This entry was posted on November 26, 2015 at 6:21 AM and is filed under the bad. You can follow any responses to this entry through the RSS 2.0 feed.
Responses are currently closed, but you can trackback from your own site.
131 Responses to “Tamasha, the rest of the box office”
Kapoor does a decent job of bringing out the anguish in Ved, but it’s Padukone who’s riveting. Her character isn’t fully fleshed out, but her performance as Tara is gripping. There’s a vulnerability about her that makes us root for her. We wish director Imtiaz Ali had invested more time in culling out scenes that showed them as a troubled couple working out their issues, instead of diverting his attention to showing Ved’s penchant for mythological stories or how mechanical his life in the corporate rat-race is.
Tamasha may have its heart in the right place, but the conflict in Ved and Tara’s lives will not get your pulse racing. The lead actors and Corsica look picture-perfect, but the movie isn’t free of blemishes.
♦ Ranbir Kapoor is back and he is back with a bang. He does an extraordinary job. His acting is excellent and it wouldn’t be incorrect to say that he has lived the role of Ved. It is indeed an award winning performance.
♦ Deepika Padukone is on a roll. She has been on a great stride ever for a long time and what appeals to me even more is her choice of films. She looks very natural as Tara. The scene where she is following Ranbir will make you cry. Her chemistry with Ranbir Kapoor is something to die for.
♦ Javed Sheikh excels in the role of Ved’s father. Nikhil Bhagat and Faraaz Servaia also does a decent job. But this film is all about Ved and Tara.
Ranbir lends immense depth to Ved’s charm and complexities, as he innocently lives a life that’s not his. You watch in awe as he exposes his angst in front of the mirror, almost wishing his reflection would step out and set his world right. Or, when he breaks into random lines while mouthing his presentation or begs an old storyteller to help him unscramble his mess. Or, when he narrates his anguish to his controlling father. Ranbir outdoes himself, as he unhurriedly breaks down Ved. It’s during the monologues that he soars.
Deepika too wins applause for her matured take on Tara. Despite landing with a weak back story, Deepika manages to own Tara with dignity and poise. She excels when she finds a broken Ved outside her apartment in the dead of the night.
While the supporting cast are left in the dark, with not much to say or do, it’s the little Ved who manages to win us. Barring uncanny resemblance to his on-screen senior, it’s a delight to watch him feed on a massive diet of stories.
Ravi Varman’s frames are spectacular, with Japan, Corsica, Shimla and Delhi captured in such magnificent frames. AR Rahman’s tunes, while not outstanding like his earlier work, isn’t reduced to mere dance numbers, and are interestingly interwoven with the screenplay. When an autorickshaw driver renders ‘Wat Wat Wat’, while recounting how he was forced to shortchange his dreams, you grasp the power of his music.
It’s interesting how Imtiaz subtly uses “bipolar” in the vocabulary of ‘Tamasha’, possibly hinting that Ved isn’t the only one living a conflicted life. And, that’s reassuring, as well as arresting.
DEEPIKA AND RANBIR ARE SUPER SPECTACULARLY, FABULOUSLY HARDWORKING, PERCEPTIVE, INTUITIVE, SPONTANEOUS ACTORS!
Phew. I feel better now.
There is a scene where Deepika sits in the car on her way to the airport. She is part happy and part sad and her expressions are so well balanced that you wonder how on earth she can emote so much with doing so little.
And then there is Ranbir Kapoor, so honest. The ease and the charm in Corsica, the under confident presentations at work, the almost schizophrenia that creeps in and out and the last confrontation scene with the father, the man surrenders himself to the director and nails it in every scene.
Even their body language is bang on. In a particular scene in a Chinese restaurant, Tara sits on the edge of her seat, all excited to reconnect with Ved. While Ved wears his ‘boring’ Project Manager Skin well, sits with a slight hunch and indulges in mundane conversations.
But I wasn’t sure again. Amongst such brilliant lead actors, the film suffers from such clichés: the strict father is way too strict, the Punjabi boss is so Punjabi and so bossy that it is reduced to a caricature.
Ranbir is fantastic as he’s the lead protagonist (a-la Rockstar) and Deepika is great in whatever scope and opportunity she gets. There is still that freshness in Deepika’s scenes and her performances shows human touch in crying scenes and not artificial. But it is Ranbir who is revelation and there isn’t a false note in this very complex multi-layered character. He is simply too fantastic as ‘Don’ character even those small portion of Corsica.
