. The movie, directed by Pete Docter, solves a thorny philosophical problem with the characteristically Pixaresque tools of whimsy, sincerity and ingenious literal-mindedness.
ABCD 2 Records Highest Opening Day Of 2015
Friday 19 June 2014 23.30 IST
Box Office India Trade Network
Share on facebookShare on twitterShare on emailShare on printMore Sharing Services
ABCD 2 has recorded the biggest opening day of the year with collections set to come in at around the 13.5-14 crore nett mark. The collections have crossed the 12.75 crore nett figure of Gabbar Is Back which was till now the highest opening day.
The film has been a hit a bit by the heavy rain in Mumbai but North has scored very well for this type of film which is testimony to the emergence of Varun Dhawan as a major star. The collections in the North are mainly due to his following among the youth.
Mumbai circuit despite the rain in Mumbai city will clock a 5 crore nett figure due to excellent business in Gujarat / Saurashtra. The film will emerge a winner with just normal holds over the weekend which should take it to over 45 crore nett for the weekend.
LOL…i remember watching the trailer in couple years back…i don’t why producers feel this kind of thing will work. if a film sucks..then it sucks…no kangana…no khan…no bachchan can save such a film. but yes this does speak to kangana’s popularity at the moment…no doubt the top draw behind only the Khans.
I don’t find it funny actually. The directors are not actually bad and concept and new promo is good. The producers were lost after Sunny’s stardom nosedived and none of the distributors ready to buy the film. Now after Kangana’s stardom, what they are doing is perfectly fine. Looks like Kangana has proper role, its not like they added that now. Also such films don’t big huge money spinner but getting it released will eventually get them satellite rights as well and get back some money.
Btw, do you Queen was stuck after shooting for more than 2 years. Only thing is that they didn’t release the promos.
Thus, the film has recorded the highest opening day collections of the year, beating Akshay Kumar starrer Gabbar Is Back. Akki’s Gabbar had raked in 13.05 crores on Day 1. The collections of the film could have been much much more, but the business in Mumbai was affected by torrential rains throughout the day.
The Biggest Blockbuster of Indian cinema is finally on TV. Aamir Khan’s PK will have its World Television Premiere on 21st June 2015, Sunday on Sony Entertainment Channel at 8 pm
The satellite rights of PK were picked up by Sony for around 85 crores which is the highest for any Bollywood movie till Date. Aamir Khan’s PK is the biggest blockbuster in the history of Indian cinema which has amassed more than 700 crores worldwide.
The film has become an astounding success in China too where it is on its way to collect 20 Million USD, thereby making China the second biggest terrioty after the domestic market.
The film collected 340 crores nett in India, 455 crore Gross and around 290 crores Gross in Overseas thus taking the total gross Worldwide Collection to 745+ crores.
PK was directed by Rajkumar Hirani and had Aamir Khan, Anushka Sharma, Sushant Singh Rajput, Boman Irani, Saurabh Shukhla in important roles. It had released in theaters on 19th Dec last year.
One of the most perceptive review of ‘ Hiader’ from my favourite reviewer of Hindi films, Sanjukat Shrma, writing in Mint.
“Shakespearean purism aside, Haider is a thrilling film. It is a film of luxuriant paranoia. It is about Oedipal love. Unlike the cardboard insurgency imagery or images of damaged beauty that soak most films about Kashmir, Haider is an unflinching take on the Kashmir malaise, the tragedy infused with a sense of dark humour about the ordinary Kashmiri’s hopelessness. Compared to Bhardwaj’s earlier two Shakespeare adaptations, Maqbool (Macbeth) and Omkara (Othello), both of which depended heavily on language and dialogues and used Shakespeare’s stories rather conveniently to propel the plot, Haider is a quieter yet richer spectacle and a convincing standalone piece.
Bhardwaj chooses bold strokes over gloomy introspection, and in that sense, Haider is in the tradition of mainstream Hindi cinema. The picturization of songs is riveting to watch (Pankaj Kumar’s cinematography is breathtaking throughout, and especially in the songs) and the songs are some of Bhardwaj’s best compositions as a music director in recent times. The melodrama towards the end loosens the narrative and the last half hour feels like a bit of a drag, again a typical affliction in Hindi films. The protagonist is far from the melancholy Dane; Haider, which Shahid Kapoor plays with impressive zest and inventiveness, is more a dashing, combustible figure than a brooder. Bhardwaj also does away with the supernatural horror so integral to the original play, and which can be an easy tool for creating suspense and drama in cinema. The horror is in the everyday macabre reality of death, loss and waiting, and in the manipulation of a Kashmiri Muslim’s emotions and insecurities.’
Everyone’s talking about what a disaster Bombay Velvet is, how much it cost and how little it made. Since when have numbers become such an important part of film discourse?
Ever since cinema’s birth, it has always been about how you balance art and commerce. In mainstream cinema, art and commerce, the eternal workings of filmmaking, have always been sectionalised. Commerce has been the prerogative of distributors, of producers. But as the media has become more powerful, the box office has become a huge talking point. Information is out there to review. It has suddenly become a barometer to judge a film.
Does it happen with every film?
I found it strange when someone came up to me when Bombay Talkies was scheduled for release, and asked me if it would make Rs. 100 crore at the box office. I was shocked that anyone could expect an ensemble of short films to be a Rs.100 crore omnibus. That’s when I realised that Rs.100 crore had become the barometer in evaluating a film.
How is this obsession impacting filmmaking?
This doesn’t happen anywhere in the world. A film may not work at the box office due to multiple factors, but does it become a lesser film? The media should also take the onus for what’s happening. This terrible habit of comparing two films is perhaps in our DNA. Two films have different features and different box-office values. I love Indian cinema in all its splendour — its drama, its melodrama — and I am not apologetic about it. But why does it have to be about its box office? You can call Bombay Velvet a mishap, a debacle, a disaster. But why would an audience stay away from it because they “heard” it’s a debacle?
