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345 Responses to “Prem Ratan Dhan Payo, the rest of the box office”
Kiaara Sandhu @KiaaraSandhu 36m36 minutes ago
#PremRatanDhanPayo took All Time Record BUMPER Opening in India. Morning Shows are HOUSEFULL! @BeingSalmanKhan Power. #PRDPDay
Joginder Tuteja @Tutejajoginder 2h2 hours ago
Box Office – @BeingSalmanKhan’s #PremRatanDhanPayo to be biggest ever for Rajshri and Fox
Sarita A Tanwar Editor DNA
@SaritaTanwar 10h10 hours ago
Tickets booked for first day first show for #PremRatanDhanPayo. The two mommies (his and mine) are all set
.Girish Johar @girishjohar 11h11 hours ago
A mega wide release of 5300 aprox globally, all langs… #PremRatanDhanPayo is all set for a MAMMOTH START at the BO @BeingSalmanKhan
I’m quite surprised how Barjatya succombed to the BB type promotion here. The bar raised with the tv programs profiling previous hits is a tough bar for even him. Nothing on the soundtrack barring Jalte Diya compares to the classic albums of MPK and HAHK. The reviews seem middling but family audiences could still spring a surprise. But yes if PK still remains the top, hard to see what Salman or SRK can throw now to topple Aamirs records. With Barjatya and Kajol both stars have rekindled there most potent combinations. Still think PRDP has a good shot it’s got two weeks to hit 300 to stand any chance otherwise Tamasha will ruin it’s chances.
The whole Prem is back feels OTT as if they knew they needed some damage control potentially.
I do agree if PRDP does 250+ crs, it will be good enough and not rejected. Not every movie can become the biggest grosser of its time and also.. its been 21 years since HAHK and last movie Vivah even though a superhit/blockbuster for its budget was not a huge grosser.
He is trashing the movie but his tastes are in line with movie going janta so guess it has some credence…..obviously its clear movie is no great shakes !
However the new ‘kid’ on the block Prakash Jaju is all praise and expecting long run….
So it’s all about target audience and it’s clear they have not done something extraordinary with this genre. But money wise it will get there…….
PRAKASH JAJU @Prakashjaaju 6h6 hours ago
#PRDP : Koi kuch bhi report de. Picture is super duper hit.
IN MUMBAI, CINEMA HALLS WERE PACKED WITH MOVIE-GOERS HUMMING THE POPULAR TITLE SONG OF THE FILM AS THEY WAITED TO CATCH THE ‘FIRST DAY FIRST SHOW.’ AN EXCITED FAN TOLD NDTV, “A SALMAN DOUBLE ROLE IS A DOUBLE TREAT FOR US.” A BOX OFFICE INDIA REPORT CLAIMS THAT PREM RATAN DHAN PAYO IS HEADING TOWARDS ‘CREATING HISTORY’ BY RECORDING THE HIGHEST EVER OPENING DAY
“Prem Ratan Dhan Payo has opened at record pace and recorded a bumper opening of 70-75% on average across India. Its exactly a year since the word bumper came into play with Happy New Year and before that was Dhoom 3. It is a national holiday infact the biggest holiday of the year so the collections of Prem Ratan Dhan Payo will hold in the range of 70-75% through the day.
The film has seen a record release of 4200 screens in Hindi. The ticket rates are at similar levels to Bajrangi Bhaijaan and PK and have not gone in for the extra premium which happens for the next event film. The sort of opening that the film has taken means it is certain to emerge with highest opening day ever….”
Let’s see if he still has it in him to get the pulse right –
taran adarsh @taran_adarsh 5h5 hours ago
#PremRatanDhanPayo is a B-L-O-C-K-B-U-S-T-E-R … My review on Bollywood Hungama: http://bit.ly/1O52MMF
“…On the whole, PREM RATAN DHAN PAYO is the perfect Diwali entertainer for the entire family. The film will win abundant love [prem], while its investors will reap a harvest [dhan], making it a memorable Diwali for all concerned. This one’s a record-smasher — scoring from East to West and from North to South, scoring at plexes as well as single screens, scoring at metros as well as non-metros, scoring in the domestic market as well as in the international arena. B-L-O-C-K-B-U-S-T-E-R!”
It’s too early to say anything except the obvious that the movie will have a bumper opening. Don’t know if it will top HNY first day collection or not but even if it doesn’t, so what. The collection will be huge.
If I were to go by most of the reviews, I think this will be more of a HSSH hit rather than MPK/HAHK.
some of the reviews are only 1.5 * and some only 2* , taran & komal are saying huge but we will see by tomorrow..only to see on monday if its tanked,if that is the case it will be huge sat-back for salman khan
It is too early and now the family / hinterland ‘target’ audience will decide its fate in the long run. Its not a question of flopping / disaster but extending your narrative which obviously is not happening. Salman needs to thank Bajrangi B glorious turn with give it sufficient hype, otherwise this had potential to tank.
Box office not much will be known until next Monday. But the least this movie will do is 250 cr and that would be considered rejection in many ways.
Prem Ratan Dhan Payo Takes Historical Start In India
Prem Ratan Dhan Payo has opened with bang in India with huge 75+% occupacnies so far with mammoth 4200 screens for Hindi version.. Footfalls are easily more than most event films released in last couple of years and it’s a big National Holiday which means it will be at super speed throughout the day..
This early trend easily indicate that Industry going to see 2nd 40cr opener ever as Happy New Year released last year in this period had collected 40cr approx on it’s opening day and film will beat that.. Occupancies so far suggest that there will be some margin in the day one record also as film might even touch 45cr amrk which will be phenomenal result..
Real fate of the film will depend on how it holds tomorrow.. But with such record start it seems certain that movie will go over 130cr mark for the extended Weekend and might even touch coveted 140cr mark if it holds extremely well on Friday..
Film has opened to excellent response everywhere be it Mysore but that can be credited to National Holiday therefore everything melts down to how it holds tomorrow.. But for now film has opened to a historical start and will be shattering day one record set by Happy New Year last year..
Obviously you have strong case for what you are saying considering in the alternate universe its hard to get to 40/50 cr lifetime biz for a lot of these folks and that too with a audience friendly genre.
BB was a damn good movie but somewhere I thought this one will connect better as Barjatya took sometime to get his act together.
My skepticism stems from expectations as they are never realized in hindi cinema. The industry in general never hits bulls eye when expected to do so. Recent examples BV was so freakin hyped that it was supposedly Ranbir ticket to super stardom as it had all the ingredients. On the other hand BB which many expected to be a bore( coming after Kick and Jai Ho ) turn out to fascinating. (To be frank on the tv runs i find BB much better than PK and wholesome cinema).
Actually very few of Dharmendra’s films after Sholay are successes by any standard (till you get to the later 80s) and his 70s post-Sholay phase barring two Desai hits is particularly lean but that’s a different debate. My point here was to simply follow your own ‘absurd’ logic. No one was comparing PRDP to HAHK. But some here were certain it would cross PK much as some here also felt the same about Bajrangi much as many here also felt this about the 3I gross for years (till inflation allowed films to cross it), so on and so forth. But when this doesn’t happen the same folks turn around and say ‘why are you obsessing with Aamir?’ First off this is a bit strange coming from people who are more obsessed with SRK or Salman than they are with their wives, lovers or children (I am not exaggerating). But secondly if you yourself keep raising this standard well don’t forget it at the other end because some of us will be there at the other side to remind you of it! I don’t really have an issue with PRDP crossing PK. I said this about Bajrangi too. The issue is about the hypocrisy of folks here, not about the films. But in any case no one was using a HAHK comparison. Just as with Dilwale we are hardly using a DDLJ comparison (even if SRK is begging for it!). Using existing standards is hardly the same as an all-time standard like Sholay. To even bring up this analogy is pretty foolish. Forget everything else, PK isn’t even 3I. No film has done what 3I did and we’re still waiting. essentially a final gross that is 2.5 times the week 1 number. No film at that very high level has even matched the Ghajini trending. People find these inconvenient facts but then hypocritically get into trending and competition arguments when Bhansali releases a film against Dilwale. with Bajrangi similar arguments were being used weeks after release to explain why the film didn’t get to PK’s gross. So I can’t help it if the fans don’t use a little bit of intelligence in these matters! One can be anyone’s fan but if one is going to use insane analogies or say other things hypocritically forgetting what one has said before one shouldn’t be surprised if others call one out. Again this isn’t about the films or those stars, it’s about the claims made. So yes forget Sholay (by the way it’s always a bit amusing to see how you jump to Bachchan examples and usually in ways that tend to be deconstructive of him.. I’m a reader of texts.. I’m trained to spot these anxieties!), forget 3I, forget everything else. The PK comparison was explicitly drawn right here tons of times. Not sure what’s hard about this. I’m of course not saying the film is a failure at 250 or whatever. That’s absurd. But that’s hardly the topic of the debate. And again there’s some honesty needed here on all sides. You have been trying hard to lower the bar on Dilwale (oh it won’t do more than 200, if PK opened to 26 it can’t do as much as that.. etc). Is this why SRK did such a film with Rohit Shetty? To get less than CE?! Leaving this aside if the film opens like HNY (which I think is more likely than your scenario.. assuming reviews aren’t bad) and does a big number aren’t you going to be first to say ‘SRK is so huge he killed the competition’ and what not. Once more my problem isn’t with the result, it’s with hypocritical claims. And part of this involves using arguments very selectively. Or ripping examples from just about anywhere completely out of context. So on and so forth.
Komal Nahta @KomalNahta 48m48 minutes ago
From North to South,and from East to West,it’s the same story: opening of SoorajBarjatya and SalmaKhan’s PREM RATAN DHAN PAYO is phenomenal
Prashant Solanki @soulucky 3h3 hours ago Film Exhibitor
#PremRatanDhanPayo will be highest grosser at @CineParkValsad will beat lifetime of Bajrangi Bhaijaan in flat 8 days with same tickets rates
Kunal M Shah Hindi Movie Critic… Casting Director…Talent company owner……
Kunal M Shah @iamkunalmshah 3h3 hours ago Mumbai, Maharashtra So #PremRatanDhanPayo is a blockbuster… Big sets… Performances #SalmanKhan show all the way… Hit Music… All works… Superhit!
@iamkunalmshah 3h3 hours ago Mumbai, Maharashtra
Who says that the old school filmmaking does not work in the age of realistic cinema… #PRDP will prove all wrong @BeingSalmanKhan
“Prem Ratan Dhan Payo”… Salman scores in unexceptional Barjatya formula
“While this may make for great box-office, it’s not consistently arresting cinema. We look at the actors – indie names like Deepak Dobriyal (in the Laxmikant Berde part), Sanjay Mishra, Swara Bhaskar – and think they’ve been cast for a reason. But they’re just filling out chalk-outline parts. It’s like hiring Arnold Schwarzenegger to lift your laptop bag. Only Anupam Kher, as the faithful family retainer, gets something to do. And of course, Salman Khan. If nothing else, Prem Ratan Dhan Payo makes a compelling case for his stardom. The post-Hum Aapke Hain Koun..! Barjatya hero is so virtuous, he’s a saint – you need star charisma to poke a few holes in that halo. (When Shahid Kapoor played the protagonist in Vivah, he was a snooze.) Salman is still smiling that Barjatya smile, that half-smile that doesn’t quite reach the eyes, the smile of restraint and benevolent goodness as opposed to the hearty smile of someone who really enjoys living – but he goes past the saintliness and keeps us watching. (He infuses both characters with bits of personality – they do seem different.) And like Bajrangi Bhaijaan, this film leaves us with extra-textual notes about the actor. Prem is repeatedly called “Dilwale,” which is the oddest coincidence of an actor’s film referencing an upcoming film of his rival’s since Vijay’s Puli kept name-dropping Ajith’s Vedalam….”
So many friends of mine have seen this movie today and everybody is suggesting me to stay away from it. So, I have dropped the idea of watching this one. The only hope for the movie is families which may take it to safety zone whereas others are finding it lenghty and boring.
Don’t write this movie off yet. The reports are not great but this is from the yuppie crowd. They are not the target audience here. We will know only after a day or two what the families think of this one. And it is hard to predict what they like. They liked movies like houseful, ready which were all written off but they took it to success.
These days ‘wom’ largely depends on expectations and it has become a very relative term. We recently had BB with low expectations due to small cast / story setting and not much music prior its release. Audience was surprised the trajectory movie took and wom picked up…..
Here like the past Diwali releases it is the opposite due to high expectations associated with festivities. I too feel the movie will settle down with family audience at the very least. Just sometime back Dhoom 3 couldn’t live up to the hype of Dhoom series and faced Aamir’s constant smug look faced a lot of backlash…. eventually it did settle down to do a decent run.
Looking at the past 10 years record very few movies have scored in the Diwali period and its all due to built up festive hype which comes crashing down whether it was with Ra- or Krishh 3 or Jab Tak Hai Jaan…..infact if one looks further back K3G,Veer Zara, Don , Action Replay , Jaaneman, Kyunki none seemed to have had much impact at the initial stage.
the issue isn’t whether it will be a success or not, get to a big total or not. I’m sure that will happen. The question is whether it can get to the biggest totals without a younger demographic that is extremely important in multiplexes. You can make up for weakness with this segment if you have the family audience going in for repeat viewings. But generally films that have the biggest totals tend to attract both demographics. Multiplex economics is more or less split between these two groups. Not equally necessarily. A very large majority of the movie-going audience tends to be under 35. SRK is not crazy to have Varun Dhawan in a film with him! And this is what is often missed by folks willingly or otherwise. if there was no need for a younger star why would anyone cast one? It’s not as if anyone’s making a strong Salim-Javed script which absolutely needs that many characters! But you attract a younger demographic with those choices. the star doesn’t have to be bigger than the lead or even comparable. Just significant enough to attract a demographic where the lead star might find himself relatively weak. For instance the nostalgia argument in Dilwale is by definition for people who must be now old enough to be part of a family demographic (i.e. if they were young enough to enjoy DDLJ 20 years ago). But what of the current youth demographic? You can persuade a lot of them to show up for the ‘big’ blockbuster kind of deal (again Rohit Shetty is important here) but not everyone. This is just one and rather obvious example but the point is older lead stars need ‘support’ of this sort. The Salman-Aamir examples are rather rare. Salman is enjoying absolutely the best stage of his career since Dabanng. It’s not about saying he’s lasted this long. many stars do this. And he certainly hasn’t been dominant all this while (despite the silly arguments people who either don’t know or are driven by other ‘Khan’ agendas or both). But what is true is that he’s been at his very peak beginning at an age where even great survivor stars run into all sorts of trouble. the SRK trajectory is really the norm in this sense. And of course Aamir (though he too got into this phase much younger than Salman) too is singular in terms of his career being prestige and project-oriented but who nonetheless also got to his absolutely peak late (for the absolute grossers you have to wait till Ghajini even if I think one should look at 2007 or the Fanaa/RDB double for this in some ways). So again if you’re Salman or Aamir you clearly do not need ‘support’ in any sense. That is manifest. If you’re SRK you still have enough currency to put up some big numbers and in the right film some of the biggest initial numbers too. But these are deceptive. Because you have to do certain kinds of things to enable this which then become the very things that prevent an absolute number. SRK however has been smarter than his fans. I think he would precisely agree with me much more. Which is why he’s taken certain steps to arrest the problems before the gap becomes even more visible. In other words no one thinks he’s like Aamir or Salman. You could poll this in India. On the other hand he has even history going for him which he can combine with soft media/trade coverage and the whole ‘Khans’ label to extend the impression that he’s up there with the big boys. But for this he needs the biggest numbers, at least initially. Hence Farah Khan or especially Rohit Shetty.