The movie starts little slow and I saw audience getting restless and once the Corsica sequence starts.. the story flies. This is Imtiaz Ali’s best since Socha Na Tha and Jab We Met. The story might not be as ambitious as Rockstar but there is no major flaws and he has made a sincere movie without catering to the boxoffice. He has not added much to ‘entertain’ the audience and let the mood of the characters take over the movie. I loved watching such characters and their slow transformations at each stage of life. Imtiaz is remarkable in bringing out this details and he has done it once again and at a very humane level and not filmi level. AR Rahman’s songs are good(not great like Rockstar) and gels well with the story. The music gives the movie its mood at important stages.
I’m the person who doesn’t like to divulge stories so not going through the story in detail here as well. The movie is not for teens or youngsters but the movie will appeal to folks who have some kind of life experience. This won’t appeal to masses at all and this will reduce the boxoffice collections hugely. This movie would have been great if Ranbir’s career was on riding up and coming at this juncture of his career ruins its boxoffice chances. So, even though I don’t think it has wide appeal but its a very well made movie for few % of metro folks. I’m also happy that Imtiaz Ali didn’t try to cater to all the boxoffice folks and ruin the story.
All in all a very well made movie but for selected audience.
Ranbir Kapoor in a blazing return to form holds every scene in the frame and gives one of his most accomplished performances. The maturity with which he handles the raging storm inside him and not portraying it like a disorder is a huge achievement. The interaction wherein he conveys to his father that it is our childhood that we crush in our quest to lead and earn is deftly handled without sounding preachy.
Deepika Padukone is relegated to the back seat post intermission but she holds her own in every scene and it is to her credit that the chemistry between both looks so believable. It is very difficult to cry on screen, but Deepika has a knack which few actresses possess without making it melodramatic. Her nuances on the puns and succeeding in playing along with Ranbir’s impersonation of others are superlative.
Imtiaz Ali has grown up in stature while dealing with the complexities of human mind and behaviour. While it is easier to have a viable approach which could have been detrimental for such a personal story, he knows the character and keeps all the focus on him. He has a certain flair for handling relationships and doesn’t paint all in black and white. The grey shades are what makes a human susceptible to all frailties and Imtiaz has a firm understanding of how his characters speak and behave.
Review: In ‘Tamasha,’ Finding a Path to Love, Show Business and Adulation
By ANDY WEBSTERNOV. 26, 2015
The clues come early in the Bollywood melodrama “Tamasha,” when a song mentions a love story within a larger story. The film (named after a kind of Marathi theater) begins with a boy, Ved, enraptured at the feet of a wizened storyteller in Shimla, India. Later, as an adult (Ranbir Kapoor), he meets Tara (Deepika Padukone) on vacation in Corsica. Their largely chaste relationship revolves around playacting, and they avoid exchanging real names. When Tara returns to India, they decide to never meet again, their idyll forever in amber.
TamashaNOV. 27, 2015
Years pass, and Tara, still smitten, tracks down Ved. He is now a dull if prosperous product manager, making remarks like “Countries are companies, and companies are countries,” while she is a globe-hopping businesswoman. His job stifles his theatrical imagination, and Tara soon rejects him. When she reconsiders, it is he who rejects her. But after an office meltdown, he is haunted by her observations, and discovers a life that lets him entertain others as he was entertained by the storyteller. Ved and Tara reunite after Ved has become an acclaimed director of stage extravaganzas.
Mr. Kapoor’s character is a bore at work, but insufferably full of himself in Corsica. The big-eyed Ms. Padukone, who has co-starred with Mr. Kapoor before, dutifully, and regrettably, permits him to eclipse her own formidable charisma. But the biggest offender is the director, Imtiaz Ali, who, also again collaborating with Mr. Kapoor, actually celebrates two love affairs: Ved and Tara’s, and (given Ved’s universal adulation) Mr. Ali’s with his own self-aggrandizing vision of his calling.
Both Ranbir and Deepika come across as mature performers in Tamasha. While Deepika re-asserts her acting capabilities despite the script rendering her the second fiddle, Ranbir – who has been facing criticism over his last few outings onscreen – surprises with his brilliant acting prowess. Ranbir talking to himself in front of the mirror and the time when he tells his own story to his family are some of the most striking sequences. Be it role-playing Don, aping Dev Anand or the Ved torn between his routine of office, life and the freedom-loving story-teller – Ranbir aces all forms of the character. Tamasha is definitely Ranbir’s best films till date.