Do you think social media is responsible for this?
No other country has as many box-office portals and websites on cinema as India does. I can sit on my computer at 11.30 in the night on the day my film releases and see the box-office figures. Everyone on Facebook and Twitter is asking, ‘What do you think will be this film’s opening day collection?’ I am shocked that there is so much emphasis on box-office numbers. Where is the opinion of an ordinary cine-goer; where is his decision to watch or not watch a film? What is more tragic is that all this box-office talk is killing the opinion of an average cine-goer.
Did Bombay Velvet become a victim of this obsession?
Bombay Velvet was attacked relentlessly for three days after its release. I was like, ‘Can you worry about the Nepal earthquake? About bad governance or economic policy? Can you just leave Bombay Velvet alone, please?’ There are so many national and political issues to worry about. Why would you talk about the box-office expectation of a film at the dinner table?
You and your father always dabbled in mainstream cinema, and the business of cinema. A good film meant that it would appeal to the audiences and make the box office ring. Did you feel this pressure of numbers when you made your debut?
Yes. At Dharma Productions, the idea was to make a successful film. We had a fair idea of what will work with audiences, and we made films accordingly. But what the opening numbers of our films would be, we didn’t know. We depended on distributors for this. They collected this information and gave it us. Today I can get the approximate collections of my film on my computer on the night of my film’s release. Now we have research. We have agencies like Ormax which organise pre-release feedback from audiences. Everything has boiled down to net collection figures, occupancy percentages, the total business of a territory. Everything has become so completely mechanical, whereas making cinema is all about the heart.
Has this coincided with the industry’s expansion – increase in digital screens, wider releases, better theatres, more revenues and so on?
This obsession with numbers started around 2006-07, and has grown since. Unfortunately, I don’t see it stopping anytime. This mad obsession is now a part of our reality. We are no longer about films but about numbers. The longevity of a film has nothing to with its box-office numbers; it has to do with its content. Great cinema remains in our collective memory because of its content, not because of its box-office collections. But today regular audiences are talking about the numbers. How does it confront them? They base their opinions on what they read. Earlier, there would base their opinion on reviews by film critics. Now 3,000 people review your film online. Columns and columns are being written about the opening of your film. They are not talking about how an end credit song must be added for better opening. Where did the screenplay go? We are all, me included, responsible for this. The soul of cinema is being sold to the box office.
As the senior filmmaker, what did you tell Anurag Kashyap?
Anurag has never chased the box office in his career. He is simply not in that zone. I spoke to him, I spoke to Fox Star, for they bled the most. What was amazing was that there was no blame game in the Bombay Velvet team. Neither was the filmmaker blaming the studio nor the studio blaming the filmmaker. There was great dignity behind the scenes, internally in the unit. There was no dignity externally. There was enormous negativity outside, and a celebration of failure.
How do you see this numbers game impacting filmmakers? There was speculation that Anurag was planning to bid goodbye to Bollywood?
That speculation was triggered by a report that said Anurag was considering taking a break and moving to Paris for a while. If we lose a filmmaker like Anurag, we will lose good content in mainstream cinema. This year has actually been a victory for an audience. We have had films like Piku and Tanu Weds Manu Returns doing well. A dark noir like Badlapur has grossed Rs. 50 crore. Eventually content is the king. Even internationally, Birdman and Whiplash were not the biggest blockbusters, but they provided the oxygen that the entertainment industry needs. As an industry, we need to acknowledge this template, and adapt it.
Is it true that there is a dip in footfalls in cinema halls, and the film industry is witnessing a slowing down?
Yes, there is a dip in footfalls. There is a marked shift in cine-going habit. Word of mouth has become important. Even for films like Piku and Tanu Weds Manu Returns, the audiences didn’t exactly rush to multiplexes on the first day. They went to watch the films after they heard a strong buzz. So, there is a shift in how audiences approach a film. There is a focus on analysis, and they wait it out before deciding to watch a film. There is an economic shift, too. There are several portals of entertainment available to the audiences now, and cinema has become one of them, but not the only one. TV is the new film, and it is much cheaper a medium.
Keywords: Bombay Velvet, Karan Johar, Bollywood, Hindi cinema, film appreciation, film critic, box office collection
I feel like it must suck to be KJO or Aditya Chopra on some level- It seems like on some level they know exactly how the industry is doing, what works what doesn’t, how to market and promote a film well, what film will get the biggest opening, what film will trend well. Except the problem is that they just can’t personally make a film that will do all of the above for some reason.
ABCD 2 is set to emerge the second big hit of the year after Tanu Weds Manu Returns. The film has held firm on Saturday with collections likely to be over 14 crore nett again and may even go to 14.50 crore nett. The film has shown solid growth on Saturday especially in Delhi and Kolkatta while some centers have dropped but that is normal as opening was very good.
The film has advantage of 3D prints which are notching up very high occupancies all over. These screening are also practically full for Sunday barring the weak evening and night shows.
ABCD 2 will easily be going over 45 crore nett for the weekend and has an good window in front of it with the next big release four weeks away. The main reason that it probably wont be able to chase down the Tanu Weds Manu Returns total despite the window is because that film was patronized by the family audience while this is more for the youth. Films for family audiences tend to sustain better than films aimed for the youth audience.
A T-Rex-fic Weekend: ‘Jurassic World’, ‘Inside Out’ Drive Second Biggest 2015 Frame To Date With $240M
by Anthony D’Alessandro
June 21, 2015 9:52am
7TH UPDATE, Sunday Final 9:52AM after 7:30 AM post: Universal sees the second weekend for Jurassic World at $102M with a 10-day cume of $398.2M at 4,291 locations. Some insiders think it can go a little higher by the end of today to $103M and a cume of $399M, but we’re going to have to wait until the end of Monday for Colin Trevorrow’s prehistoric blitzkrieg to cross $400M, making it the fastest of any film to do so in 11 days vs. Avengers’ 14 days.