This is yet another example of where debates about these things are not honest but also where sincere they’re hopelessly crude. Getting back to the current release too early to judge where it will go but let’s put it this way — Bajrangi was truly loved by everyone, didn’t really here a negative review here, this was the best possible deal for Bajrangi and it couldn’t get to PK (which too was hardly 3I or loved in that way by most of its audience.. and this showed in the trending too). Barjatya was always going to be tricky (this is why I was skeptical for the longest time about this). Not because he couldn’t get big numbers and so on but that his sensibility doesn’t completely match the age. It could be that he gets the family audience to truly love this and it does what Bajrangi couldn’t with repeat viewings. it could also some of the negative responses don’t really reflect the majority. but the point is no one coasts to those highest numbers. Even with the most massive initials films really have to be liked. D3 put up all kinds of records for 10 days or so but still couldn’t get to 300. When films slow down they do so very fast.
I don’t trust anyone but myself in watching movies. 90% of the movies I watch are on FDFS and even if itsn’t great, I do go and watch.. I even went for Byomkesh Bakshy with weak reviews as I wanted to view the setting in a big screen and not on DVD later.
Prem Ratan Dhan Payo Initial Against Other Salman Khan Hits
Thursday 12 November 2015 17.30 IST
Box Office India Trade Network
Prem Ratan Dhan Payo has taken a huge start and is on course to set a new opening day box office record but on real terms it is not the biggest Salman Khan opening in recent times. The film did see slack occupancy at many places in the morning shows and the craze to see the film on the first show was not as much as some of Salman Khan’s other films. This slack was easily covered later on but that was because it was a holiday, if the holiday was not there it may have found it harder to make ground.
The top Salman Khan initials in the last few years would still be Ek Tha Tiger tops followed by Dabangg and Bodyguard. Kick would be next and then Bajrangi Bhaijaan and Prem Ratan Dhan Payo.
The reason for this slack in the morning shows at some places is the genre, Ek Tha Tiger, Dabangg, Bodyguard and Kick are all in that commercial action genre while Prem Ratan Dhan Payo and Bajrangi Bhaijaan are more towards the social drama genre which hold less appeal for that initial audience. It is a similar story if you compare a Dhoom 3 with a 3 Idiots or PK.
Prem Ratan Dhan Payo will record a huge opening day figure probably the biggest ever but if Ek Tha Tiger had come on this day with equal ticket rates and screens it would have done an even higher number.
The figures are audience counts against the capacities in the city for shows conducted before 11.30 am. The Kick numbers are from five multiplexes and Prem Ratan Dhan Payo from seven multiplexes while others are from six multiplexes. The figures of Prem Ratan Dhan Payo are easily the highest but the occupancy rate is less compared to a Happy New Year last year as there are far more screenings. The first day collections in Noida will be an all time record and may even go to 40 lakhs nett. Happy New Year had collected 33 lakhs nett and Bajrangi Bhaijaan was 30 lakhs nett.
Prem Ratan Dhan Payo Opens At Record Pace
Thursday 12 November 2015 12.30 IST
Box Office India Trade Network
Prem Ratan Dhan Payo has opened at record pace and recorded a bumper opening of 70-75% on average across India. Its exactly a year since the word bumper came into play with Happy New Year and before that was Dhoom 3. It is a national holiday infact the biggest holiday of the year so the collections of Prem Ratan Dhan Payo will hold in the range of 70-75% through the day.
The film has seen a record release of 4200 screens in Hindi. The ticket rates are at similar levels to Bajrangi Bhaijaan and PK and have not gone in for the extra premium which happens for the next event film. The sort of opening that the film has taken means it is certain to emerge with highest opening day ever.
The real target is to add around 15% to the Happy New Year total which released on the same day last year which means going over 40 crore nett and that is a stiffer task but chances are there. The best opening was extraordinary across though the nation though West Bengal was lacking mainly as the advance here was also weaker than other parts of the country. It will be the second day which will show where the film stands in the various circuits.
Prem Ratan Dhan Payo has also been released in Telugu and Tamil as Prem Leela and Meymarandhen Paaraayo respectively but the response here is lukewarm.
“Prem Ratan Dhan Payo has broken all box office records on day one as collections looks set to finish in the 39-40 crore nett range for the Hindi version. The film has not only broken the first day record of Happy New Year but also emerged with the highest single day of all time edging past the Sunday figures of Bajrangi Bhaijaan and PK which were 38.50 crore nett apprx. The Telugu and Tamil versions of the film have not collected much and will be in the 1-1.50 crore nett range.”
They’ve mentioned all the figures except HNY which mattered the most. How convenient?
But it has fallen below 40 cr. With much higher screen and rates and hype, it should have comfortably done 45 cr. Two months back, fans and trade were discussing comfortable possibility of 50 cr. This is rather disappointing show. I dont see it crossing 250 cr. My prediction will remain 225 cr.
I think weekend will be in range of 115-120 cr and then big fall. It has another open week to ensure 200 cr.
Salman Khan’s PRDP set to challenge Diwali Record!
Diwali has traditionally been a lucrative time for a major Bollywood release and year after year, an average of two (and at times even three or four) films release on the festive occasion. However, in 2013, it was for the first time ever in the decade gone by that a solo release arrived on Diwali in the form of Krrish 3. The film was a huge blockbuster and then last year Shah Rukh Khan arrived with solo release Happy New Year on Diwali.
This year too, the story is repeating as audience would see Salman Khan, and only Salman Khan with his Prem Ratan Dhan Payo flying solo on its Thursday release.
Here is looking at some of major money spinners during last 10 years (from 2005 to 2014) that have made merry on the occasion of Diwali. Incidentally, while Shah Rukh Khan continues to rule with as many as five biggies in there, Ajay Devgn comes second with four films while Hrithik Roshan and Akshay Kumar have one each.
Ironically, Salman Khan has never been a Diwali favourite and none of his films feature in the list of top Diwali grossers. All of that would change now with Prem Ratan Dhan Payo.
Happy New Year (2014) – Shahrukh Khan
When it opened, a huge Opening Day record was set. This was also the first time when the Rs. 40 crore mark was crossed on the very first day of release. For Shah Rukh Khan and Farah Khan, this was a sweet way of setting up their hat-trick film after Main Hoon Naa and Om Shanti Om. While the weekend was held quite well and the opening week was strong too, the collections did fall from the second week on. The film wrapped up soon but not before entering the Rs. 200 crore club, hence turning out to be a Superhit.
Krrish 3 (2013) – Hrithik Roshan
Did the collections indeed cross Rs. 200 crore mark? Or in reality they are closer to the Rs. 175 crore mark? No one would ever know as even after a nationwide debate, there is no clear verdict till date. Roshans do claim though that they have a double century in hand. We want to believe that, though trade is divided. All said and done, the film stays on to be biggest Diwali box office bonanza ever and all eyes are now on Prem Ratan Dhan Payo to break this record.
Jab Tak Hai Jaan (2012) – Shah Rukh Khan
In the immediate year after the arrival of Ra.One, Shah Rukh Khan did have a relatively better outing with Jab Tak Hai Jaan. The last outing of Yash Chopra was marred in controversy (due to clash with Son of Sardaar). However Shahrukh and Aditya Chopra went ahead with their original plans and gave the film an event release. Mixed response meant that the film crossed Rs. 100 crores but didn’t scale many highs.
Son Of Sardaar (2012) – Ajay Devgn
One of the most lucrative times at the box office was in year 2012 when Son of Sardaar and Jab Tak Hai Jaan released on the same day. Though there was much bad blood spilling over in public due to issue around sharing of screens between the two films, eventually Ajay Devgn did manage to keep his Diwali record intact and hit a century at the box office.
Ra.One (2011) – Shah Rukh Khan
Ra.One could well hold an unlikely distinction of being one of the highest Diwali grosser ever and still face the ignominy of being panned by many. It took a thunderous start and was immensely liked by the kids especially. However, just like the rise, there was a steep fall too with fast spreading negative word of mouth resulting in its downfall. Ironically, it was Shah Rukh Khan’s highest grosser till date back then.
Golmaal 3 (2010) – Ajay Devgn
Ajay Devgn and Rohit Shetty were sure that they wanted to make amends over Golmaal Returns and improve manifold with third in the series. They managed to do quite well too with Golmaal 3 taking a thunderous start at the box office, while eclipsing Action Replayy. Audience came in hordes to watch the comedy which was much bigger and better. The film went on to bring in over Rs. 100 crores at the box office.
All the Best (2009) – Ajay Devgn
Ajay Devgn and Rohit Shetty were turning out to be a successful combo from the Golmaal franchise and their next comedy together, All The Best, proved to be successful too. Though it was Akshay Kumar’s Blue (which released alongside) taking a better start at the box office and All The Best was slow to begin with, it ended up being stable and enjoyed a longer run.
Golmaal Returns (2008) – Ajay Devgn
Even before All The Best turned into a good success, Ajay Devgn had made a mark on Diwali with Golmaal Returns. Though the film was panned by critics all around, audience didn’t seem to mind it and helped the film take a superb opening at the box office. The film managed to cross the Rs. 50 crore mark and though not many associated with it would recall it very fondly today, the franchise was well established.
Om Shanti Om (2007) – Shah Rukh Khan
Shah Rukh Khan’s proclamation of ‘destroying’ anything and everything that came in his way proved true as Om Shanti Om went on to literally crush Sanjay Leela Bhansali’s competition in the form of Saawariya. There was no sympathy shown towards emergence of wonder-kid Ranbir Kapoor as Shah Rukh Khan and Farah Khan methodically planned their campaign and ended up scoring over Rs. 75 crore at the box office.
Don (2006) – Shah Rukh Khan
Shah Rukh Khan knew that with a Diwali release two years after Veer Zaara, he had to make it really big. This was the time when he explored newer avenues of marketing and promotion, hence embarking on a multiple city tours and Paid Previews screening, something that was hitherto unexplored. Result? The film took a thunderous start and was the biggest ever Diwali success with the Rs. 50 crore mark crossed.
Garam Masala (2005) – Akshay Kumar
When Garam Masala released in 2005, the Akshay Kumar-John Abraham combo managed to beat none other than Salman Khan whose Kyunki had released the same day. Moreover, both these films had the same director – Priyadarshan – at the helm of affairs. While he gave his Hera Pheri hero a hit, Priyan ended up apologising to Salman Khan for letting him down with a major commercial flop.
Like all Barjatya movies, PRDP sticks to its beliefs on sibling affection, family values and coy courtship and takes a lengthy (nearly three hours running time) route to assert so. Yet it is not the predictability but the lop-sided sentimentality of his narrative that hurts PRDP’s intentions the most.
Without ever establishing the bonhomie, it jumps to demonstrate the bitterness and reconciliation between bickering brethren depriving the viewer of any emotional connect whatsoever.
Plainly put, phony tears. Quite a let down, given Barjatya’s greatest strength is the warmth his characters exude.
Instead they are pursuing prudish objectives, speaking clunky, soap star lines like suhag ki raksha and facilitating clumsy albeit blatant product placement of brands like Haldiram and Croma.
Grandeur has its limitations too. It can render photographic freshness but it is no substitute for charm or frolic.
A lot of visible effort has gone in designing Prem Ratan Dhan Payo’s opulence and scale but ultimately it is just lacklustre, recycled fare from a man stuck on men versus women sporting contests, midnight kitchen rendezvous and the pristine aura of Prem.
The last one still holds good. Rest is just rah-rah.
Back from PRDP. In short words, this is MPKDH 2. In single word – Cringeworthy!
I’ve mentioned earlier today, its been 21 years since HAHK. But Even 1999-HAHK was looking too melodramatic and Vivah even though made on small scale and limited actors still was good in a way.So the one bad movie – MPKDH inspite having proven script was lost completely with over melodramatic treatment. Samething is the issue in PRDP. Inspite very simple formulaic story, the treatment is archaic and belongs to saas-bahu TV series. Nothing works (except maybe 1 scene works-pre title song) and average songs (except Jalte Diye & title song) and very bad Sonam Kapoor. Salman Khan is alright but bad as Prince. Anupam Kher is good but rest of the cast are bad. Biggest flaw is old fashioned direction(this is coming from who like Vivah to an extent) and very flimsy screenplay. Even the issues ‘Prem’ is trying to resolve appear so silly and handled badly. Usually movies can be average but can lifted to next level with great climax but here last 30 mins are the worst part of the movie(action reminds of B-grade 70’s movie) and that seals the deal.
Don’t think this movie will struggle to do 200 crores… that too coz of opening but that’s about it. I won’t be surprised if this stops at 170 crores. This is another movie which managed to con FOX Studios and make over 50 crores profit by Salman & Rajshri!
another forgettable ‘hit’ film by sallu. this was pretty pathetic stuff but coming from a guy who thought HAHK and HSSH were both big bores…my taste may be different. i didn’t see anything in this movie that would resonate with the masses (well except the title song).
its a very nonsensical boring film. no laugh out loud moments, no real drama and the CGI looks to have been done at SRK’s house or something…but thank God there was no parrot here.
these directors of the past iconic successes have proven they are incapable of adapting to the new age…they adapt in a very superficial way. yash and aditya chopra, subhash ghai and even kjo all fall into this category along with sooraj.