Tamasha is too abstract in Pyschology and symbolism, difficult for masses to accept and digest it. Will dip big time after advance booking days are over. Ranbir is too good and just brilliant here. it has usual trappings but movie is layered…
It did excellent in multiplexes , especially in big cities. But it is limited release with 2100-2500 screens based on various sources.
for anything around 19 cr first day(may be producers’figure), it should open like prdp did on first day.
I think something around 15 cr is very much possible, initially we always get inflated figures.
“Tamasha is too abstract in Pyschology and symbolism, difficult for masses to accept and digest it.” I always laugh when I read a line like that. Everyone likes to think himself as the only smart one on the planet who can understand a complex theme!
Bullet Point 2: During this period, Ameen Haque also did a course in Film Appreciation by FTII and National Film Archives of India. “We had a workshop with Devdutt Patnaik and this helped me reconnect to mythology. So different aspects of storytelling started becoming a part of my life,” adds Ameen.
Soon Ameen moved to Bangalore and continued his work in advertising and theatre, and in 2012 he started Storywallahs.
“We consume stories on a daily basis, they define our decisions, the ideology we follow, political leader we choose, career path and even our life partners,” says Ameen Haque, chief storywallah of Storywallahs. The organisation was created with the belief that stories are wisdom disguised as entertainment; and to leverage that wisdom in business and education is their main goal. http://yourstory.com/2015/04/ameen-haque-of-storywallahs/
Bullet Point 3: “Woman” by John Lennon
Woman I can hardly express I My mixed emotion at my thoughtlessness I After all I’m forever in your debt I And woman I will try express I My inner feelings and thankfulness I For showing me the meaning of succsess I oooh well, well,oooh well, well,
Woman I know you understand I The little child inside the man I Please remember my life is in your hands I And woman hold me close to your heart I However, distant don’t keep us apart I After all it is written in the stars I oooh well, well,oooh well, well,
Bullet Point 4: I have never sat as bewitched by an actors’ performance as by Ranbir Kapoor’s performance in the film except perhaps by Dilip Kumar in ‘Sagina’. His performance is like a Hindustani classical raga…starts with an alaap, introducing the notes and the theme; then moving into a faster tempo, bringing the melody into sharper relief, making it more evident , then adding improvisations, mixing things up, building upto a crescendo, never letting go, until you are all frenzied inside, standing up and applauding as the light come on. This transition happens at the point when he meets Deepika for the first time after his break up and he alternates between playing at being cool and collected and exploding like a dynamite with a short fuse. It reminds one of Leonrado DiCaprio in Wolves of Wall Street. If anyone can play that role in Bollywood, it is Ranbir. Like an Ustad, who adds enough embellishments and improvisations while playing the same melodic phrase over and over again, making it sound different each time, Ranbir makes each mirror-talk of his look different and we simply don’t know what to expect the next time he faces the mirror. His interactions with different people – the storyteller, his father, his boss, the autowalla – are all in right key and so authentic. His final showdown with his boss is a real hoot , yet any adman one who has dealt with a tight-assed client or any employee who has dealt with a boss blissfully unaware of his own ridiculousness can empathize with the scene.
Bullet Point 5: Is Ranbir Kapoor the greatest actor of his generation? Does the sun rise in the east?
Bullet Point 6: What did I learn new about Deepika in the film? That she can cry as if she really meant it. That she has the world’s loveliest dimples. And she makes ‘Chinese torture’ sound like a delicious experience one must go through.
Bullet Point 7: I like the way people like Imtiaz Ali, Vishal Bharadwaj, Sanjay Leela Bhansali and AR Rahman are cross-fertilizing one another’s talent and creative style. Bhradwaj in Omkara learnt from Kashyap how a swear word can be as poetic as a Ghalib’s shair if used correct. Bhansali in Ram Leela picked up the trick of how to make your dish more digestible and healthy by adding a bit of roughage. Here Imitiaz uses Piyush Mishra, a Kashayp staple, quite tellingly and his use of songs owes a lot to Kashyap too. He now has learnt that a tender heartbreak moment can be best outlined by an autowalla song “ Udti chidiya ko haldi ragad ke lagawat..wat.wat”. ( Incidentally the introduction of the autowalla character was a great idea as it shows that a creative free spirit being trapped in the robotics of a monotonous job , is not something that afflicts only the rich and educated elite.) And yes, the whole film itself is layered more like a rich Rahman composition than a typical, linear, whistleable Bollywood melody. It may take some getting used to, but in the end is so wholesomely satisfying.