Currently, based on Sunday’s studio-reported weekend, Jurassic World posted the second-best second weekend right under The Avengers’ $103.05M. 3D is still a decent component of JW‘s DNA, repping 49% of the its second sesh’s gross. Premium large format for JW is $23.1M besting the 10-day record haul of Avengers: Age Of Ultron which minted $21.1M. Cinemark made $1.8M at its PLF hubs this weekend alone. RealD rang up $33M from JW raising its 10-day haul to $132M. Imax hubs at 363 drew in $11.3M for a $42M JW 10-day total.
The other big record we’re also waiting JW to overtake? Whupping Age of Ultron (currently at $449.3M) as the highest grossing film of the year.
The combined success of JW and Disney Pixar’s Inside Out at $91M translates into a kick-ass weekend, which is expected to be 65% above the same frame a year ago per Rentrak with $240M. That’s the second best FSS to date this year after last weekend’s $273.7M 3-day high, which by the way, was the highest FSS since 2005. 91% of all schools were off this weekend. That figure moves to 100% by Wednesday. It’s a great time to release a blockbuster. Happy days are here again.
Disney’s weekend projection for IO at $91M in 3,946 theaters joyfully jibes with the industry’s current calculations of $90M-$91M. That’s the second best bow for any Pixar title behind 2010’s Toy Story 3 which opened to $110.3M. Families showed up in herds, making up 71% of the IO audience. Kids 12-and-under repped more than a third of the crowd at 38%. About 3,100 engagements for IO were 3D, drawing 28% of the business, a share that’s in line with other family pics, such as Home at 27%, Big Hero 6 at 28%. Inside Out RealD 3D screens grossed $24M. Per inside reports, IO drew mostly females at 63% with 64% of the crowd buying a ticket to the movie because of the type of film it was, meaning it’s an animated Pixar film. Overall CinemaScore was an A for IO, Pixar’s ninth A out of 15 releases (they’ve never gotten anything lower than an A-). 59% of the crowd was under 25 while 46% were under 18.
Disney distribution chief Dave Hollis this morning beams, “There’s always something about momentum in this business. After having a week of Jurassic World‘s unbelieviable business and having people enjoy themselves in a fully packed, communal envirnoment such as the theater, they only want to come back and do it again. The size of Jurassic World’s event may have helped the size of the event that is Inside Out.”
Driving IO‘s business is exceptional WOM from its Cannes premiere, CinemaCon exhib/press screening, its 98% Rotten Tomatoes score and a successful Tueday night Fathom screening. Even though it made about $600K, “it created about 45K Inside Out evangelists” who spread the word according to one Disney insider.
I think its more of not making to the deadline. Ranveer Singh can shoot action sequences only from Sep and that can take a while to can. But anyways, 2 big films clashing just adds too much negativity everywhere. BM looks a pure big screen movie.
The budget is 56 crores and 31 crores had to be recovered in theatres. It needed around 60 crores to be a clean hit. Monday is very strong too and looks like it will touch 100 crores. The second biggest hit of the year and an almost certain super hit. A big big win for Varun Dhawan. By the time Dilwaale comes, he will be the one coming on the back of a hatrick of hits, not SRK.
And this was a relatively niche movie which was not expected to do well all around, but it has run purely on his star value.
COMPLETELY agree NyKavi. She literally is the shrieking queen. My god, her shouting would have literally flattened the Gora Ghar in MNIK. She truly was horrific in there. She definitely is camera-friendly but is a limited range actor and resorts to shrieking when she just doesn’t know how the fish to act in serious roles.. a couple of classes from Mads would have helped her…..
The problem is most of the heroines or star heroines develop irritating mannerisms or tend to overact at times. They need good directors who can control them. Or subdued roles. Karan Johar is certainly not such a director. He is in awe of her.
ABCD 2 Challenges For Top Monday Of 2015
Monday 22 June 2015 20.00 IST
Box Office India Trade Network
ABCD 2 is challenging for the top Monday of this year after a strong weekend. It set new highs for the year on Friday, Saturday and Sunday beating Gabbar Is Back on Friday and Tanu Weds Manu returns on Saturday and Sunday.
The top Monday figures for the year is Tanu Weds Manu Returns at 8.60 crore nett and it may well be that ABCD 2 surpasses that figure. An eight crore Monday is almost certain and remains to be seen if the film can go to 9 crore nett.
The film has held very well on Monday especially in Mumbai and CPCI and is heading to be the second film to cross 100 crore nett this year after Tanu Weds Manu Returns.
once again if films like Tanu and ABCD are on course to put up numbers between 100 and 150 crores (even if they don’t that doesn’t disprove the point because they’ve been on course) then what does it say about the big stars grossing whatever they do? Remember the Don2 gross around Christmas a few years ago! That was a sequel to a remake! It’s not just about Don2 but just about any big film.Isn’t ETT fantastic at 190-200 (depending on who you believe)! The problem is the very sites and sources that go hysterical over Tanu or ABCD turn around and say the very same things about the biggest films when they’ve clearly underperformed.
You are taking it completely different way. You can’t judge the general consensus bringing some exceptions like Tanu. Always in history some small films becomes a major grosser but still that doesn’t mean, other so called big films grossing the same amount is not worthwhile.
Every film will live on its own expectations. Lets say, for Tanu, lower limit was about 60 crores which was okay for its budget and success and 100 crores is beyond expectations and 150 crores is hitting out of the ball park. It just managed to reach its outermost limit. Similarly, currently if a big film does 150 crores its still at its lower lit of expectations and 200 crores is around hit and above 250 crores is Blockbuster. Going over 300 crores like PK is hitting out of the ball park range.