I was always skeptical about Barjatya being that much in tune with today’s sensibilities. Having said that closer to the release event I felt maybe I was wrong and maybe Barjatya, specially with a more masala formula (or at least elements of it), was reinventing himself. Guess that might not have been the case. Either this film is going to be a turkey or some of the responses so far are not representative of the family demographic. even if the latter is true 300 is just very unlikely. You can’t get to that figure without some sort of universal acceptance. eventually it will be about the initial getting a movie past that number but so far that isn’t the case.
This shows something, it is clearly weaker in multiplexes. And in mass center, it is not significantly ahead. It is the case inspiteof wider release. BB had some competition from bagubali aswell.
PRDP had its best day and as reports set for crash. I doubt if it really broke the first day record ? Going by these numbers, i dont think so unless other centers are doing better.
Bihar can definitely be better, vivaah was all time blockbuster there, though average to flop elsewhere.
that’s a good second day but no movie with enough advance that isn’t completely rejected like Besharam will be that poor on the second day. Even in cases where we’ve seen huge drops on the second day (Agneepath fell 50% or something) for one reason or another these haven’t been indicative of the overall trend. In the sense that it’s not been like Besharam in very many of these cases. The other way of saying the same is that even when films are rejected (say Ra One) they put up relatively strong numbers for some days. In fact these days the real collapse usually comes after a week though often it is evident after the initial weekend or extended weekend rush has died down.
In this episode of Walk the talk with actor Aamir Khan, we are transported to his world of movies and hard work and how his attitude of “never compromise on your dream” made him what he is today. He speaks fondly of his wife, Kiran Rao who brought so much of peace and happiness to his life and he thinks that he is lucky to have her in his life. He talks about his early years and why he decided to one film at a time. His says his style is “no style” as he doesn’t want to do the same role twice, he is always looking for a change.
thank you for posting this! expectedly he dodged some key questions and gave politically correct answers to some political questions…but overall solid interview. big takeaway movie wise was that ‘Dangal’ apparently will have a lot of humor…yet still have a strong message.
When HNY Relesed BOI said Opening was over 40 cr then they made it 38.50 cr. Now they are saying PRDP is 39 cr. I am sure final Total will be less then 38 cr. So i record missed. Record gross Total out of reach. I don’t think even family audience will take it far. Lets see where PRDP heads.
Prem Ratan Dhan Payo Tops All Time Top Ten Openings
Prem Ratan Dhan Payo had the highest opening day of all time and became the sixth film to go over 30 crore nett. It is the second film to go over 35 crore nett but the 40 crore nett mark is still proving to be elusive. The figures of Prem Ratan Dhan Payo will not even go to 40 crore nett with the Tamil and Telugu versions added as collections of these are very poor.
The highest non holiday opening is Dhoom 3 and in the top ten, Dhoom 3, Bajrangi Bhaijaan, PK and Kick are all non holiday openings with Dhoom 3 being the only non holiday film to breach 30 crore nett. The first film to break the 20 crore nett mark was Bodyguard in 2011 with 21 crore nett plus so the benchmark has almost doubled in four years.
Prem Ratan Dhan Payo will need to gross another 62.50 crore nett plus over the next two days to beat the Bajrangi Bhaijaan all time weekend record of 101.50 crore nett apprx. Below are the all time top ten opening days in the history of Hindi cinema.
Top Ten Opening Days All Time India
Rank / Film Screens / Nett Gross
1 Prem Ratan Dhan Payo (Hindi) 4200 / 39,00,00,000 apprx
2 Happy New Year (Hindi) 3850 / 36,31,00,000
3 Dhoom 3 (Hindi) 3650 / 32,48,00,000
4 Singham Returns 3500 / 31,68,00,000
5 Ek Tha Tiger 3200 / 30,61,00,000
6 Chennai Express 3600 / 30,48,00,000
7 Bajrangi Bhaijaan 4100 / 26,67,00,000
8 PK 3600 / 25,45,00,000
9 Kick 3800 / 24,97,00,000
10 Bang Bang (Hindi) 3250 / 24,40,00,000
again it’s pointless to say these things. It’s like saying Avengers was expected to make 600m, it actually made 300 but most actors or films would take that as their lifetime totals! It doesn’t mean anything. The count for Prem Ratan.. more or less begins at 200. You don’t get brownie points for just getting there. Because that’s just about the initial and no one’s doubting Salman’s box office pull. This is the kind of argument often advanced for SRK in the past (and if I were a psychoanalyst I’d read more into your comments!) but you can’t use different standards at both ends. Hey we’re shooting for PK but 200 or 250 (or whatever) is pretty good too! And as I’ve said before one could take this logic and extend it all the way. How many films make 200? not many. How many make 100? Not many. How many make 75? Not many. As a percentage (of total number of releases) the number of films getting to any of those totals is in single digits. Of course it gets lower as you keep going up (though note that once you get past 75 you are quite likely to go past 100, there aren’t that many films that stop between 75 and 100). So your entire logic in this matter is completely misleading and worse. But it does represent a kind of defensive posture. I expected Ra One to do a lot more but hey how many films do this?
The other thing here is the standard set of excuses people bring out when their chosen films don’t do those highest numbers (not necessarily referring to you on this point). Hey the script wasn’t good etc etc, otherwise it would have crossed PK (which PK we defined earlier as a very ‘average’ movie.. fine if this is true what does this say about Aamir?!) and so on. of course I know Salman can potentially do that sort of number with the kind of initial he had. But then why doesn’t he? This isn’t coincidental. His entire cinema is a disposable kind that cannot last too long at the box office. Bajrangi is an exception in his work not the rule. Now could he just keep doing ‘better’ films? No! Because his image is also tied to a certain kind of cinema. He can do the somewhat ‘better’ film here but the problem is that if you trade in a certain kind of entertainment you’re not very likely to get meaningful stuff very often in those genres. furthermore the audience isn’t there to watch you do meaningful stuff. The balance is then hard to find. And so the whole ‘ Salman gets more credit for getting these numbers in junk films’ (something I’ve heard a number of times here) also misses the point completely. Salman can ONLY get those numbers doing his brand of cinema. with exceptions once in a while. The star isn’t one independently of the films he does but because of them. Notice how when Akshay does meaningful stuff his numbers are capped off. Yes he’s damaged his box office greatly but even when his films get good reviews and good audience response he’s not able to get to a 100 (baby or whatever), he’s not even able to do what Farhan Akhtar did with BMB. Why? Because there just isn’t a big market for Akshay doing more meaningful stuff!
The point here is that if you start with a faulty presumption you shouldn’t be surprised with the results. Since at least Ghajini both SRK fans and Salman fans have been trying to catch Aamir’s absolute numbers? Why hasn’t it happened in at least these 7 years? There’s no mystery here! Again with Barjatya yes the film could potentially do this but is Barjatya the right guy to satisfy today’s audience completely in a family genre? Family genres still work but do family genres made like the 90s or 80s work? That’s the important question here. The same goes for SRK and Shetty. Surprises can always come about but Shetty normally isn’t a strong trending director. His best trending films (barring the first Singham) cannot get you to 300 (without inflation becoming a huge factor eventually.. it’s like 3I was crossed but never really crossed).
The difference is Aamir doesn’t market Talaash to make 300. He knows his limits. There is no jumping or latching onto anything. He just backs better scripts period. If you eat garbage , garbage will keep coming out the other end.
We saw what happened when SRK latched onto Gowariker likewise Hrithik. It was no Lagaan.
The logic will seem false based on your thinking, not everybody elses. Your logic question SRK as a star and have tried to put an argument that abhi is boxoffice star. but that’s another matter…
Again, I’m not trying to say that if PRDP goes Bombay Valvet or Beharam way, it’s a success. What I’m saying is if PRDP lands somewhere where HSSH did, it’s a success. It doesn’t have to be on the level of HAHK to be called a success.
Going back to my other point, are all bachhan films after sholay considered flops since none of them were able to make what Sholay did?
I’ve already responded to that foolish Sholay point and unless you’re saying Bajrangi or PK are Sholay (in which case you will have compounded your foolishness with another one) there’s nothing more for me to respond to.
On the rest actually I’ve not said the same things about Abhishek at every point nor about SRK but appreciating the distinctions might be beyond your pay grade..
I have actually never heard of a film that did big business because of such editing. This is an old practice in Hindi cinema. It was much more common once. But I just don’t know of any example where forget a failing film, even an average film suddenly became a hit. and the reason is simple. Time is relative in a theater (as everywhere else in life I suppose!). If you really like a film you don’t mind it, if you don’t even 2.5 hrs or 2 hrs is too much. What happens is that when films are already short and don’t work people don’t think about this angle but when they’re not it’s a knee jerk reaction to edit things. Now people will often say it was alright but went on too long. Actually what they’re really saying is they didn’t like the film much. Did anyone have a problem with Lagaan’s 3 hr 40 min? Some folks had issues with K3G 3.5 hrs but because they overall liked the film there was no larger problem. This is just a huge myth. Again I don’t know of any film which seriously altered its box office fortunes because of editing of any sort.
Z: The issue with the ending is not the long drawn climax but the ‘false climax’ scenes which is the fault of screenplay and which can’t be edited shorter. It appears its the end scene, then they extended to another and then another scene which appears as the end and then there is another scene, so on.. which tests the patience of the viewer. Once that happens.. its hard to recover.
There has to be some think tank (not the producer, director, actors involved) that watches the whole movie after it’s completed and see if it needs any editing or reshooting. But that would be very costly and in this day and age where everything is time driven, won’t work.
“….On the whole, Prem Ratan Dhan Payo will be loved by one section of the audience and will not find favour with youngsters initially, but it will, in the final tally, emerge as a comfortable box-office winner for all concerned. It will do huge business at the ticket windows. Despite its high cost (investment of Fox is to the tune of Rs. 235 crore), profits are assured. In fact, the film may go on to earn very well if the ladies audience patronises it in a big way – which is a very big possibility.”
I know that but he doesn’t have a final Indian gross. He’s not saying it’s a 300 grosser or something. In any case the moment these trade guys say a film is comfortable in terms of the investment at what not that’s a sure sign something is wrong. It’s always a defensive explanation. Still very early, all sorts of totals possible, but some danger signs are already there.
Of course going by Master’s short review there is no doubt the staging of the movie seems problematic and this will have to rely on the full run to enter the profitable territory. Family audience comes out on Sunday so that may give some inclinations as to where this movie is heading…
Probably you were right on Barjatya and the limitations to this genre in this day and age. Somehow the promos had given a fresh feel and songs were likable and picked up by younger crowd.…. Now even if one goes by Nahta’s review where he has simply revealed the full plot line it does sound interesting on paper to say the least…..so it’s the treatment and naivety which raises question marks here!
Interestingly Rangan who is normally very harsh on Salman has not completely trashed the movie so I guess there are few redeeming factors….
I forgot to mention that Salman’s character is called – Prem Dilwala and everyone refers to him as ‘Dilwale’ in the movie like.. Dilwale idhar aao.. udhar jao.. looks like movie merchandising along with Haldiram’s(which is very much in the movie everywhere) 🙂
Furthering my last comment it has also become abundantly clear, we may never get that wholesome movie connecting to everyone…..the quintessential 500cr netter of our times. These 3-4 current stars are past their prime and younger ones not connected yet to give it the start required to get to these totals. HR had age on his side to be relevant to this new box-office dynamics and be a pan India star but he is too self obsessed and muddled with personal matters….
On top of that we are mentally too disintegrated / blocked / prejudiced to enjoy and appreciate a single product. There are so many filters in society and it is no more a black and white Bachchan world of the 70s that audience could simply stand for good over evil…..
MSDhoni, pull out MPKDH reviews.. even that will have average/good reviews as well… the point being that the script and concept is not disastrous but the issue is the ‘treatment’. Critics will think chalo ek family drama hai and in the climax everything ends well but the treatment mars movie watching experience. Also, there might not have been direct remake of ‘Raja aur Rank’ but there are innumerable movies made on the same concept many times in Hindi movies and its lost that appeal as well.
As I have been saying all along, you take out SRK/salman/aamir/HR and you really don’t have much in Bollywood.
We better hope, specially srk/salman/aamir don’t go in to a major decline like the stars of past. Seems very unlikely for at least another 5 years.
Ranbir Kapoor has what it takes, he just has to make sure he signs good projects.
I think Ranveer sing will make it to mid (akshay kumar, ajay devgan level) level too. He has potential to reach Top level too if he gets few big projects. He already has BM coming up and Aditya Chopra next.
@“These 3-4 current stars are past their prime”
Do you mean in terms of age or boxoffice?”
Z , I mean age wise. When you look at Salman or Akshay playing on MTV ‘Memory Stick’ & Sony Mix ‘Acche Din’ singing Kaise Lagta hai…..( Baaghi ) Chura Ke Dil Mera ( Main Khiladi )…..you have its been ages !!
Box-office wise they are just collecting ‘cream off milk’ as there are no takers from the younger lot.
Also want to stress the fact that too much emphasis on so called ‘family film’.. I’ve seen reviews like.. this is family film after ages.. we don’t know when we’ll get next one, so we should watch this.. blah blah.. as if other movies by Salman himself(what was Bajrangi Bhaijan?) or other stars have nudity or which can’t be seen by families. BS!
Saw it, didn’t like it. No real plot and the songs are just HORRIBLE (barring title one) and there are just too many, the film just doesn’t go anywhere and its 2nd half in particular just plods along, it also doesn’t help that Salman Khan never really shows up like he did in BB, big negative in my opinion. But I also know that I’m not the target audience for this so maybe it is doing wonders with the families and ‘saas bahu’ type women.
This one is not turning out to be the box office hurricane I thought it would be once the first trailer came out. I don’t think that there is a repeat audience here which means 300 CR will be tough to reach. I am guessing it will end around D3 numbers.
Dhoom 3 case is different.. only metros had negative feedback but the issue is everyone still went out to check it out once.. that was enough… and rest did great to touch 275crs. Here metros have negative feedback but other folks will skip it.. its not a must watch movie like D3 or big screen spectacle. It is not D3 like event movie at all.
I agree with this point. D3 might have been uniquely in a class of its own. The other thing is that sometimes the negative feedback can be exaggerated. Also the negative feedback was probably not intense here. So enough people didn’t like it enough but there weren’t probably too many who really disliked it.Combine that with the point you’ve mentioned and you probably didn’t have anyone skipping out on the film. That’s not going to happen with a Barjatya film. In fact the opposite is true. This genre is so cheesy that you actually have to convince a younger demographic to really show up here. Salman probably gets a lot of them in but not everyone and more than this the moment the film gets negative reactions this demographic is also more adversely affected than any other. Because it’s then just not the ‘cool’ thing to do!