Bullet Point 8: I like the way the top Bollywood directors of today are maturing as to how to use songs in films for today’s audience. My wife who loved ‘ Agar Tum Saath Ho ‘ so much before seeing the films said, the song wasn’t as impressive in film as in the TV promo. “That’s because the director doesn’t stop the film to showcase the song”, I told her. It blends into the film like every other song does. I especially liked thew ay the ‘ Wat Wat ‘ song was cut away at mulyiple points to accommodate some plain vocalizing, snatches of storytelling and Ved’s own brooding.
Bullet Point 9: I have always admired the Bollywood grammar – of disrupting the narrative with a song or a commentary or some other device, so that we are not totally carried away by the emotionality of a narrative, mistaking it to ne real…like it happens with Hollywood grammar. I like the central device of the storyteller and the constant refrain of Ved’s childhood breaking the flow of the narrative now and then, allowing us to take a breathe, absorb what we have seen, and reflect.
Bullet Point 10: Though ‘ Rockstar’ was a larger-canvas film, this too is no less ambitious in terms of delving into complexities of human emotions and mapping out the tortuous path that two hearts beating in love must take before they can find and accept each other’s truth.
Bullet Point 11: If we inspect the palette used to paint ‘Tamasha’ what are the shades of colour we discover? Jab We Met, Rockstar, Tare Zameen Par, 3 Idiots, Rang De Basanti… are a few I could spot.
Bullet Point 12: Is this Imtiaz Alis’ smartest and most accomplished films yet? Yes.
1st Day Box Office Collection Of TAMASHA
Friday 27 November 10:24
As per early estimates, film should collect 10.90 – 11.20 cr nett on day one and if manages to hold on in late shows then 11.50 cr nett is possibility. Now tomorrow holds the key and even if film manages anything close to 9.5-10 cr nett tomorrow then it can hope for at least decent weekend if not great one.
First day is around 11 crs which is very good considering RKs last few films and the lack of buzz. I will say ranbir has passed the star quotient test as it is hardest to open a film when your last few movies are duds. I am quite a fan of Imtiaz and very keen to catch this one.
In movies which are multiplex dominated BOI is usually close to producers.
If RK was hot this would have opened north of 15 crs so it’s an acceptable openings. Hritik opened ZNMB at 8 crs when he was coming off a flop, SRK opened Don 2 at 14 crs after the negative press of Ra 1. 11 cr is a good number here all things considered
It’s been a number of years since ZNMD though. You can’t compare the figures directly. Also the film has Deepika who’s at the peak of her career. Imtiaz Ali has some multiplex branding. I do agree it’s not a bad opening all things considered and certainly if the film is liked it could jump very quickly. But consider this, Rockstar had more or less the same opening (accounting for inflation) without a known actress. I think that had Tamasha looked more interesting it could still have opened bigger than this. Getting back to ZNMD Hrithik’s standing cannot be measured by his openings in JA or ZNMD or Guzaarish. These range from the barely decent to the good enough to the miserable. it’s not about hit or flop, Hrithik never gets strong initials outside of strength genres and something very obviously commercial. Secondly ZNMD always looked to be an ensemble deal (even with Katrina Kaif). Tamasha is a very solidly commercial multiplex deal. Still not bad all things considered and certainly this isn’t the sort of opening that prevents a significant grosser if the film is otherwise on that trajectory. I also wouldn’t disagree with the point about Ranbir except to this extent. This isn’t a film just riding on him. If it were another actress not Deepika or someone not as significant we would get a better sense of Ranbir’s initial. And specially here where the ‘pair’ has a history and this history was played up quite a bit in all the appearances they made for the film. But I’ll be fair here, I think ZNMD would have probably got more or less the same initial with other stars in Hrithik’s place too. A few months later that year MBKD released with Imran Khan and Katrina Kaif and got exactly the same number on opening day and pretty much the same number over the first weekend.
I enjoyed it but found it a little quirky for a mainstream film.
Ranbir is fantastic and hits all the right notes.
I am still little nervous about BO performance but am hopeful of atleast an acceptance at low levels.
I would recommend a theatre viewing. Just don’t go in expecting a frothy love story or blockbuster music. Is definitely worth a watch.