So, you comparing with small budget super successful movie outer limit with a big budget lesser successful movie lower limit to make a case. Issue is when big movies connect, their range is on different level and if they don’t connect they still make decent money to survive the losses. Its all about connectivity. Its not like big budgeted movie with same WOM as Tanu is still doing 150 crores.. then I would have to agree with your case but that will never happen.
My point isn’t about how much Tanu made. of course there are always small films in every period that are huge grossers. However when you have a 100 crore list that includes Ek Villain, 2 States, ABCD (in all probability), barfi, BMB, Tanu, some other films like Rajneeti and ZNMD which made 90 or so at the time and would have assuredly made 100 today, I might be forgetting some others, you have then a list which includes not just smaller films and even less commercial genres but all kinds of stars, all kinds of productions. 100 is simply not a big target anymore, hasn’t been for some years. The smaller or less major films that get there aren’t miracles. They’re maximizing their audience more or less while the major starters are underperforming. Once upon a time a small film without serious stars had to be a historic hit to get within striking distance of a major grosser with stars. Today barring some of the Aamir films the others are not that far removed. Now even 150 isn’t a major bar if a sequel attracts enough audience attention (Tanu, ABCD). these are not films that came out of nowhere. They’ve performed beyond expectations but they’re not historic hits or something! Those kinds of films play well for weeks at an end. These films aren’t doing that. This isn’t a Vivaah-like deal in small town India let alone something bigger. Once again you make the mistake of making absolute numbers benchmarks. If Jurassic World does 200 over a weekend it’s not a blockbuster at 350. It has to do way more than this. Whether most films do 350 or not is beside the point. And what have we seen from Hollywood? Once the 300m bar was pretty high and only the biggest films came close to it or did more. Then it because normal and so for films like the Avengers or whatever this isn’t a big target anymore. You can’t arbitrarily set up numbers and make these the benchmark. I say this again and again. And to repeat the earlier point it’s precisely not like older ages where once in a blue moon you’d get a film like MPK. Today too many films in too many genres seem to be putting up these high numbers. The bigger stars get in bigger initials but then trend worse than these films and hence don’t end up with particularly impressive numbers in the end. Aamir mostly does and we see the result. But even here one shouldn’t make the error of thinking there’s something historic going on. PK is not a historic trender. Its gross is historic because nothing else is even close. Had D3 been liked more or as much as D2 it would have done as much or more. 3I in today’s money would have done way more. But even 3I isn’t HAHK! In other words these are absolute blockbusters but a historic hit reveals extraordinary trending patterns besides getting to a very significant gross. Still 3I is the best one can possibly get today barring that sort of historic standard. But PK is nowhere close to 3I in this sense. So consider how many levels we’re going down to get to the usual ‘blockbuster’ fare where 70% or more of the final gross comes in week 1. These are trending standards followed anywhere in the world. It’s like the box office in the 80s was generally at a low and not even comparable to the 70s barring the Bachchan hits or a few other films here and there. Partly it was about the advent of video technology and so on but it was much more the fact that terrible films were being made. The average film in that decade was pretty bad. Towards the end of the decade there was even more technological distraction but the films started getting better in some ways and suddenly there were a number of talked about hits. Ultimately if you make poor films that are simply designed to be ‘time pass’ at best you will never get impressive receipts in any age. And the only reason you’re even making the claims that you have just now is because this is what the trade/media is feeding everyone. It’s utter bull and I’m not exaggerating. In no industry of the world including in India elsewhere and including in Bombay are things really measured this way (notice how from Taran to BOI everyone suddenly becomes a great believer in trending when films trend well.. what happens to this logic otherwise?!). The rest is just about media spin and ‘paid’ (one way or the other) trade operatives and gullible blogosphere fans. The evidence is all out there. It doesn’t take much to see the obvious.
To bring the point on DON2, every Farhan Akhtar production out there is always targetting to a very niche audience. Its not even every multiplex audience but very niche audience in that. Not a single movie from Farhan Akhtar over a decade is a big grosser. That type of connect is not there with the masses. Starting from DCH(16crs) in 2001 to Don(56crs) in 2006 to Rock On (21crs) in 2007 to ZNMD(90crs) in 2011 to DON2 (108crs) in 2011 and now DDD(78crs) in 2015. Nothing will ever be a huge grosser but they are successes at various levels as they always open low and remain stable at some level.
I agree with the Farhan Akhtar point but when they did a big Christmas release here they certainly were expecting more than they got. It’s true that Akhtar is never going to be a blockbuster maker. But one should then use the same logic across the board for all kinds of stars and films. Again we don’t do these things consistently.
If this chap has raped an American woman, what wrong has the indian police done by arresting him?!!
” In fiction, when you paint yourself into a corner, you can write a pair of suction cups onto the bottoms of your shoes and walk up the wall and out the skylight and see the sun breaking through the clouds.”
Comment of the day goes to Ms Dhoni –gal u r on a roll ..
Saw all the extras of Interstellar on Blu-ray this weekend. I believe, there is no one like Christopher Nolan who makes such huge films without much VFX and trying to find real locations and act in real and not against green screen and make such a fantastic movie. Even Inception didn’t had too many VFX and lot of created physically and this movie as well.
Btw, I got lucky and got the IMAX CELL of the movie with my Blu-ray copy. They cut out original IMAX film cell from an actual 70mm film print and kept in Blu-rays as their special edition. This is the image I got and its pretty good shot from the movie.
Film-maker Sooraj Barjatya who made blockbuster films like Hum Aapke Hain Koun..!, Hum Saath Saath Hai and not to forget Vivah, is rumoured to remake his 1994 hit film ‘Hum Aapke Hain Koun..!’.