But I’d repeat a larger point here. This is yet another reason why beyond just thinking of films as hits or flops or whatever one must examine these sorts of sociological factors. And they’re not irrelevant because they might tell us that sometimes a film isn’t as successful as the numbers might suggest and vice versa. In other words the profitability argument is paradoxically not always the best index. Or better still you can generate profitability without an audience truly liking a film if you structure it in certain ways. And there are some related scenarios here too at the other end and so forth.
D3 had the first Aamir Khan double role, plus Aamir-Katrina pairing, plus the spectacularly shot Katrina Cirque number, plus overall great special effects and cinematography. There was much to look ahead to, and it was darker than the tempo of previous movies in the series. To say that it underperformed at 275cr wud be stretching it a bit. It was not a message movie like PK and BB, so in 2013, it perhaps stretched out to at least 95% of what it cud achieve.
PRDP with a supposed wider base audience ought to easily leap frog 275cr, if it has indeed been a well made movie. Otherwise, it is a disappointment.
Prem Ratan Dhan Payo Set For Solid Second Day
Friday 13 November 2015 22.30 IST
Box Office India Trade Network
Prem Ratan Dhan Payo is set for a solid second day of around 29 crore nett. The film is showing a 25% drop on its second day which is par for the course after a big holiday. The hold is excellent in the Hindi belt with strong business in Gujarat / Saurashtra, Rajasthan, UP, CP Berar, CI and Bihar.
The fall in business has mainly come in East Punjab and Delhi city and this is probably because the first day was very high for this type of in the North belt. It remains to be seen whether this area can settle tomorrow as it is important for the long term success of the film.
The two day business is a huge 68 crore nett which already puts it amongst the top ten weekends of all time in just two days. The weekend record of Bajrangi Bhaijaan will be hard as the film has to grow well on Saturday and that won’t be easy.
will probably be fine for a week, if not then overall response is truly negative. The other thing here is if you’re going to make a movie with that many songs you better have a good soundtrack (for that genre at least). Also felt since the beginning that Sonam was wrong for this one.
Since we are talking numbers……if sat and sun can do 65 net
( a good possibility in view of big Sunday ) she will end up with a min 180 ( in 8 days ) and from thereon even a 60% drop in 2nd week will take the movie to 250cr net. Rest is unknown and will depend on the public……..!
Some of the ‘records’ (all part of the marketing i guess) that this film is breaking are totally untrue. The opening day record is as muffled and unclear as HNY’s one and is anyones guess! I just a read a tweet from fox star india claiming $1.6 million is a record day one overseas gross, a total lie: dhoom 3, hny, ce and bb i believe all had better day 1 overseas grosses, dhoom 3 and and hny as i understand where almost double! What reporting!
The thing is PRDP is a Thursday release in overseas so it does not count much. One may compare the U.A.E numbers but then Salman is unbeatable in that territory. Rest of the world weekend starts today.
On HNY, yes my bad… it was Friday release so 2nd day was a Saturday which is still a holiday of sorts.
Such obsession with crazy numbers for ordinary films should be discouraged and comments need to be banned. Its unhealthy. How long have we been having BO fights now? Month upon month, year upon year, constantly debating on who the hell in this circus is No. 1? It’s rather amusing to say the least and has become part of the Great Indian Tamasha. Here we are, discussing crap like this like freaking Marwari businessmen as if we stand to personally gain monetary rewards out of it. Any doubt we are collectively getting stupider by the day and instead of discouraging bad cinema like this we look it as something to defend our stars with. “so what if the film is crap, at least my fav star opened it beyond 200 crores.” All in the while, a good film with a decent box office return if not more will lay ignored and forgotten.
Satyam, just a suggestion . this useless BO discussion needs to end. People must be reminded this is a forum for all discussions centred around the quality of a film, interviews and special features and what not, but certainly not solely a miscellaneous trade guide. We already have idiots like Komal and Taran who have misunderstood the meaning of and dumbed down Bollywood to its lowest. We don’t need more self proclaimed idiots carrying on the legacy.
but i think its a bit harsh saying “a good film with a decent box office return is forgotten.” i’ve read plenty of good conversations including the box office of good films here on this blog. sometimes we get too short sighted when a big crappy film releases (mostly sallu films) and think this is all we talk about…in reality its not.
Maybe Satyam can have a ‘dedicated’ thread called ‘Box-office baniyagiri and other such shite.’”
This has been suggested ad nauseam. Nothing new at all. Also put on your specs and read the name of this thread.. its about boxoffice. You guys came to wrong thread.. there is another thread.. ”Discussing pretentious movies as quality movies by similar hollow folks” and take up this discussion over there.
Ever since I commented on DILDO-WALE trailer, you seem to have taken it to heart more personally than your phony idol himself. I will wear my specs but it might do you some good if you try separating baniyagiri a bit from cinema.
And when I said a ‘dedicated’ thread I meant like a ‘dumpster’ thread where you can dump cr(wh)ore discussions EVERY MONTH collectively so that one doesn’t have to smell this crap every week. Contexts, as usual, seem to be lost on you. Only literalism is what you get I suppose.
My comment was ONLY on how dick-measuring of the Khans has of late become the hall-mark of this blog. Increasingly, it’s only come down to whose genitalia is longest in what week – whether it is ‘festival’ week or work-week.
Nobody is suggesting box-office discussions should NOT be part of the blog; it is just an observation on the trend developing here. I do not completely agree with Tony on his statement but overall I do that this ‘collections’ business is becoming more prominent here. All you need to do is check the comments with and without financial discussions and you get the drift. And that’s fine. To each his own.
And do you only get binary stuff? So if any body talks of ‘quality’, it means ‘pretentious’ is it? If anybody talks of TDKR, it is trying to be over-smart is it? I enjoy ALL forms of cinema as much as the next person. Going by my history on this blog at least, you would have guessed that. But you seem to be such an ‘obsessed’ FAN that your eyes and brain well-up with blood stopping rational thoughts.
And you and/or whoever else it is; it shows the ‘tolerance’ you folks have: For ALL the phony opposition you are ready to display at the drop of an undie – 1 comment and you don’t have the pair to take it on your chin. What a contradiction! The guys/gals or who-ever/what-ever it is – those ‘champions’ of ‘mango-man’ likes and dis-likes – don’t have an ounce of tolerance for even a single opposing view!! Wow, what MASSY thinking and tolerance versus the pretentious thought-farts of folks like us!!
Anyway, carry on. I hardly comment on the box-office thread. I merely seconded Tony’s thought as to the trend here. I don’t own the blog nor am I responsible for anything here. If dick-measuring is the ONLY thing that gets off some folks, so be it.
And if my comments are so nauseating for you, stay away from whatever ‘pretentious’ I write like you stay away from AIDS.
The point made wasn’t against discussing Prem Ratan Dhan payo or Dilwale or whatever, but the observation was on how every film is judged on the basis of its BO worth and the amount it made on the weekend and the opening show. Everyone is free to like or dislike the kind of cinema they want, but when BO discussions take precedence, it drowns every other thing. And its not just these statistics in this thread, but everywhere. Have we entered a stage where a film is viewed as a product and not cinema?
And yes, it is an opinion. If people want to counterargument with something constructive, I won’t have an issue. If the comments are personal, let them admin decide.
its ok tony…sometimes its fun reading these comments. This site is clean and well maintained with no foul words and passionate people in their own way. I come to this blog once in a while and refresh myself reading the comments. Its free-time fun. I am sure there are many people like me.
@Any doubt we are collectively getting stupider by the day and instead of discouraging bad cinema like this –
Sir, are you going to decide what is good cinema and bad cinema for me? Do you believe in diverse/ contrasting cinema and views/ interests?
@All in the while, a good film with a decent box office return if not more will lay ignored and forgotten.
‘Be the change that you wish to see’ – Mahatma Gandhi
So why this blame game? Why are you not posting the comments you wish others to make on a thread close to your thinking / heart. This forum has all sorts of discussion and has anyone been stopped here from making sensible comments. There are all sorts of posts and why don’t you choose one and comment there and I am sure there will be many like minded who will participate.
Why do you wish to censor the thread itself dedicated for box-office??? In fact the minute one decent long comment is made on any movie, I have noticed Satyam making it into a separate post…..to encourage the writer. There have been post on Masaan, Baahubali and like minded / majority here have commented.
Further how often does this happen? How many big movies are released in a year? Hardly 3 or 4 so what’s wrong in taking that up? Is this a daily course?
Please write a good post / comment that interests you and I assure you will get a lot of responses. Pls don’t put any constraint unless it is something personal.
Anyway this is the last on this topic from me and Owners of this blog can take their own decisions.
MSDhoni.. ignore these silly folks who don’t contribute majorly to the blog but just removing frustrations on other’s comments. As if they are writing great reviews and quality discussion and its getting lost in this thread…. WTH!!!
Today morning it dropped quite a bit even though it was a Saturday. There has been a pick up since but it is looking likely it will be less than Friday. Overall this is following the HNY trajectory till now.
Went to see this last night. We were busy in the evening so went for the late show at O2 and therefore didn’t end up getting home till 2am…on weeknight!
WASTE OF TIME!
Watched HAHK again a couple of weeks ago and it was just so much fun. PRDP is insufferable. Actually, to be fair, up until the intermission it was watchable and kinda fun at points. But as the film goes on, it just gets worse and worse. It’s as bad as MPKDH. I dunno why he wanted to make such a BIG film. Clearly he’s better at smaller stuff like Vivaah (which I remember enjoying).
Anyways, the songs are mediocre (except Jab Tum Chaaho) and Sonam is terrible. I kept thinking of how she’s not even 5% of Madhuri (the comparison only came to mind because of Salman’s ridiculous comment that Sonam is better). I’ve liked Sonam in some films but she’s just so out of place here, and just comes across as fake. Neil is equally bad. There’s basically no plot and no logic, but unlike HAHK there’s no characters we care about or songs that are a pleasure to watch.
Salman was the best thing in the movie (and that clearly doesn’t bode well!). He carries it, but can’t make up for it being a crap film.
Baradwaj Rangan catches up with Peter Bradshaw, The Guardian’s chief film critic, who was at the Mumbai Film Festival mentoring future critics.
Do you think reviews are a kind of consumer report, or are they an art form?
They’re certainly not a consumer report. I can’t say whether or not you will like a film. I hate the idea that a critic is “reliable.” I’m not reliable. I’m not a Volkswagen. What kind of moron are you to think critics are reliable? I’ve been reading critics all my life. I’ve been reading Pauline Kael, Clive James, Christopher Hitchens – and it never occurred to me, even when I was 16 years old, to think of them as reliable. I knew I could rely on them to entertain me. I knew they were reliable in that sense. But I’m not out there road-testing microwave ovens – and I hope that, over time, people understand my various prejudices and idiocies and idiosyncrasies, and they may perhaps do the opposite of what I do. They may say, “Peter Bradshaw is such an idiot. If he likes something, I won’t. If he hates something, then I’m going to go and see it.” And that’s fine, fair enough.
Day Three Critical For Prem Ratan Dhan Payo
Saturday 14 November 2015 14.30 IST
Box Office India Trade Network
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Prem Ratan Dhan Payo has done excellent business over the first two days amassing the highest ever two day figure of 68 crore nett plus but even with these record numbers the third day is critical in terms of where the film will go. The film is a success but to go on and do that really big number of 250 crore nett plus it will have to hold on Saturday and return similar figures to Friday.
The Saturday morning figures are showing a noticeable drop of 20-25% compared to yesterday, this is the case for most big budget films though and from afternoon onwards they tend to start to cover and even go past the previous day depending on how high the previous day is.
The film will start to cover this drop from the afternoon but it remains to be seen can if it get to the Friday level or not. The difference here with Prem Ratan Dhan Payo is that it is the third day and has already consumed a higher amount of business than a normal Friday release so may find it tough to equal the business on Friday. A minor drop on Saturday will not matter much but if collections turn out to drop 10% or more then the film will find it hard to become that huge hit.
PRDP spells trouble for BM. This genre is very scary if not made properly.
Movies and their promotions are increasingly becoming like the political elections where promises are made to be broken. Another one bites the dust.
This clearly was money making scheme and Barjatya may have been in need of funds. If one removes Salman’s fees this movie will not cost more than 40-45 cr at most. I don’t know what the compulsions were but its commendable for Salman to support Barjatya’s senility here. Caves ??? Really Sooraj ?
Meanwhile Tweet updates on PRDP
taran adarsh @taran_adarsh 9h9 hours ago
#PremRatanDhanPayo Thu 40.35 cr, Fri 31.03 cr. Total: ₹ 71.38 cr. Hindi version. India biz. Should cross ₹ 100 cr today [Sat]. TERRIFIC!
taran adarsh @taran_adarsh 9h9 hours ago
#PremRatanDhanPayo *Day 2* is BIGGER [₹ 31.03 cr] than *Day 1* of #Kick [₹ 26.40 cr] and #BajrangiBhaijaan [₹ 27.25 cr]…
taran adarsh @taran_adarsh 9h9 hours ago
#PremRatanDhanPayo is being patronised in a big way by families and that reflects in its biz. Fri was FAB, crosses ₹ 70 cr in 2 days..
Having discussed this movie yesterday at a Diwali Party. Everyone hated it and found it utter bore. The movie actually destroyed their diwali festivity and sprit of fun. People watched Tanu Weds Manu Returns instead on DVD. Having said that, we might still watch PRDP possibly today.
Watched prdp at INOX raghuleela theater vaasi today afternoon.what a waste of time and money ..apat from earnest acting from salman n 2 songs namely theTitle track n jalte diye nothing was good. Totally disappointed from barjatya. N wonder how come this can b the movie reuniting salman n sooraj.. Storyline may b good but the treatment in making it a full grown movie is a total hogwash ..
“Storyline may b good but the treatment in making it a full grown movie is a total hogwash”
Exactly.. we can still make a good movie out of that storyline but the treatment is so alien for everyone to get connected. Also, the resolutions are silly.. 1-football, 2-give away palace and property 3-not kill him in the end. Is that how you ought to resolve differences in real life? Is that the lesson we need to learn from Barjatya?
Master, there is nothing much an English speaking viewer can discuss about PRDP. There is simply nothing there which one can connect even for a short while. Its unlikely there will be even one positive compliment on any blog. The movie is simply too convoluted to be even have a sane discussion. I mean why would one have a cardboard sheesh mahal on the edge of Niagara Falls and let kids play on the porch / portico ?
The songs which one enjoyed prior this movie have also started to sound stupid looking the way they were placed in the movie. It was the opposite with songs of BB which made a lot of sense after the film viewing experience.