Tamasha Has Good Growth On Saturday
Saturday 28 November 2015 23.30 IST
Box Office India Trade Network
Share on facebookShare on twitterShare on emailShare on printMore Sharing Services
Tamasha has shown good growth on Saturday with collections set to be around 13 crore nett. The growth is around 20% which is pretty good from a decent first day. The first two day business of Tamasha is as follows.
Tamasha has put up good figures in Mumbai and South India especially Mysore which grossed nearly 1 crore nett on day one. Mysore leading is a bit of an issue for the film as you don’t want this circuit to lead as it means core Hindi markets giving under performance.
(The updates are limited on the website for the last week or so due to server issues but should hopefully be back to normal on Monday)
It’s hard to talk about this film without giving too much away. Unlike most movies, the trailers for this one kept the important stuff under wraps. So we know the basic plot that Deepika and Ranbir meet in Corsica, have fun without giving away who they are, but then when they meet back home things are not as they were. But that outline barely scratches the surface of this brilliant movie.
There’s so much to talk about that an essay could easily be justified. But in picking out the highlights, I would have to mention:
-The intriguing start to the film, where stories and the art of storytelling are imprinted onto the soul of the young boy. Even before we see the title screen, we know that at the very least we are gonna get an ‘interesting’ film
-At the interval I genuinely had no idea how Imtiaz was going to resolve what was happening on-screen. Even if one might guess the resolution, the path taken to reach it was never predictable. Yet the way it all came together was sheer genius.
-The line between carefully held together sanity and the descent into madness. This leads to some of the best scenes in the movie, both outside Deepika’s flat and in the bar prior to Agar Tum Saath Ho (incidentally the finest song of the year)
-Perfect performances from both Deepika (from whom one expects nothing less) and Ranbir (who is back to the top game he brought to Barfi). The luminous former looks as great as she performs, and the latter is raw, vulnerable and utterly uninhibited; they are very clearly the actors of their generation.
-Rahman’s music is one of his best from the past decade, and Imtiaz uses it perfectly, blending it beautifully between the characters and plot. The lyrics are so perfectly created for the movie that it highlights how unusual this is in current cinema.
-Whilst the Corsica segment might superficially resemble the pretentious nonsense of ZNMD, it’s actually not so in any way, because of how much it tells us about the characters (though we may not realise it until much later).
-Ranbir’s climactic scenes both with the storyteller as well as with his family could have gone so wrong, but Imtiaz and his lead actor pitch it perfectly.
-The post-climax scene (in Tokyo) was a delight to watch, particularly given the preceding jolts one has been exposed to.
I’m not surprised that this film has drawn extreme reactions. It’s not for the average moviegoer and I won’t be surprised if it flops. But Imtiaz Ali has made the finest film of his career, and also given Ranbir his finest performance. I’m looking forward to seeing it again next week.
Rangan is getting more and more disappointing with time.
His first paragraph ends with “He works in an unremarkable job in India – he’s a product manager. An on-loop montage shows us his routine – wake up, brush teeth, eat cereal, wear tie, stop at traffic light on way to work, keep elevator door open for others, smile politely at colleagues, and deliver numbing PowerPoint presentations. Who wouldn’t want a break?”
Someone who likes their job, you know?
Now, a lot of people end up in jobs they don’t like because in the world we live in economic exigence takes expediency over any other concern, but can Imtiaz Ali actually makes a film that contextualizes his hero’s frustration in that background? Instead he (I haven’t seen the film, going completely by the review) seems to have made a film where his hero is “actualized” by a woman. She is a muse, at best, and no more than that, a manic pixie dream girl. This is de-politicized, magical thinking, sexism writ large and people seem to think that Ali has something to offer.
Salim: This film really has soul, and a bigheart. AS you have rightly siad Ranbir, Deepika, Rahman and Imtiaz are all on top of their act. And waht I am most glad about is the fact that Imtiaz stuck to his high concept and didnt try to mkae it cr0wd-friendly by adding cutesy elements.
Some excellent comments from Beth Loves Bollywood’s Tamasha review:
“Another stray thought that crystalized during Tamasha is that so many contemporary Indian films use the west in such an shallow Eat Pray Love sort of way, except it’s less “noble”: Drink F*ck Love…Europe is nothing but a way to behave in ways they wouldn’t at home… I’m sure India is thoroughly sick of westerners using it for their own tales of self-discovery (I certainly am), but the pattern absolutely happens in reverse, at least in fiction.”