The cherry on the top of this news is our chocolate boy ‘Ranbir Kapoor’ will be seen in the lead role! A perfect role for Ranbir we guess! As he played a bad guy in the Bombay Velvet which proved to be a dud!
Sooraj right now is busy with his upcoming flick ‘Prem Ratan Dhan Payo’ starring Salman Khan, Sonam Kapoor and Neil Nitin Mukesh.
There’s a twist in this too, speculations are surfacing that it’s a remake on the contradictory rumours are also coming up that it’s a sequel to 1994 hit.
Yes, Stalin remake. Honestly not that bad but it looks like to be sequel to Hello Brother in spirit. Just all brothers get together having good time(while trying to make someone’s sagging career in supporting roles) and then call that a movie.
Hello Brother has got to be the worst movie from a successful combo. Sohail Khan said its their family’s fav movie of all time. They just keep that movie and laugh nonstop. Salim Khan commented during its release, that you made a family video and released as movie.
Los Angeles: Oscar winning music composer James Horner died at the age of 61 in a plane crash near Santa Barbara.
Horner, who won two Oscars for the music of ‘Titanic’ and scored for other blockbusters like ‘Avatar’, ‘Braveheart’, and ‘A Beautiful Mind’, died on Monday, reports hollywoodreporter.com.
A file photo of James Horner.
#James Horner #James Horner dead #James Horner Titanic
His death was confirmed by Sylvia Patrycja, who is identified on Horner’s film music page as his assistant.
“We have lost an amazing person with a huge heart and unbelievable talent. He died doing what he loved. Thank you for all your support and love and see you down the road,” Patrycja wrote on social networking website Facebook on Monday.
Horner was piloting the small aircraft when it crashed into a remote area about 60 miles north of Santa Barbara, officials said.
An earlier report noted that the plane, which was registered to the composer, had gone down, but the pilot had not been identified.
For his work on the 1997 Best Picture winner “Titanic”, directed by James Cameron, Horner captured the Oscar for Original Dramatic Score, and he nabbed another Academy Award for Original Song (shared with lyricist Will Jennings) for “My heart will go on”, performed by Celine Dion. His score for “Titanic” sold a whopping 27 million copies worldwide.
His fruitful partnership with Cameron also netted him Oscar nominations for original score for the blockbusters in the 1986 film “Aliens” and 2009 film ‘Avatar’.
The duo reportedly were also at work on ‘Avatar’ sequels.
Horner earned 10 Oscar nominations in all, also being recognised for his work on two other Best Picture winners: ‘Braveheart’ and ‘A Beautiful Mind’.
He also received nominations for “An American Tail”, “Field of Dreams”, “Apollo 13” and “House of Sand and Fog”.
Horner has three films coming out soon — “Southpaw”, the boxing drama that stars Jake Gyllenhaal and Rachel McAdams and is due in theaters in July; Jean-Jacques Annaud’s “Wolf Totem”, out in September; and “The 33”, a drama based on the 2010 mining disaster in Chile that’s set for November.
His lengthy film résumé includes ‘The Lady in Red’ (1979), ‘Wolfen’ (1981), ‘Star Trek II: The Wrath of Khan’ (1982) and ‘Star Trek III: The Search for Spock’ (1983), ‘Red Heat'(1988), ‘Glory’ (1989), ‘The Rocketeer’ (1991), ‘Patriot Games’ (1992), ‘Searching for Bobby Fischer’ (1993), ‘Jumanji’ (1995), ‘How the Grinch Stole Christmas’ (2000), ‘Troy’ (2004) and ‘The Amazing Spider-Man'(2012).
ABCD 2 Is First Blockbuster Of 2015 In Mumbai Circuit
Tuesday 24 June 2015 11.30 IST
Box Office India Trade Network
ABCD 2 has emerged the first blockbuster of 2015 in Mumbai curcuit. Tanu Weds Manu Returns did exceedingly well in Mumbai but was not that bumper hit in Mumbai as in most other parts of the country. This was mainly as Gujarat / Saurashtra and Maharashtra (barring Mumbai city and Pune) underperformed.
The final business of Tanu Weds Manu Returns may just touch 40 crore nett in Mumbai while ABCD 2 is already at 21 crore nett in just four days.
ABCD 2 will cross the business of big films like Bang Bang and Holiday – A Soldier Is Never Off Duty in Mumbai as it heads for 45 crore nett in the circuit and maybe even 50 crore nett as has appreciation and a good window in front of it.
ABCD 2 Holds Strong On Monday
Tuesday 23 June 2015 11.00 IST
Box Office India Trade Network
ABCD 2 held up very well on Monday with a drop of less than 45% from Friday. It is the second highest Monday of the year after Tanu Weds Manu Returns which grossed 8.60 crire nett. The first four day business of ABCD 2 is as follows.
The main difference between ABCD 2 and Tanu Weds Manu Returns is business in the North. Tanu Weds Manu Returns grossed 1.30 crore nett in Delhi/UP and East Punjab and ABCD 2 has only been able to cut some of this lead with better business in most of the other circuits. The target now will be the highest first week of the year which it should achieve as it us looking a 72 crore nett first week compared to the 69 crore nett of Tanu Weds Manu Returns.
Kangana Ranaut slaps legal notice to block release of ‘I Love NY’
Kangana Ranaut slaps a legal notice on T-Series to block the release of one of their old productions featuring her.
An actor or actress ideally has no say in the release of a film, but it looks like Kangana Ranaut is out to prove a point. She had been upset with the makers of ‘I Love NY’ makers for allegedly riding piggyback on her recent success and trying to release the stuck-in-the-cans project without her permission. Now the actress has taken legal recourse and slapped a notice on T-Series, which produced the film, asking them withdraw the release. A copy of the notice is in hitlist’s possession.