If Nahta is correct with 250cr expense to Fox then they plundered / violated Fox with a lot of money with ore arranged timely media leaks on sets / settings / action. It seemed very cheaply shot and production values half of MPK/ HAHK.
I saw that KRK’s video that Salman and Barjatya has conned FOX by saying this movie is 100 crs and they spent only 35 crores and Barjatya took additional 20 crs as his fees and Salman took the rest. Salman kept mentioning multiple times that this is his biggest movie interms of budget and scale which is a joke considering ETT was shot over multiple countries with very high budget and action sequences, songs, so on. Barjatya has made over earned 40-50 crores and he’s set for rest of his life even without making any other movie.
प्रेम रतन धन पायो
बहुत सारा धन पायो
हद से ज्यादा धन पायो
पर आप इतना धन नही पायो
इस लिये देखने मत जायो
सलमान खान डबल रोल मे आयो
सोनम कपूर को राजकुमारी के रूप मे दिखायो
राज घराने मे iPhone/iPad चलायो
खूब सारी लग्जरी कारे दिखायो
फालतू की सजावट करवायो
हर किसी से इंग्लिश बुलवायो
देश के सारे कल्चर एक ही महल मे घुसायो
अनुपम खेर से फालतू डायलॉग्स बुलवायो
हम तो गलती से देख आयो
कह रहे हैं मत जायो
कह रहे हैं मत जायो ।।
The damp and depressing Bengaluru weather. A nauseating ‘ Rajkahini’ the night before. And then at last, the heart has been suitably warmed. And the faith in humanity restored…somewhat.
Yes. I am just back from Prem Ratan Dhan Payo, and I have a couple of things to announce. First, Sooraj Barjatya hasn’t lost his touch. Second: I enjoyed this more than ‘Bajarangi Bhaijaan’. And a couple of disclaimers too. First: I think fairy tales are the best tales in the world. And I have tremendous affection for films that don’t pretend to be real. And second: I saw the entire film imagining Katrina Kaif in place of Soma Kapoor. All through the film. And the trick helped.
The film breezes through the first half like a song, I scarcely could believe it was interval already. The second half too chugged along nicely till the fight scene in the Sheesh Mahal which is a bit clunky, I thought. But Sooraj makes a good come back with the parting scene involving the two Salmans. Someone trying to make things look real would have finished the film with the golden-hearted Prem Dilwale returning to Varanasi and the princess tearfully returning to a somewhat chastened Vijay Singh who will try to make her happy, aided by the lessons learnt from Prem. But not Sooraj. When jiggles coquettishly to her version of ‘ Aaj Unse Milna Hai’ with both of them on the cycle rickshaw we know we have been watching a fairy tale all along. And yes. Won’t it be loverly…if this world was a place where a princess would leave a palace to marry a Ramleela-wala because he is one who knows how to press her happiness buttons?
Soooraj is at his best in mapping the contours of the relationships…be it the romantic one between Prem and the princess, or between the prince and his siblings. I liked the dramaturgy at the crucial turns…the instance when Prem breaks his maunvrat, or when the younger sister cant hold herself back from joining the football match, or when the princess tries to seduce Prem amidst burning lamps floating on water. Sooraj is good at capturing the undercurrent of erotic charge simmering under all the Bharatiya samskriti, and the writing on the back with the feather and the fetish of the original prince to see the princess in her little black dress proves that.
And no, I didn’t find the ideas or their execution in the film outdated. What is outdated about loving one’s siblings? In fact I cried in the scene where Salman announces that he has decided that hi sisters would have equal share in not only the palace but all that their father had left behind, and in return could he have his share of his sister back.
And no, I didn’t feel there were too many songs. Not one song was out of place or overstayed its welcome. ( Except perhaps the lines from the Bachpan song appearing during the fight sequence.) Sooraj was as inventive with his picturization as before. I loved the puppet dance in the Pyar Tum Karte Ho number. Such a wonderful touch. Loved the leap of imagination in the football match and the elegant setting and the lead in of the Diya Jal Uthe song. The choreography of all the other songs, especially the title number, had distinctive character and a plenty of charm.
I was pleasantly surprised by the aesthetic choices that Sooraj made at various pointsn both the scripting and production design. His choice of colours , especially the soft pastels for the princess was quite exquisite. He pulled off the royal setting in modern times without looking anachronistic at all. The cars, the interiors, the staff; were all well-chosen. (Only the bouquet carried by the prince to greet the princess at the station, I thought, was not grand enough.) Yes, the Sheesh Mahal amidst the cascading waters was a bit fanciful, but what I like is that he used to capture the childhood play between the siblings than to stage an extravagant dance number. I liked the piece of filmy wisdom offered in this context: Letting children play together can be as ennobling as making them read the Ramayana or Gita.
Of course this film won’t fly without Salman. He has grasped the character of Prem with such perfect intuition that he can’t play a note wrong while portraying him. He is equally in character in the short bits when he has to be Vijay Singh. This is a bravura performance worthy of a lusty round of applause. The award juries will have a tough time choosing between Bjarangi Bhiajaan and this one while deciding to honour Salman who seems to have taken his acting a lot more seriously of late.
So what falls short? Firstly, the screenplay. It is good, but not great. It is kind of weakened by the intrigue and fight sequence involving Neil Nitin Mukesh and gang as this territory is not where Sooraj is at his strongest. The story is a bit of an old wine. And the madness that Prem wreaks in the place could be used more tellingly by someone like Hirani. But what is most fatal, even to the extent of making it not work for many, is the choice of the heroine. Sonam just doesn’t cut it. I felt so she is not voluptuous enough. When she heaves her bosom and sings ‘ Saanso se sargam se diye jal uthte hain’ the scene cries out for someone like Katrina. The same goes for the scene when she makes Salman write on her bare back. Or when she comes out in her little black dress. The scenes don’t carry the erotic charge that is written into them. Also, you needed someone who could match Salman in charisma. Bhagyashree could do it against a debutant Salman in MPK, Madhuri could do it in a more evolved Salman, in HAHK. Here Sonam looks gawky and not the goddess that Prem would be ready to worship by just seeing her picture on a poster.
But as I said, I sat through the film replacing her wit Katrina in my mind, and quite enjoyed it all through. I will be looking forward to the next film of Sooraj Barjatya. I like the way he creates his own world and tells his quaint stories in a language that is entirely his own.
‘ I saw the entire film imagining Katrina Kaif in place of Soma Kapoor. All through the film. And the trick helped.’
LOL why dont you see all Jr b films thinking of salman, and so rest of the film thinking of who is most suitable for which part. All films will be atbb, in your personal experience atleast.
Let’s talk about hypocrisy now. But, i don’t want to start arguments leading to a known conclusion still no conclusion.
Because conclusion is there is something in us, beyond physicality which likes or dislikes, and then we find excuses to put in words to convince others how good it is. And that known (not a thing) is eternal and self(God in itself).
i was watching sadguru and i understood how it is personal experience which everyone strive for to know onself to understand known and known.
But there is no need to say you assumed katrina in place of sonam. it sounds funny, Though, it is definitely the truth. But, then questions comes why dont you assume katrina for rest of the actresses, all of your experiences will be better. You don’t know how you can or cant do that. And it is true for everyone.
So, it is enough to say that you liked it. That’s enough.
@Of course this film won’t fly without Salman. He has grasped the character of Prem with such perfect intuition that he can’t play a note wrong while portraying him. He is equally in character in the short bits when he has to be Vijay Singh. This is a bravura performance worthy of a lusty round of applause. The award juries will have a tough time choosing between Bjarangi Bhiajaan and this one while deciding to honour Salman who seems to have taken his acting a lot more seriously of late.”
I second that motion! He’s very compelling in both these movies this year.
‘ I saw the entire film imagining Katrina Kaif in place of Soma Kapoor. All through the film. And the trick helped.’
Now we know why Mohanty-da compared COCKTAIL to Guru Dutt’s film/s. He imagined Waheeda in place of Deepika and Mala Sinha in place of Diana and that did the trick. Still begs the question Gurudutt in place of Saif or Homi?
“Prem Ratan Dhan Payo is heading for a 125 crore nett plus extended weekend as the film comes through well on Saturday. The film grossed around 28 crore nett on Saturday which takes the business of the film to 96 crore nett and the film should go over the 30 crore nett mark on Sunday for a four day total somewhere in the range of 125-130 crore nett.
The collections on Saturday have dropped a little compared to Friday but it is a minimal drop and the problem would have been if the drop was in the 10% plus range as then it would have been towards 25 crore nett making a 30 crore nett Sunday difficult and weak trend.
The trend at the moment is good but solid growth on Saturday would have made it an excellent trend and a sure shot for a very big number. The business so far has ensured a HIT and now it will be Monday that will tell what sort of final number the film can go to. The dubbed Tamil and Telegu versions have turned out to be a bit of fiasco as three days will just about cross 1.50 crore nett. The collections were expected to be low as only action films can do a little bit version when dubbed but still not this low.”
Huge Numbers For PRDP But Still Case For Concern
Sunday 15 November 2015 14.00 IST
Box Office India Trade Network
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Prem Ratan Dhan Payo is has notched up huge numbers over the first three getting close to 100 crore nett and that too with just one major holiday. It all looks good and rosy on paper with such huge numbers and a solid Saturday trend also which is day three but there is still a case for concern as the trend in key areas are not as good as collections suggest.
In this multiplex era, Delhi city and East Punjab have become hugely important, not just because because the huge multiplex concentration in the area but because how well they sustain in the long term when a film works. Prem Ratan Dhan Payo is not really performing in this belt as collections came down on Friday to low levels and fell again on Saturday.
The last five years have probably not seen a film sustain in long run when Delhi and Punjab is not performing barring Singham in 2011. Delhi city has grossed around 6 crore nett in three days while Mumbai city is around 8.50 crore nett and normally Delhi city should be more or at worst on par. Its not a problem at the moment as Mumbai and Central India are phenomenal and keeping all India totals high.
A Hum Saath Saath Hain in 1999 could not perform in Delhi city also but still came through very well but the importance of Delhi city is probably more today and if Delhi and Punjab come down heavily on Monday from these levels then a real big number won’t happen and even 200 crore nett will be in doubt despite these huge opening numbers. A low Delhi city and Punjab has a huge affect on numbers after the weekend due to the huge sustaining power in these belts.
Diwali is not lucky for Salman. Incidentally the last ‘Hit’ Salman film on Diwali was Barjatya’s HSSH in 1999. After that he had KyunKi, Heroes, Main aur Mrs Khanna, Saawariyan and Jaaneman and all of them didn’t work. PRDP works to an extent to calling it as Hit but comparatively it will be a HSSH type hit of its time not on expected lines.
I think Diwali just isn’t lucky for anyone period. This year PRDP under performed, last year was HNY, before that Krrish 3, before that JTHJ-SOS, then Ra.1, Golmaal 3 (only movie that didn’t underperform), 2009 was all flops and an okay All The Best, 2008 Golmaal Returns underperformed after a huge opening. Even Don 1 to an extent underperformed after a huge initial. Basically in the last 10 Diwali’s, only 2 films have done Blockbuster business- OSO and G3
“I think Diwali just isn’t lucky for anyone period”
I’ve said it before, Diwali is great for getting the one day record, after that it’s just like any other weekend. In fact it may be even worse than other regular weekend because the holidays are over and people are now thinking about going back to work and catching up.
Best time to release a movie is what Christmas/New year. You get like 10 festive days.
Baat Modi kee naheee hai dost, baat India first kee hai !!
Khurshid had the gall tyo say in Pakistan that Indian Govt is not reciprocating the initiatives of Sharif !!
Bhai ‘woh Hindustaan born ho hee nahee sakta !!
Khurshid’s statement was stupid to say the least. However Mani Shankar Aiyar often says things that are not dissimilar. The problem is that anyone who says these things can be criticized in the same way or at least the criticism occurs on the same level. however if one says these things as a minority there is an added layer to the criticism. And here things get very problematic. On your Bachchan comment earlier it’s true that Bachchan made a very generalized sort of statement. Nonetheless within the present context and specially given he normally doesn’t say anything at all the moment he says certain things they cannot but make one think of everything else that’s going on. And of course the media (and mamta banerjee!) jumped on it. Precisely because bachchan is so careful in these matters he wouldn’t say even this much without thinking about it. It’s different calling someone a Congress stooge or whatever (as has been the attack on others) and calling them secret Pakistanis (much less calling an entire electorate Pakistanis if they don’t vote for you but that’s another matter). Now for some of these reasons I have been critical of some of SRK’s remarks in the past because he’s sometimes flirted with this ambiguity. Don’t want to reopen those debates here. But then I don’t like it either way. I don’t think that whether Khurshid says this sort of thing or Aiyer does (on that note there are others in the Congress too who’ve made these kinds of statements from time to time), that there’s any extra meaning when the former does it.
Prem Ratan Dhan Payo Finds It Tough On Sunday
Sunday 15 November 2015 23.30 IST
Box Office India Trade Network
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Prem Ratan Dhan Payo is set for its worst day on Sunday as it found it tough going with business expected to fall. The best case scenario will be collections likely to come out the same as Saturday but its more likely that collections are around 26-27 crore nett which would mean a four day weekend of around 123 crore nett. Its a huge number and ensures a hit film but no growth on Sunday means sustaining at good levels may be hard on weekdays
The damage is being done in Delhi city and East Punjab as the collections drop in the area again. At Saturday levels you would have expected good growth in these areas but it seems that this belt has rejected the film. The fear will be if these markets crash on Monday then the film may fold up pretty quickly.
The scenario is totally different in UP which is also a part of North India as it has all time record collections even beating Bajrangi Bhaijaan. Its similar situation in Rajasthan, CP Berar, CI, Gujarat / Saurashtra, Bihar and Maharashtra. The all India number is huge but the territorial business ranges from blockbuster to hit to average and the areas where it is average carry a lot of weight in the long run.
Noida is part of UP which i observe on bms. and i saw it falling each day, is boi considering it in delhi ? then it means delhi/ncr. As, gurgaon figures are coming lower with each passing day. So, it is whole delhi-NCR region falling alongwith Eash punjab, yes it is second big region for bollywood films, especially films do very well there.
But, as long as other big centers stay big, it can sail to 250+.
But my prediction is still 225(+/-10) based on which ever source you pick.
BOI commentary has changed and they have updated expected numbers.
Prem Ratan Dhan Payo is set for its worst day on Sunday as it found it tough going with business expected to fall. The best case scenario will be collections likely to come out the same as Saturday but its more likely that collections are around 26 crore nett which would mean a four day weekend of around 122.50 crore nett. Its a huge number and ensures a hit film but no growth on Sunday means sustaining at good levels may be hard on weekdays
Whoever has seen it Family/ friends / Ladies/ Gents – all have disliked the movie.
We had plans to go today but cancelled due to so many negative comments from family and friends.
I really feel bad for Sooraj.
I’m back from it and went with wife and sister, all of us found it okay. It’s in the verve of Barjatya films and succeeds in most parts. My reservations were as before music and Sonam. The story is like a fairy tale and I think ppl are likely to be disappointed as it’s been promoted with Prem returning and comparing to HAHK and MPK.
It’s a decent story and Sooraj still manages to score on emotions.
I’d be surprised if the film does not find some support from women and couples.
Following BB won’t help as that was a cut above Salmans recent films.
If one is doing different movie without taking in boxoffice and it flops then it would make sense to feel bad for Barjatya. Like I would have felt if Vivah really couldn’t do well inspite for its well intention and good small movie without catering to the boxoffice.
But both MPKDH and PRDP had everything on his sleeve and he messed up by trying to do the ‘same’ and not different. That is just taking audience for granted and not updating the directorial skills. One thing I agree is that the script is not bad for this time..and in some ways perfect script for Sooraj-Barjatya to come back but the issue here is the treatment and no creative skill to resolve the issues in the script. Also, I’m found of Sooraj and don’t find good to ridicule him further but he lost a golden oppurtunity in PRDP during Salman’s peak.
I think part of the blame may be with Salman, IMO he may have interfered with the script and treatment.
It worked in Dabang where but for his interference Abhinav would have served another Besharam, but here it worked to the film’s disadvantage.
PRAKASH JAJU @Prakashjaaju 6h6 hours ago
PRAKASH JAJU Retweeted Shashank Bharadwaj
Bet toh sirf 12 ki lagaunga when he is telling 10, bhale hi 20 ho. PRAKASH JAJU added,
Shashank Bharadwaj @shashank_75
@Prakashjaaju You expect 12 crores tomorrow ? That is huge fall.
10 retweets 29 likes
Reply Retweet 10
PRAKASH JAJU @Prakashjaaju 6h6 hours ago
#PRDP : Tomorrow : Leave 10 cr, i am ready for 12 cr Mr Krk 🙂
it should good legs , next 5 weeks until 18th dec are open. Only Tamaasha is there, which is not targeted for family audience. It can have plenty of screens in next 5 weeks. Such open run is rare to find, any moderately accepted film take huge benefit from this, unless it is totally rejected film.
just finished first half, there are enough cheap jokes to rate it U/A. how this film got U rating ?
So, much show off, even yuvraaj’s sister who lives in petty condition is showed living in 10 bed room bunglaow. And just when it is narrated she is living in small house with no facility, we are given a tour of her bunglow where she is counting bundles of rupees.
every character is laalchi in this movie, double standards and hypocrite characters. Sonam kapoor doesnt know how to look shy, salman’s act in supossedely emotional scene is talking in low pitch.
Total bullshit. i am done. no rating for crap.
Beirut, Also the Site of Deadly Attacks, Feels Forgotten
By ANNE BARNARDNOV. 15, 2015
“When my people died, no country bothered to light up its landmarks in the colors of their flag,” Elie Fares, a Lebanese doctor, wrote on his blog. “When my people died, they did not send the world into mourning. Their death was but an irrelevant fleck along the international news cycle, something that happens in THOSE parts of the world.”
“Imagine if what happened in Paris last night would happen there on a daily basis for five years,” said Nour Kabbach, who fled the heavy bombardment of her home city of Aleppo, Syria, several years ago and now works in humanitarian aid in Beirut.
“Now imagine all that happening without global sympathy for innocent lost lives, with no special media updates by the minute, and without the support of every world leader condemning the violence,” she wrote on Facebook. Finally, she said, ask yourself what it would be like to have to explain to your child why an attack in “another pretty city like yours” got worldwide attention and your own did not.
^^A rather typical response and selective indeed as expected..
No condemnation for the Paris attacks
But comparison with some other part of the ‘brotherhood’ ..
Anyhow they are different parts of the world. One has chosen a certain freedom and democracy, others live in medieval times…
Now soon we will hear from these that it’s part of some CIA or Mossad conspiracy just like 9/11 apparently was..
And shameful meld ration by ‘sat yam’ who blocks normal box office comments but not some bigger problematic views which are symptomatic of bigger ills ..
1)If you keep putting up comments that are non-serious you have only yourself to blame if these aren’t let through. Everyone indulges in these things from time to time but to do so almost with every single comment is abnormal. Not to mention the obscenity that is attached to pretty much every single response.
2)On the rest I would suggest you stop baiting people on these political issues. Show a little decency in talking about women first, show a little more maturity on questions of sexuality, then you can move onto bigger political issues.
Aamir Khan’s much talked about biopic, Dangal, has taken a toll on his health. The actor hasn’t used a body-double in the film and seems like the exertion has proven to be too much for him. The film’s Ludhiana schedule had to be abruptly stalled on November 14, when the actor, who has been shooting in the city for the last 40 days, collapsed on the sets at the Guru Nanak stadium. “Aamir had been filming a long action sequence that required multiple takes from different angles.
Sanjana, I feel both Aamir and Salman erring in doing a movie like Dangal and Sultan at this ‘ripe’ age. Apart from the medical dangers associated with gaining and then shedding the excess weight this whole shoot will be physically demanding and gruesome if they really wish to get into the character. ( both seemed to be doing just that )
Aamir seemed so restless in that ‘Walk The Talk’ interview with Shekhar Gupta and dont know if it was the heat or excess wieght but he was unable to stay still. The biggest issues is going to be rapid weight loss requiring eating disorder resulting in loss of lean muscles.
Showbiz is still about looks.Since skin has to stretch as the body bloats and–as in the case of weight loss-shrink.When you lose weight very quickly, skin not only loses the layers of fat that keep them stretched out over body, but they also don’t have much time for their elasticity to adapt to the new shape and age will start to show…
This is a professional risk they have taken though I am assuming they will slowly graduate to doing senior roles hereon….
The feel-good comedy “Love the Coopers” seemed to arrive just in time for moviegoers weary of word events, while the ripped-from-the-headlines drama “The 33,” about the 2010 Chilean mining tragedy, may have been a little too real.
Arriving in 2,603 theaters, “Love the Coopers” took in roughly $8.4 million, exceeding prerelease analyst expectations, according to Rentrak, which compiles ticketing data. It placed third, the best of several new wide-release movies. CBS Films spent less than $18 million to make that ensemble comedy.
James Bond and Charlie Brown, as expected, repeated as the top two cinematic attractions. The Bond film “Spectre” was No. 1, collecting about $35.4 million, for a two-week domestic total of $130.7 million. Sony Pictures said that “Spectre” broke box office records over the weekend in China, where it arrived to $48 million in ticket sales. To compare, the previous Bond movie, “Skyfall,” took in $59 million over its entire Chinese run. “The Peanuts Movie” (2oth Century Fox) was again second in North America, collecting about $24.2 million, for a two-week total of $82.5 million.
Art house ticket buyers appeared to reject Angelina Jolie Pitt’s poorly reviewed “By the Sea” as a vanity project.
“The 33,” which cost Alcon Entertainment about $25 million to make, took in about $5.8 million, far below the total predicted by prerelease tracking surveys. While exit polls indicated that audiences enjoyed it, “The 33” faced hefty competition from other dramas and may have been too dark for a world unsettled by terrorist attacks in Paris.
“My All American,” about a Texas football star and his battle with cancer, was spurned by the faith-based audience it pursued. Independently financed for about $20 million, it collected an estimated $1.4 million.
Ms. Jolie Pitt and Brad Pitt, her husband, were in a similar boat. “By the Sea,” directed and written by Ms. Jolie Pitt and starring herself and Mr. Pitt, generated $95,444 from 10 locations, a dismal result, especially given their star power. It cost Universal Pictures at least $10 million to make. Continuing to perform well at the specialty box office were “Brooklyn,” a period romance from Fox Searchlight, and the newspaper drama “Spotlight.”
Both Spectre and The Peanuts Movie enjoyed strong holds from last weekend with the new James Bond film fairing especially well, enjoying the smallest second weekend franchise drop since Casino Royale, pushing the new title over $130 million. It was the holiday comedy Love the Coopers ranking highest among the newcomers, but the Bollywood film Prem Ratan Dhan Payo carried over its record-breaking India debut into a top ten finish domestically. Meanwhile Angelina Jolie’s By the Sea hardly even registered in its ten theater debut as the weekend itself was down 34.9%.
Settling into #1 for a second weekend in a row, the 24th James Bond film, Spectre, brought in an estimated $35.4 million for only a 49.7% drop. As impressive as that may be, it’s overseas where the film is making the most waves this weekend. After breaking records in the U.K., the film took in an estimated $48 million in China this weekend. If that estimate holds it’s looking at China records as the largest opening weekend and largest opening three days of all time for any 2D US film. Add to that, it’s already encroaching on the $59 million Skyfall made during its entire China run.
Of that China number, $4.6 million came from 246 IMAX screens, which was also a new three-day record for a November release, besting Interstellar. Spectre currently sits at $543.8 million worldwide, moving it into the top ten for the year.
the second week holdover for Spectre has surprised me a bit. It should now do 200m. That still places it a 100m behind Skyfall but the latter was the exception, not the rule anyway. Both Casino Royale and Quantum of Solace did 170m a piece.
Preferred Spectre to Skyfall. I’ve always felt that Skyfall dragged and dragged and dragged. And the plot was just hilarious, Silva being able to plan to that extent was just ridiculous. Spectre was more classic Bond, the thrills, humour and classic tropes were there, though that car chase was anything but thrilling and the whole ‘Blofeld’ thing was just fan service.
Review: ‘Prem Ratan Dhan Payo,’ a Bollywood Tale of a Prince-and-Plebe Double
Prem Ratan Dhan Payo
By RACHEL SALTZNOV. 15, 2015
The Bollywood movie “Prem Ratan Dhan Payo” is set in contemporary India, though it’s one of palaces and quaint villages and low-rise cities, with the occasional iPhone and Mercedes thrown in for modernity and luxury branding’s sake.
A fantasy about princes and princesses and perfect doubles, the story’s roots are as firmly planted in Hindu myth and epic as in Bollywood romance. We first see our hero, Prem (Salman Khan), a sweetie-pie actor, in a Ramlila, a play about Rama and Sita, the royal husband and wife whose tale is told in the Ramayana.
Later, Prem (his name means “love”) impersonates a real prince (Mr. Khan again), a haughtier fellow who has been wounded in a foul-play horse-and-carriage accident and has then hidden in a cave to recover. And the Bollywood plot thickens: The prince is kidnapped and chained to a post in a sheesh mahal, or palace of mirrors, only to be rescued by Prem, their images multiplied in fun-house confusion. Through decency and playfulness, Prem brings peace to the warring parties of the royal family and snags the love of a princess (Sonam Kapoor) to boot.
With its full complement of lavishly produced song-and-dance numbers, its filmi heroes and villains, and a two-hour, 40-minute runtime, “Prem” hews closely to the old-style Bollywood formula. At one point, the prince’s wayward brother plants his legs apart, swigs imported champagne from a bottle and shrieks “Freedom!” while the camera gazes up at him from below. (File under: “Villain, temporarily triumphant.”) In other words, the director, Sooraj R. Barjatya, courts and embraces cliché at every turn, which is both the movie’s charm and its limitation.
At 49, Mr. Khan, in the double role of nice guy/sophisticated prince — Bollywood loves a double! — has shed some of his boyish twinkle, gained a rap sheet and overbulked his upper body. His dancing can feel leaden and his movie-star allure has dimmed. But persistence has its rewards; in true Hindi-movie style, by this long film’s end, Mr. Khan’s Prem may have wheedled his way into your affections.
It has put up great numbers for first 4 days. It’s not a Besharam type of deal here. I have not see it but my guess is there are some who liked the movie at some level, otherwise it doesn’t do the type of business it has done so far.
Some saying it has crashed in Bangalore etc but holding up in other areas. Below 15 cr is the expected amount. Seems like the ‘crashed’ areas have had a significant effect. It may still show growth on the second weekend as that is when the family audience likes to come out.
never expected Besharam.. hardly any movie crashes like that. at the same time every movie that isn’t Besharam isn’t a success. Some people have clearly liked the movie but my sense is that most of the people who’ve liked the movie have done so at a milder level. I have hardly seen any ringing endorsement of it barring exceptions. quite a few have disliked it a lot. The question is about percentages of course either way but also the degree of intensity when it comes to those who have liked it. Anyway the numbers eventually will reveal which of these scenarios holds. But I’m not in the ‘hey anything at 200 is a success’ camp! Or whatever that magical number is. Now 300 is a different thing because at this point even the biggest films cannot just initial their way to 300. They can to 200. Put differently any film that opens massively (doesn’t have to be record-breaking) and that doesn’t crash completely like Besharam has a very high chance of getting to 200. Because the numbers begin at such a high level that to then stop them completely you need a WOM so negative that even those who were going to check it out over the first week don’t do so in large numbers. If the WOM is ok or not too great you still get most of those people in. By the time the film starts stalling very seriously in week 2 it has still done enough to crawl to 200. Now of course there can be something between the scenario I’ve just laid out and the Besharam one. But if so that would become evident at some point during the week and in which case the film would struggle to get to even 200. As a matter of fact I believe this was the case with HNY (some producer numbers are more plausible than others!), doubt very much it did more than 175-180. But ETT was somewhat better than this (again this film and YJHD were probably not more than 5-10 crores apart), CE better than that.
In any case I certainly don’t fix success as an automatic matter on one gross or the other.