Kangana Ranaut slaps a legal notice on T-Series to block the release of one of their old productions featuring her
An actor or actress ideally has no say in the release of a film, but it looks like Kangana Ranaut is out to prove a point. She had been upset with the makers of ‘I Love NY’ makers for allegedly riding piggyback on her recent success and trying to release the stuck-in-the-cans project without her permission. Now the actress has taken legal recourse and slapped a notice on T-Series, which produced the film, asking them withdraw the release. A copy of the notice is in hitlist’s possession.
Horrible behavior by Kangana. She’s not Salman Khan that her winning streak will be disrupted if an old movie is released now. Even during Queen, there was a Revolver Rani just released after a month and was disaster and yet it didn’t impact or dilute the Queen’s success. Later on, another old movie – Ungli – released and yet she was just remembered for her Queen movie all year long. So old projects really are not going to ruin your graph. If anyone really needs to get pissed off, it should be Sunny Deol who took a long break and wants to come back with Ghayal Returns in November.
As far as the payment is concerned, we are replying to her notice with a copy of the bank receipts because all the payments were made in cheque. If she doesn’t have the agreement copy or has misplaced it, she could have asked us for it. Without it, how does she know how much is pending?” he asks, while adding that Kangana was paid R10 lakh post the dubbing and her last payment has also been cleared.
The other side
T-Series boss Bhushan Kumar says he has no control over the film’s release as he sold the film rights nearly 18 months ago to Wave Cinemas. “No actor gives permission (for release) until and unless she is an Intellectual Property Rights (IPR) member of the film.
Now, our sources informed us that tempers and egos played up during the promotional shoot of the movie Second Hand Husband, starring Dharmendra, Govinda’s daughter Tina (aka Narmada), and Geeta Basra.
The media reported about undercurrent of tension and professional rivalry running between Geeta and Tina. Apparently, Tina, the lead heroin, is not happy with Geeta hogging all the limelight.
At Comedy Nights stage, Govinda and her daughter dearie were present oblivious of the fact the Geeta was also a part of the promotional shoot. When the father daughter duo learned about it, as per sources, they threw a fit and laid a condition that they would face the camera only if Geeta was asked to leave.
However, host Kapil Sharma, is good friends with Geeta’s beau Harbhajan Singh. Harbhajan, as per our sources, was there with Geeta at the vanity during the shoot. He apparently intervened and got the issue sorted.
Geeta’s schedule was kept intact and Govinda and Tina decided to walk off, all upset and angry.
this isn’t a fair clash. Raees is hardly blockbuster fare like Sultan. Still because of the two stars involved and the media hype that will probably build around it it will be a loss of face for SRK if Raees is withdrawn (which rationally it should be). Of course SRK is now at the receiving end. In other clashes he had the advantage.
Absolutely no way that these two movies are clashing. SRK and Salman are friends again, Raees is an off best movie that will never break any records no matter how many screens and what the release date is. SRK and YRF are working on FAN currently and YRF is distributing Dilwale overseas. Forgive me for my lack of knowledge regarding Eid, but I know there’s 2 Eids. What is going to happen is when they launch Raees’s first look/trailer it’s going to say “Releasing in EID (the second one in the year)”. That way SRK saves his face and they get the semi holiday as well. Plus the EID in July is way too soon to release Raees given that there are reports FAN is releasing in April/May.
As with the Dilwale clash, that will probably happen because SLB is crazy. But that’s an easy win for Dilwale however it probably kills whatever chances it had of beating PK’s lifetime. the fact that SRK is releasing it on the 18th instead of 25th tells me that he isn’t just going for opening records with this one- releasing it on the 25th would’ve given it a 130+crore weekend.
‘This isn’t a fair clash. Raees is hardly blockbuster fare like Sultan.” Sulatan, about a Haryana wrestling champion, with Salman playing the wrestler and Parineeti playing a female wrestler is hardly a blockbuster fare either.
Rahul Dholakia’s all 3 movies combined didn’t cross lifetime 10 crores collections, you can’t be more offbeat than that. Abbas Ali Zafar had both top commercial films with big starcast – Mera Brother ki Dulhan and Gunday and Sultan being the 3rd. No Comparision.
Guys, let me put it out instead of continuous discussions. Raees was announced as Eid 2016 when Fan was releasing this August to keep proper gap between Dilwale and Raees. But when Fan is movied to April/May this year, Raees still won’t keep the July date, it’ll have to move. Who better than Aditya Chopra to know that as he’s producer of FAN as well.
YRF’s FAN – April/June 2016
YRF’s Sultan – July 3, 2016
Raees – Sep 2016( mostly Sep 9, 2016)
There is something not right about all these turn of events and media items lately. Aamir has a wrestling movie too and I am assuming there will be a climax with title fights in both Dangal and Sultan and even with different narrative the end product will be pretty much same. ‘kushti’ cannot suddenly become kick boxing and now from the teaser we are told both have a Haryanvi background too….C’mon !!
Other part which is not adding up is Salman recently had a very public harmonization of his relationship with srk where first look getting tweeted by srk himself with a tag being brother is bigger than hero brotherly…. blah blah…..
I am presuming top actors do touch base with each other prior announcing dates and Raees may not be coming on Eid as there wasn’t an official announcement on that. Aamir was quoted publicly there is no point in having any clash as it is not good business sense for anyone.
Being a yrf product, the other thing which comes to picture is a srk -yrf relations and if they are under some kind of stress as Adi Chopra handed his Aug 15th date to Kjo for ‘Brothers’ and there was a very public acknowledgement by KJO for that. Now ‘Fan’ has been in the making for such a long time and the vfx thing cannot suddenly pop up and movie pushed by a whole 7/8 months.
Multiplex ticket prices is a big issue in India and until that is sorted out movies will keep scrambling for these 4-5 odd dates.