On the ‘if this movie had been loved by everybody’ deal I agree and disagree. Yes if it had been loved by everybody it would have crossed PK probably. However one must wonder why Salman is so often in the position where this ‘imaginary’ possibility has to be raised. Better still why didn’t every record fall with Bajrangi, a film that ‘was’ loved by everybody. As I keep saying the answer lies in the nature of what defines a star’s stardom, the genres a star is associated with, the strengths and weaknesses of the same, the star’s personal credibility doing certain things and not others and so on. Connected to this is the other question of the initial. The reason people find it hard to understand why there can be certain stars who if not always can at least come up with some of the biggest initials in the right projects but never really be in position to get to the biggest grosses is that they misunderstand the kind of cinema that contributes to those big initials to begin with. A multiplex audience today likes disposable meaningful entertainment! This sounds like a contradiction of course but this is what I mean — they want ‘meaningful’ but not in the 70s sense of a film that truly shakes up their world or is truly uncomfortable in that way or (a better word still) is an authentic experience. Similarly they want light entertainment most of the time but not utterly mindless stuff. How does one split the difference? One comes up with relatively meaningful entertaining films that everyone can absorb (because they can agree with everything that is being said). Differently put such films advance propositions that are too generalized for anyone to disagree with. Take Bajrangi. who can disagree that the girl ought to be taken home?! Then you have nice people on the other side of the border too. what’s the problem here? That the entire politics of the film rest on this kind of simple ‘humanism’. Hey people are nice everywhere! Unless one is a bigot one is not going to disagree with this proposition. It is politics or a political configuration that is problematic, not people in general, who are presumably not different species in different places. Yes politics alters one’s ways of thinking so as a matter of fact people don’t think exactly the same things in different places. But the film never explores all of this. It simply reduces things to this very elementary question of ‘who wants to save this innocent girl?’ Few people anywhere would disagree with the answer, irrespective of their political configurations. Now Bajrangi does a few other things that I won’t bring up here (that I find problematic) but I’m not knocking the film in this context. I found it enjoyable (though overrated). But it represents a certain trend. Films that get into more precise political questions or those with more precise ideological implications polarize the audience. The reason those films in the 70s nonetheless managed to work was partly because they were part of a very different world, audience configuration et al but also because they were massively well-written scripts. So even if you were uncomfortable with what they were saying (as many at the time were) you were still very moved or entertained (or both) with the film. That is a possibility even today but there isn’t the apparatus anymore (for more than one reason) to make those kinds of films. In different ways Hirani or Bajrangi touch the limits of what is possible within the existing setup. Obviously Hirani is far superior to anyone else in that pure commercial format and his films are sometimes cleverer than they seem but the point still stands — who is he really upsetting? No one! the fake PK protests by ‘interested’ groups notwithstanding. Here are two counterexamples. Every Aamir film trends very well but not Talaash or MP. Why not? Because these films fall into that other camp of actually making people uncomfortable. The whole ‘these movies weren’t that good or that entertaining’ is quite frankly bull! My point isn’t that TZP or RDB or whatever aren’t meaningful films. they are. They might even be better films than Talaash or MP (I don’t really agree with this necessarily but I leave this open as a possibility) but that is not why they are being loved that much more. Much as I don’t believe Guru is a ‘better’ film than Raavan though it might be this at some more superficial levels (again I don’t believe this but allowing for the possibility). The genius of Aamir Khan lies in understanding how far things can be pushed. Occasionally he goes over the line himself but usually he has a very good sense of things (it’s also possible that he willingly goes over the line when he really likes something.. and of course many of the film he did in the past didn’t seem like obvious winners.). My critique though isn’t about him because from that perspective a lot of what he’s done has been risky. It’s about looking at those films from a relative distance and spotting a certain commonality that then also marks other meaningful films that succeed. RDB and Guru have much to recommend them, I prefer Raavan and MP (or Talaash or Dil Se). But the audience likes one set and not the other for ideological reasons not on pure entertainment grounds (of course one is only entertained by what one finds acceptable in this sense…).
To get back to the point this is why people might flock to certain films because they promise to be ultimate entertainments (have the right stars et al) and yet end up disappointed because only someone like Hirani can really fulfill those expectation or provide that fine balance (as I’ve defined it). If the film says ‘too much’ it loses its appeal, if it says too little it doesn’t satisfy enough. Most ‘blockbusters’ today fall in the latter category. The reason why it’s an illusion to think that x or y film could do a lot more if loved is that no commercial director is really making that sort of film. It would be odd if anyone loved a Rohit Shetty film that much! It would be odd if anyone loved a Salman movie that much! Always room for exceptions. hence Bajrangi. The only reason Hirani or Aamir prove the opposite is because they think about that balance each time. They are trying for meaningful entertainment more often than not. The rest are just trying to put up big numbers. And here my point has always been that most big films underperform one way or the other. Precisely because they set the bar too low. A film reaches certain levels and everyone says it’s a hit. No incentive for anyone to do anything more. Ultimately making a sincere film is always hard. Just making an extended trailer of a film that pulls in the audience for a week, that isn’t completely rejected, that reaches some big number or the other, is much easier. Specially when in the commentary and so forth no one really gets much extra credit for truly making the better film. SRK could do 10 films with Rohit Shetty and the same would hold probably 10 out of 10 times. Because that’s the kind of cinema Shetty makes. This would be so irrespective of release date or competition or whatever. Yes there is a possibility that one day Shetty gets a somewhat better script and does something with it. But that again would be the exception proving the rule. If Salman were doing ‘meaningful’ films he wouldn’t be Salman! People make the mistake of thinking that any star can do more meaningful. They can but not always with great benefits. Because that is not part of their signature.
This is such a well written extensive, drawn out comment and don’t wish to belittle by putting up a feeble response. Just wanted to refer to –
“@ That is a possibility even today but there isn’t the apparatus anymore (for more than one reason) to make those kinds of films.”
I was trying to express something similar in my earlier comment regarding too many filters in society now to have that unique status.
In star defense in doing meaningful cinema , India has increasingly become a very money minded society where financial security comes first and foremost. Add wealth accumulation as favorite pastime of the ‘illustrious’ lot in India that cuts across all spheres. This is how it is all shaping out currently…. and due to short shelf life one cannot blame the stars thinking along such lines ….there are rapid changes to economics/ inflation in the country. Bachchan even at his prime may have commanded a max 10 lac rupees for a movie and if he were to rest on that it wouldn’t mean much today.
” @If Salman were doing ‘meaningful’ films he wouldn’t be Salman! People make the mistake of thinking that any star can do more meaningful. They can but not always with great benefits. Because that is not part of their signature”
I think each star goes though various stages of career advancement. Aamir may have taken a meaningful cinema route out of his own compulsions ( partly explained in that interview of Shekhar Gupta) as he wont be able to do a Salman and vice versa. Its finding your own unique selling proposition usp.
On PRPD business after having watched it I would say this clearly was not an attempt to set any benchmarks or say something new to the current generation by Sooraj Barjatya as Salman had been announcing from beginning but this looked more of a financial engagement to let Barjatya cash in to his stardom…….though looking at the final numbers Fox has not been conned and will come out safely.
Srk/Yrf/ Adi have done this sort of deal with Rab Ne and partly JTHJ from time to time…. Adi has cashed his closeness to Khans from time to time to run his biz since they could not develop any new superstars in between. ‘Sultan’ too seems like a sos call to Salman considering they have had a terrible year and poor earnings ……one of the reason Aamir a close friend of Aditya Chopra will never be upset having another wrestling based movie in the same year plus that Raees/ Sultan clash is all hogwash …..probably to raise the stakes/hype……..
to be clear by the way I wasn’t trying to imply that stars who did not do meaningful films were ‘lesser’. Just that every star could not do meaningful and vice versa. And for this path to even be possible a star has to be willing to sacrifice a great deal in the present. It took Aamir many years to get to that position. Yes Lagaan changed everything but he’d been at it for a number of years before as well. It’s always easier to sell genres that the audience already likes or for a star to sell the image the audience is already invested in. when you turn away from this you have to make films that work most of the time. Even here the initial is affected because those aren’t sorts of subjects people line up for. You can get a crowd for Biwi No 1 not Sarfarosh. The latter has to depend on a slower start and then trending. Automatically a riskier strategy. Eventually Aamir got to the point where people just associated him with good films irrespective of the subject and so started showing up in every case. But it takes time to build up the sort of record where people trust you that much. This is very different from the audience liking him in his very first film or in some of the genre hits he had after that film (Dil for example). Even with his judgment it took him a lot of time. So it’s not as if anyone can just make that transition. There is a box office price to be paid and with no guarantee that things will eventually work out. Aamir now seems like a genius but no one (as always!) thought this before he got all this success.
But the other thing to be said here is that while a star who doesn’t do meaningful isn’t lesser in some day sense of the word it does take some sort of more serious actor to make that transition. In other words beyond everything I’ve just said the star must be credible doing those parts. And here every star isn’t made the same way. This path isn’t possible or even potentially available for every star in the same way. Could SRK have had a more meaningful career had he been less hijacked by easy success via the Yahsraj/Johar paradigm? Sure! In fact his earlier career represents that sort of mix and even later he was sometimes willing to do that sort of thing (the difference is it didn’t work most of the time so he decided to stick with strength genres.. that’s a decision most stars would make but the point is he would have been acceptable doing other things even if he hardly has Aamir’s mind in this sense). I don’t believe that there’s anything in either Salman’s or for example Hrithik’s career to make me believe that they could have done the same. Not just the careers but also because of the kinds of stars or actors they are.
And this gets back to a larger point. There are things stars are potentially capable of but never choose for good or bad reasons. But not all stars are potentially capable of the same things. The same point could be made about stardom and the box office. Certain stars, rightly or wrongly, are potentially capable of being major stars. others are not and even good box office success doesn’t get them there.
Commented elsewhere and I think you have alluded many times; (in reference to Talaash) All conditions remaining the same, Aamir maximizes his reach among audience. Having said that it is always difficult to see Aamir doing a Bodyguard/Ready/Dabangg or Salman doing Talaash.
agree completely on Aamir maximizing his reach. Also agree on Aamir doing Bodyguard or Ready. I didn’t mention this in the longer comment because everyone seems to agree that stars are strong or not based on their strength genres. but what a lot of people assume is that stars who do things like Ready or whatever can if they wish suddenly turn ‘meaningful’ one day and jack up their grosses. And so back to Talaash it obviously didn’t trend well and so on but here’s a film that did about 90 crores, put differently this film had the BB trajectory (the latter trended better and added 10-15% to this gross but initial was the same more or less). Or not more than 20-25% separates this film from the Don2 gross or the Jai Ho (again accepting some of the producer numbers). I won’t get into Ra One. But all those other films are big commercial releases. Talaash isn’t PK or even Ghajini! So yes the film didn’t trend well (of course that trending is more than acceptable for everyone once films cross 100 or 200 or whatever!) but given the kind of film it was no one could have done more with this. Now I’m not saying this for D3. The film made a lot, the biggest gross at the time, but had it lived upto its billing more it could have outgrossed PK.
I agree with Munna here but that is already a strongly limiting condition. There’s no reason why things should be kept exactly the same. It’s like same if you do Krrish frame to frame with Salman or SRK does the film do as much as with Hrithik. It obviously does less with Salman and SRK. Because for that kind of subject Hrithik is just better. That doesn’t mean he’s bigger star than them. I don’t disagree with Munna that in some sense SRK and Salman are purer stars than Aamir. But that’s a distinction without a difference if it cannot translate it greater box office results. Let’s take an extreme example of this logic. Can Leo really do what Vin Diesel does? Frame by frame? No! But so what? Most Hollywood stars today work like Aamir. At least most of the important ones. But this point is not irrelevant even for Bollywood. If it were about a cinema where only certain dominant genres worked then the purer star might be better inasmuch as he would be able to capitalize more. But Bollywood clearly depends on these other films as well. The market asks for these films. It’s not as if no one would do these films or make these films if Aamir didn’t. Others are also doing them at different ends of the production spectrum. Just with lesser results. And again the reason I resist the point even where I might agree with the particulars is that too often the argument is shaped in such a way that it seems to deny Aamir enough credit. The same holds for the examples. And so on. So the larger framing has to be honest too.
I’ll also make this other point. people have conveniently forgotten Aamir’s career for the first decade. He started off as a heartthrob in QSQT. Dil was a blockbuster hit a couple of years later. Later he had something like Raja Hindustani which was massive. He did Raja with Indra Kumar, he had Rangeela which was the coolest film at the time. The point is he was doing these very commercial films and succeeding. Those films too depend on some kind of stardom. I still would agree that SRK and Salman have been purer stars in some ways but for me that is a categorization argument not one of magnitude. And to suddenly start imagining SRK as a masala star alongside Salman is certainly quite a stretch. And let’s not forget Ghajini, still the most extraordinary result of its genre in the contemporary age and in more ways than one. But there was also Fanaa earlier. When has Aamir not prospered in pure commercial entertainment?
and now to end with SRK again I’ve said in the past that he was the best hero for those Yashraj/Johar films. Would either Aamir or Salman have been as effective in the same roles? I don’t think so. Could SRK or Aamir do Akshay’s comedy films as well as he does (at least on a good day!). No. So these examples can be multiplied. It’s not just about doing Jai Ho. Secondly when it’s about purely commercial films it’s obvious that stars have a certain signature and these are not interchangeable. But when it comes to a more middle cinema that doesn’t necessarily depend on the same references something else comes into play. Here certain stars are credible for that terrain and others aren’t (this doesn’t mean that things have to be kept exactly the same even here!). To imagine that every star can do this stuff is a bit like thinking every major star can do Krrish!
Great Points Satyam..
I would like to add my personal experience here- I saw, PK, 3I, HNY, Bajrangi ,D3, Bang Bang, ATB, Golmaal 3, Chennai Express, DDD in the theatre and barring HNY liked all of them.
I have subsequently bought the DVDs for all of them ( HNY coz. of my daughters )
Out of the above I have been motivated enough to watch on DVD again only-
3I, ATB, Chennai Express, G3 , D3 and ( saw BB on Netflix)
So movies like PK, BB , Dabang 2, ETT, DDD even though I liked initially have no repeat value for me.
I am more likely to repeat a Bodyguard or a Partner than PK or BB.
P.S.- Talaash was like The Sixth Sense , I enjoyed it even more on the second viewing.
Just watched Talaash on Netflix at home, for a visiting nephew who does not watch too much Bollywood, but wouldn’t mind exploring. He loved it as I did too ( and I had loved it the first time, in a theatre). The film did get a tad slow at a midway point, but picked up again– and the railway station climax was a cracker ; felt for the character of Nawaazuddin whose limping presence was for me the highlight of the film along with a luminous Kareena. I liked Aamir’s brooding character too, but the film was more than him and his role; loved the songs, especially the first song, picturized so well; loved the perpheral characters — the brothel girls with their stories, the pimps, the madam, even Pinky the stray dog who senses something…I just love a film where the supporting characters really support and uplift the film — and that is the reason I love Sarfarosh from 1999 — every character so perfectly done. Talaash may not be a super hit, but I am glad Aamir has this film in his filmography.
The nephew may visit again on Thanksgiving weekend; we plan to watch Kahaani. That’s another terrific film that can be revisited and enjoyed all over again.
Talaash was pretty gripping even without counting the revelation at the end. Coming after the 3 Idiots sensation, it was a rather bold step for Aamir with the scale relatively dipped down and I’m glad he did not disappoint. And yes, it opened acting possibilities for Nawaz who was bona fide spectacular in it
Salman’s PRDP Shatters Bajrangi Bhaijaan’s Record, Is The Fastest To Enter 250 Crore Club!
Superstar Salman Khan-starrer Prem Ratan Dhan Payo has kept its box office momentum going by minting Rs 31.03 crore on day 2. PRDP has managed to make a record collection of Rs 40.35 crore on its release day on November 12. A Rajshree spokesperson said, “The film has witnessed only 23% drop over its release day. In merely two days of its release, the film has collected Rs 71.38 crore,”
5TH DAY EARLY TRENDS AND 4TH DAY UPDATED BOX OFFICE COLLECTION OF PREM RATAN DHAN PAYO
And going by the early morning trends today, film has occupancy of 25% and that means film will drop in excess of 40% from yesterday. Unless it shows upward trends in evening, it might struggle to cross 16 cr nett today. Film has to cross 16 cr nett today otherwise crossing 185 cr nett week one figure will be difficult and free fall on subsequent days will make it tough for film to cross 250 cr nett mark which is minimum after such huge opening.
watched the movie on saturday at trafford centre,watched it with my mrs and my daughter with popcorn combo which was large one,the film itself was absolutely outstanding,my mrs had few eye drops in the end,my daughter enjoyed it but most enjoyment was the big popcorn…I just loved the movie and salman khan just rocks,cannot understand what was the purpose of shees mahal near the water falls,although it looked good but no purpose for it…anupam kher was just too good,btw sonam does not like moustache so what happens if one of the salman had one,lol…overall the film desreved all the success it gets….
here is what taran adarsh had to say,
#PremRatanDhanPayo India nett: ₹ 129.77 cr. India gross: ₹ 191 cr… Overseas: $ 8.9 million [₹ 59 cr]. Worldwide gross: ₹ 250 cr. AWESOME!
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Prem Ratan Dhan Payo @prdp 5h5 hours ago
#PremRatanDhanPayo collected a whopping 8.9 million overseas (gross 59 Crore)! Monday just got better 🙂 @BeingSalmanKhan @sonamakapoor
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Prem Ratan Dhan Payo @prdp 5h5 hours ago
Worldwide collection of #PremRatanDhanPayo is 250 Crore gross, highest ever for a Hindi film! @BeingSalmanKhan @sonamakapoor @rajshri
“watched it with my mrs and my daughter with popcorn combo which was large one. the film itself was absolutely outstanding,my mrs had few eye drops in the end,my daughter enjoyed it but most enjoyment was the big popcorn” hahah well done vijay
Seems inspite of mixed reports, the film is doing ok due to working with its target audience and the ‘satyams’ and families are lapping it up. Also there’s an authentic star here not one who takes four years to plot and plan and release solo strategically with perfect scripts..
Glad you enjoyed the outing Vijay. At my end I felt the movie seemed heavily edited so I was having difficulty at the basic premise and emotional connect itself. I am sure they may have shot the movie taking care of all the angles properly and given it the required base but wish the edit was better even if the movie got longer.
I am basically a song person in movies… but here song placement and the choreography too was not up to the mark except the Title song and Jalte Diye. The Football song courtesy Neeraj Shridhar sounds pretty good on a listen , but badly picturised…..
I never liked HAHK initially esp due to the cheesiness of the sequences but later screenings on TV found it acceptable due to songs esp the title song of HAHK – well thought out…salman / madhuri never looked so earnest…
Lets see if I can change my opinion on this one once they release the full movie without any cuts later on tv/dvd.
dhoni agree with you totally,I never like HAHK but especially women prefer this kind of film and sooraj has nailed it again…vivaah was another where women flocked to see it…I remember when HAHK was released and next thing was women queing for saree like madhuri had worn it
Prem Ratan Dhan Payo Goes Down On Monday
Monday 16 November 2015 20.00 IST
Box Office India Trade Network
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Prem Ratan Dhan Payo has seen a major fall in collections on Monday which rules out a good run for the next two weeks. The film has dropped over 60% from its Sunday business at an all India level if we take collections till around 6pm. The film is looking to reach just about 10 crore nett though the evening comparison may be slightly better so it may come in a crore or so higher.
Last year Happy New Year grossed around 12 crore nett on its Monday and Prem Ratan Dhan Payo will do less than that even if evening collections are better. Gujarat / Saurashtra area will hold well till midweek but then holiday period will be over and collections will come down which means the film has further drops to come over the next few days.
The film has huge costs but has still emerged a HIT on the strength of business in a few circuits with some of these maybe even finishing in the top three of all time. The 200 crore nett mark is probably the best the film can achieve but for that collections will have to be close to 12 crore nett today and stabilize well on the second Friday.
This one as I said is doing a HNY on a lower level. Inspite of an extra weekend day, it will trend lower than HNY and might finish lesser than HNY if you compare like to like sources. The producer numbers of HNY were around 200 plus. This will struggle to get there inspite of an extra weekend day based on Mondays performance.
BOI seems harsh on the numbers and leading the trade in opposite direction. This is contrary to all the other sources which expects at 15 cr Monday. 2nd weekend becomes all the more crucial for the movie to have some sort of final total and count in today’s market.
Will probably head for a 155-160cr first week and 200cr lifetime at best. It’s quite clear the movie has had mixed appreciation and it hasn’t been the kind of deal met with unanimous approval. Disappointing results finally. Post-Bajrangi Bhaijan, it had everything going for it but it has underwhelmed, just like HNY did last year.
Salman has something to think about now, He recently announced Atul Agnihotri’s Next and Dabang 3 as his next moves. Hope he thinks again before handing his career into the hands of Atul Agnihotri and Arbaaz Khan.
I will throw in some guesses. I think Dilwale will do slightly better at around the 200-220cr mark. Tamasha and BM, I feel will wrap up around the 120-140cr range.
And Ghayal Once Again will be the surprise hit of January. Saw the teaser and was surprised by it. There seem to be some positive vibes around it now.
‘Spectre’ Adds $152.6M In Overseas Hat Trick – International Box Office Update
PREM RATAN DHAN PAYO
From Fox International Productions and Fox Star Studios, PRDP reteams Bollywood titan Salman Khan with director Sooraj R. Barjatya. The romance drama grossed an incredible $31M from 4,801 screens in seven markets after opening at the beginning of the Diwali holiday frame. In India, it smashed the record for the biggest Bollywood opening of all time, taking $27M over the four-day weekend. That puts the movie in the coveted 100 crore ($15M) club which it joined after just three days. The UK was also a record with the biggest opening weekend of all time for a Bollywood title earning $1.5M. which was good for the No. 4 spot. In the U.S., the FSS is $2.4M in 286 cinemas. The cume since Thursday is $2.79M. This is the 4th biggest Bollywood opening of all-time in North America and the largest ever for distributor FIP. There’s more on this Bollywood phenom in my separate story,
One of my cousin hardly watches Hindi movies and strangely he said this movie reminded him of Paheli. Like Hero is away from home.. then Bhoot comes and takes his place, falls in love with wife/gf and solves all family problems and reunites family and finally leaves when the real husband comes back. Then in the end, there is twist that wife/bhoot are united and here Prem/Sonam are united.
There is now once again a widening gap in the reporting of the BO figures between BOI and the rest of the trade.
BOI are reporting a 10.9cr Monday while Taran, Nahta and Tuteja are all reporting a 13.6cr Monday. A 13.6cr Monday would make the trending just about decent while the lower BOI figure makes it look below-par. Make of that what you will.
Isn’t that just the manipulated producer numbers that Taran etc. are reporting, like HNY last year, the trending was designed by the producers to look better. I believe HNY did 180 cr max, and that is what BOI reported. In the case of PRDP, I’m sticking with BOI.
“Isn’t that just the manipulated producer numbers that Taran etc. are reporting, like HNY last year,”
That’s a misnomer! Both CE and HNY had 10% difference between BOI and Producer’s numbers. 10% difference is hardly called manipulation. If BOI is eventually 10% short of producer’s number for PRDP, then we’ll know it but if it does 20-30% like Kirrsh 3 then it can be called manipulation or fake numbers.
3 more holidays to gain from
Nov 17 Tuesday Chhat Puja (Pratihar Sashthi/Surya Sashthi) Restricted Holiday
Nov 24 Tuesday Guru Tegh Bahadur’s Martyrdom Day Restricted Holiday
Nov 25 Wednesday Guru Nanak Jayanti Gazetted Holiday
Prem Ratan Dhan Payo Tuesday Business
Tuesday 17 November 2015 23.30 IST
Box Office India Trade Network
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Prem Ratan Dhan Payo had a normal Tuesday fall of 10-15% and will collected around 9.5-10 crore on Tuesday taking its total to around 142-143 crore nett. The film was better in the North on Tuesday after that huge fall on Monday. But still the film is at low levels.
The circuits where it is doing very well like Gujarat / Saurashtra, Rajasthan, CP Berar and CI did see falls but collections are still very good and fall is inevitable considering the strong numbers. There are two days left in the week and it should be able to add another 14-15 crore nett to finish around 157 crore nett in the extended first week.
The only real question that remains is that will the film hit the 200 crore nett mark and that will only be known over the next 7-10 days with the second friday being all the important day for that target.
I stand corrected on my Day 1 Dilwale estimate. CE had grossed 30 cr on Day 1 on 3500 screens on a holiday so even if Dilwale plays in 3200 screens on a normal working Friday, 30 cr is out of reach. The best it can achieve is between 25 to 28 cr at close to full occupancy. If the movie is well liked, it can lose up to 50 cr in the first week itself due to the clash. I hope one of the movies move to a different date as this is basically turning out to be a lose-lose to all parties.
Thanks.. I remember this discussion and always mentioned 30 crores is too much expectation from a working day with another release. Also, I don’t think Dilwale will even get 3000 screens for the release with another big release with Eros doing combine package with Bajrangi Bhaijan.
Boi is a great supporter of Salman Khan. They will not under report the figures. Now Dilwale is coming. Let us see how they will report. BM looks boring. What is the point of showing so called sautens dancing together merrily? Ranveer is opposite of SRK charmwise. Tamasha is a dark horse and may spring a surprise.
Q. Is Prem Ratan Dhan Payo the most expensive film ever at 235 crore, if not what is the budget of the film?
Ans. That much would be insane for a family social. Still it is over budget and the most costliest of all time. Production cost 100 cr (without Salman Khan fee), prints and advertising 30 crore, satellite with Salman Khan at 50 crore value. Total budget 180 crore.
The movie will at best be a hit. Both BOI and big adda have the same costs. But there will be a fee for salman even if he considers Sooraj his family or whatever bull the article says. Like HNY a technical hit but overall a disappointment
Superstar Salman Khan’s blockbuster “Bajrangi Bhaijaan”, which raked in over Rs.300 crore at the Indian box office, has been watched by a mere two percent of approximately 130 crore Indian population in theatres, says a cinema chain official.
According to reports, a staggering 74.5 million people, across India, tuned into the TV premiere of the film last month. But in a session on increasing footfalls in theatres at the ongoing Indywood Film market, it was revealed that only three crore and 21 lakh people have so far watched Bollywood blockbuster “Bajrangi Bhaijaan” in cinemas.
“It’s startling to know only two percent of India’s population has watched the film, which has collected over Rs.300 crore from Indian theatres. Even if we can increase the footfalls to five percent, it will hugely benefit the overall revenue of Indian cinema,” said P.V. Sunil, director and CEO of Carnival Cinemas.
The reason, as Sunil points out, is that 50 percent of Indian population still has no access to cinemas.
“Seven screens cater to one million people in India vis-a-vis over 100 screens in US. As of today, only 15 percent of total screens in India constitute multiplexes while the rest are still single screen cinemas. Despite being the largest producer of films in the world, India still struggles to generate revenue because most people still have no access to screens,” he said.
According to Devang Sampat, business head – strategy, Cinepolis India, one of the best ways to increase footfalls is to target tier-2, tier-3 and even tier-4 cities.
“We were the first to open a four-screen multiplex in Patna. The response has been extremely good and its average ticket price is same as that of Mumbai’s. This means there are people with high spending capacity even in smaller cities,” he said.
Sampat also pointed out that most multiplexes rely on malls, which is not a healthy trend.
“In places like Madhya Pradesh, people literally travel 50 km to watch movies. Why not we take the screens to them? Why not build multiplexes in these places? Indians don’t watch cinema for entertainment; it’s a culture for us,” he added.
Technology too is a key driver in increasing footfalls, believes Sohan Roy, founder chairman and CEO of Aries Group of Companies.
Roy is also the chief promoter of AriesPlex SL Cinemas, which is south India’s first double 4K projection facility here.
“Take the case of ‘Baahubali’, which ran houseful for 15 weeks in our cinemas. It was screened in 4K projection and the audience loved the experience. They watched it more than once. Technology plays a pivotal in drawing audiences for the overall experience in a cinema hall,” Roy said.
This is a good write up on the %age watching Hindi Movies in theater. Lately the problem has risen more due to rising ticket prices and this clearly demonstrates existence of Two Indias – Poverty in the backyard of astounding growth. For a family of 3-4 people, these kind of rates definitely leave a huge hole in the pockets and it’s not just ticket prices but snacks/ transport/ parking etc at theaters.
The issue arises more due to absence of Pan-India star someone in the Bachchan mould who cuts across all lines and segments.
Salman is the closet at the moment who is trying to provide wholesome / paisa vasool films. But here the direction may be letting him down. Just a bit of Hirani..sque Bajrangi showed so much potential to what his reach could be…. There may be an emergence of Rohit Shetty but he is not in Manmohan Desai / Prakash Mehra mould.
Hirani has it in him to make entertaining films but that ‘real talent’ is not there. Its too much ‘tried and tested’ and ‘what works’ syndrome afflicting him……i mean he is not talented enough to churn out movies by the dozen what Manmohan Desai did or even a David Dhawan was doing in 90s
There is TV / internet etc as competition but when an audience feels that a certain movie is value for money, they wouldn’t mind paying that extra buck to go and enjoy the film in theatre.
Satyam – surprised to see this reaction from you.. from such an old joke. This joke has been since ages (Ra.One, Tashan, Besharam, Bombay Velvet, etc) and incidently I don’t think it goes well with PRDP at least!