Sultan was announced unofficially around Feb/March this year. Also, I would think the climax of Sultan would be the fight between Sultan Ali Khan and opponent Rakesh Sangwan whereas Dangal climax would be the daughters becoming the champions and tears in 55 year old father/coach 🙂
All these news items are from the pre court verdict days. Always thought Sultan was touted as a boxing movie and Salman had himself said he wants to get a lean look of a boxer for this movie. May be they just tweaked the script to wrestling to fit in his beefy stature.
Ofcourse everyone knows that but Salman Khan character of Haryanvi wrestler before Aamir Khan’s Dangal as Haryanvi wrestler in stealing the limelight to an extent. How often you have movies about wresting and then both from Haryanvi and both Top stars of the country.
to be honest I don’t believe this is much of an issue. The Aamir brand-name is by now so singular and such a marker of prestige and/or the meaningful film that people wouldn’t really count it against the film one way or the other. It’s true he probably isn’t pleased that Sultan is happening but don’t think it hurts him as such. He will get his initial one way or the other. Plus it’s not a blockbuster-like deal with this film. It’s a commercial film of course but not in the absolute sense.
It’s mostly about the treatment, story etc.then the novalty factor. Obviously Dangal might lose the surprise element but heck many claimed the same thing happened to PK after OMG comparison. I suspect Aamir won’t have any problems here. And I’ve learnt not to bet against his films for over a decade now!
So, Aditya Chopra messing up with 2 Khans with Sultan. Firstly twisting the script to change boxer role to wrestler role and beat Dangal to it and steal the uniqueness. Second is the stealing the SRK’s Raees date which was announced earlier.
The way twitter has exploded with this story of clash and all the media articles and with ever changing dynamics, we don’t really know if release dates of both will hold esp. as Salman’s legal issues are far from over. Even if the movies are to be made timely and released, all these talks shouldn’t come out now and should have been pushed for early next year. How is one so sure there can’t be any unforeseen during the interim period?
This is where Salman’s unpredictably steps in and maturescence pop up in every mind. All this childish stuff on clash may do more harm to him than benefit and if this clash hype takes a nasty turn in coming days a good chunk may keep off cinema halls for Bajrangi Bhaijaan itself as SRK super-stardom can never be underestimated even within these lows he is experiencing now.
SRK’s silent demeanor in supporting Salman during the verdict days and then putting out first look of BB with his own tag line is all adding to his value of being above petty matters and of being large hearted. He also seems to be more into his kids /family and quietly going about his work. I feel if there is an eventual clash, even with an off beat subject srk will clear the deck hands down and salman will be underestimating his strength as srk has never been beaten in a direct duel.
….or does anyone here thinks this to be some sort of internal planning to hype each other as both are ageing stars and can no more stay in news with affairs/nailin’ paylin stuff; so create a frenzy by doing all this ???.
Srk is messing with Bhansali, Bajirao mastani was announced was announced well before dilwale for Christmas 2015. Now, srk is reaping what he sow. We have seen how srk lost his face after last clash he had on diwali. JBHT struggled to get average verdict while SOS was runaway hit.
It is silly for Bhansali that he announces Christmas date with Ranveer Singh and no one will compete with him. Ranveer Singh is not at that level yet. Even if Dilwale wasn’t coming, it would had Tamasha and Hera Pheri 3 along with it. Once Dilwale announced, Tamasha moved to Nov end.
SOS wasn’t a runaway hit by any means. It did well enough. Expectations were certainly lower for it than for JTHJ. But both films were more or less in the same range. Maybe SOS was 10% behind. I agree that this was much less than expected for JTHJ but SOS was no runaway hit by any stretch.
It did well enough ? LOL. now srkians say JTHJ and SOS were same level at BO. Great hypocrisy.
People have short memory, let me remind few things-
1) JTHJ was touted to be 200 cr movie with SOS being no competition as per industry.
2) All big names in JTHJ, Katrina at top of career, Yrf producer, Yash chopra as director, and his sudden demise led to unprecedented hype of that time.
3) JTHJ got all high price screens and cinemas. SOS was struggling to find theaters.
JTHJ released on 50% more screens than SOS.
Due to theater low ticket price and 50% less screens, it required to sell 50% more tickets to come up to JTHJ level.
5) JTHJ first day was double of SOS, second day was 50% higher and by third SOS was just behind by a couple of crore.
gap btw JTHJ and SOS by end of first 3 days was 18 cr.
After first 3 days, both movie started doing same business.
And After first 5 days, SOS was leading at Boxoffice.
Initial gap which was 18 cr, was reduced to 11 cr by end of run.
6)JTHJ got favorable review due to sympathy factor and yash chopra’s death. and inspite of being a bad film, every critic was still recommending to watch it once for Yash chopra. SOS always got mostly negative review just because of being a comedy.
7) SOS budget was much lower than JTHJ. by the way when all talk about success based on average per screen, why change criteria here.
SOS collections per screen were 40% higher after final numbers.
8) If just talk about footfalls JTHJ was no where close.
JTHJ met BO expectations BO only on first day due to hype as usual for SRK movie, SOS emerged clear winner after that.
ultimately, srkians find it hard to digest but JTHJ was a flop in india. And SOS turned out to be clean hit based on various criteria like budget, footfalls, expectations. And many business analysts said it didnt meet expectations but never called a spade a spade. Also, i dont expect skians to call it jthj flop.
Just remember one thing, srk was not even in top 5 until CE happened. And if u exclude CE from his filmography, he will still find it hard to make in current top5 or may barely make due to fall of ranbeer. but dont forget rise of Varun, Ranbeer.
I have been on this forum since beginning, and i see lot of hypocrite hidden fanatics who are scared to come out. Come on master and gang. I visit many blogs to entertain myself by reading comic relief in form of fanatics’s wet dreams about their stars. And sometimes, i like to wake them up from their dreams as gesture of sympathy.
Funny part is that..when Ritesh Sidhwani announced in 2013 that Raees will start shooting in summer 2014 and release in Eid 2015. There was news that Bajrangi Bhaijan was already annoucned. Then he tweeted back a day later saying he will not fight and respect earlier announcement.
No Eid Fight in 2015.Mid day says someone spoke to some manager blah blah blah.Raees filming begins in July & will release 2015. Cont..
This time, sequence will be shot on Bulgaria’s tram at the Lion’s Bridge area in Sofia. This time the scene has been captured in slo-mo. Last time we saw Deepika Padukone and Shah Rukh doing the epic scene in Chennai Express but this will be special since the most-wanted couple come together again.
i am skipping this holy crap. Anyways, rohit shetty movies are all same crap humor where one is always excited throughout the movie expecting something refreshing to happen with somuch hype about product and ends up in frustrating forgettable moments.
Salman Khan recently revealed that his favorite song from his upcoming film Bajrangi Bhaijaan is ‘Bhar Do Jholi Meri Aaj‘. The actor specifically mentioned that the singer is also one of his favorites and it is none other than Adnan Sami.
Karan Johar is all set to get back to direction with his upcoming film ‘Ae Dil Hai Mushkil‘. The film stars Ranbir Kapoor, Aishwarya Rai Bachchan and Anushka Sharma in lead roles. The film is touted to be a ‘hatke‘ story and bold in handling relationships like no other director has till now.
We hear, the film will not be a love story in fact it deals with heartbreaks. It revolves around of 3 individuals going through a rough patch in their relationships and their journey during the phase. It’s a story about unrequited love.
Currently, the makers have started to hunt for locations. Ranbir will be finishing Jagga Jasoos before starting the shoot of Ae Dil Hai Mushkil.
Saif Ali Khan’s Phantom is post 26/11 revenge saga
By Subhash K. Jha, June 25, 2015 – 10:32 hrs IST
Kabir Khan’s post-Bajrangi Bhaijaan counter-terrorism drama Phantom which releases on August 28 has Saif Ali Khan playing an army officer out to seek revenge on the terrorists who masterminded the 26/11 attack on Mumbai. The film is based on author S Hussain Zaidi’s novel Mumbai Avengers.
In plot, mood and intent, Phantom is completely antithetical to Bajrangi Bhaijaan.
Says a source close to Kabir Khan, “While in Bajrangi Bhaijaan, Kabir champions the cause of cross-border friendship by showing an Indian Hanuman Bhakt helping a lost Pakistani girl find her way back home, Phantom will see Saif track down and kill Pakistani ISI agents who masterminded the Mumbai attacks.”
According to sources, “While Bajrangi and Salman would endear themselves to Pakistan, Phantom and Saif are hardly going to make our neighbouring country happy.”
While refraining from commenting on the content of either film, Kabir Khan says, “All I’ll say is Bajrangi Bhaijaan and Phantom are two completely different films. While Bajrangi Bhaijaan is a full-on masala film with lots of music and singing, Phantom has no lip-sync songs. It’s intended as a far more serious exploration of a political issue.”
“I dare not think of saying no to her. She insisted, and of course, I am also very impressed with the director AR Murugadoss. He personally came to me and I said, ‘your wish is my desire and I shall do that’. So yes, I am doing the film for director AR Murugadoss and my daughter Sonkakshi,” said Shatrughan.
The actor was awarded the “Officer of Legion of the Honor”, which is the highest French Civilian Distinction, by the government of France here in Mumbai.
Along with the actor, former Union Minister for Finance & External affairs, Yashwant Sinha, was also honored with the distinction.
Being produced by Fox Star Studios, “Akira”, a thriller movie, is the Hindi remake of 2011 Tamil hit “Mounaguru” and stars Sonakshi Sinha, Konkona Sen Sharma, Anurag Kashyap and Shatrughan Sinha in lead roles.
the more the merrier i say…im done worrying about box office for aamir….he has cemented his place in history as far as box office is concerned…i think he needs more hard hitting films and performances now.
I don’t think he needs anything either the box office or the performances to cement his place in Hindi film industry as his name has already been cemented. He has both in ample quantity. But yes now Aamir should focus more on Indian themes, stories, characters than box office as that would be far more interesting to the audience. He should also shift his gears and work faster and come up with at least 1 movie a year, could well be a small, gritty subject like 1947 Earth or an out and out comedy.
Bajrangi/dilwale/baahubai – 200+ cr
katti-Batti – 100 cr deal (courtesy – kangana)
hero maybe the dark-horse here hitting the 100 cr mark
jazba will get around 50 cr as ash’s comeback film
the rest looks uncertain – ………..
not excited for any of these. somewhat for Wazir after the last trailer. I am more interested in Bajirao mastani, Prem ratan dhan payo and Ghayal once again.
PRDP, to see how barjatya’s style changed, it has been a decade since his Vivaah.
“What can I say? I really liked it. Did it have to go on for nearly three hours? Probably not. But as with Bangalore Days, those three hours are so well-acted and pass by so beautifully, I didn’t really mind. It must be something in the water that makes Malayalam filmmakers such good storytellers – and more importantly, filmmakers. They draw us in and make us feel we want to spend more time with the people on screen. That sense of “hanging out” – these filmmakers capture that marvellously, with offhand moments like a plate of fried fish being carried by a waiter (the camera follows the plate) in a restaurant even as the conversation happens elsewhere.
I cannot recall the last “regular” Tamil film that made me feel this. But then, we really don’t have too many directors. Anjali Menon (who made Bangalore Days) and Alphonse Putharen (Premam), on the other hand, are real directors. A lot of people I know dismissed Premam as “just another Autograph,” but that means you’re the kind of person who goes to a film just for the plot. Show me one scene… no, one shot from Autograph that announces this-director-has-it-in-his-DNA and I’ll eat my hat. I don’t actually wear hats, but you know what I mean….”