There are some wonderful YouTube parodies of the affluent, young British students who go off on ‘gap years’ to find themselves in developing countries like India and then come back home and rhapsodise about the poverty they encountered and the ‘real experiences’ they gained. I feel like we need a satirical comedy about privileged, urban young Indians in the same vein.
It all started with ddlj, europe tour was taken as excuse to escape from indian values and indulge into sex kind of romance. ANd later come back to india with high moral values chanting om jai jagdish hare.
That’s why i connect easily to Raja hindustani, it is more human in nature. Afterall, indians can also fall in love in india itself touring indian places. DDLJ is such a hypocrite movie, more of a europe tour promotional video with melodious music.
Agree with your comment “The kind of foreign travel undertaken by film stars in the 60s (or even the 90s) is very different from that of the present generation”.
DDLJ actually had a story which fitted perfectly with hero/heroine and parents settled in London and than travelling to india for marriage. it was very common back in the 90’s and early 2000 for NRI to do that.
Compare that to something like HNY, where the whole Dubai thing was purely tourism promotion of Dubai.
I was mainly replying to raghav comment,in future do not either see my comment or reply and neither will I,you have some kind of agenda of making issues of whoever says anything negatives about srk films…
“I was mainly replying to raghav comment,in future do not either see my comment or reply and neither will I,you have some kind of agenda of making issues of whoever says anything negatives about srk films…”
I was replying to raghav, not you. But I will respond to you every time you put up a childish comments. As they say, you have to discipline childish behavior at early age otherwise it becomes a problem when they get older 🙂
Practice what you preach and once again, grow up. stop being a little crying girl.
Looks like you’re the one with agenda on SRK, not me…
oldgold, don’t pay too much attention to what I wrote. I just wanted to put my foot down in this guy/girl mouth. Always posting crap about SRK or his films without any logic and when somebody replies to it, he/she starts crying.
By the way, why did your comment posted on top, looks like a bug.
Raghav, I think you missed the essence of Ami’s comment here and took the discussion in a different direction. Her beef is with Indian filmmakers using the west for debauchery leading to some sort of awakening thereby putting up very shallow picture of Europe/ West.
DDLJ was very much a NRI story of a couple born and brought up in UK and showed their conservative side…….something which is very common to Indian families living abroad.
There are couple people on this blog who has nothing better to do but spend their useless time on people they hate. Just read their comments on everything and you can quickly make out why they’re here.
I think when it comes to DDLJ, there is a huge difference between what it raked at the BO and how it is touted today as a historic blockbuster in terms of its final gross.
It was a huge superhit at the time of its release. No doubt about that. But no one back then talked about a historic blockbuster. Neither Taran nor Nahta. Because the bar had been set much higher with HAHK a year earlier. Mind you, these guys were talking about historic blockbusters with regards to MPK, HAHK and even Ankhein.
DDLJ always was a huge, genuine superhit at the time of its release and by very far, the biggest hit of that year. Nothing more than that.
But then Yash Chopra’s PR machinery started working. The movie kept playing for several years with an audience of 1 or 2 couples making out in one theatre and suddenly it was question of a record breaking run, historic BO blockbuster and revolution of Indian cinema.
In 2003, I remember boxofficeindia saying in the Q&A section it had earned way below what Gadar had earned.
It’s easy to get carried away by the claims of the PR machinery around the film. And Yash Chopra-SRK were damned good at that. Last week I saw even Satyam was talking about DDLJ in the same breath as HAHK and Gadar.
Some day, I will post the BO figures of HAHK and DDLJ. I need some time for that but I have a journalist-friend who has the data and Trade Guide/ Film Information figures.
DDLJ grossed less than gadar and HAHK but it is a cult movie which both the others weren’t. And the cult just increased over time. No wonder the movie spawned so many spoofs and so many directors were inspired by the story telling. The dialogues of DDLJ were also a hit. The PR end all came only for the Maratha mandir thing where they kept it running for no reason but by an large the movie was a blockbuster and attained cult status due to multiple viewing from a large section of the audience.
There still is a difference between a cult movie and the biggest blockbuster around. JJWS is a cult movie but it was an average to below average performer at the time of its release. AAA was a flop back then but calling these movies as hits or superhits would be a lie.
In the same way, DDLJ is arguably much more of a cult movie than Gadar and HAHK. The truth is that it has grossed much less than them. But how many times have we been made to believe that it is right up there with those 2 movies? It’s cult has grown enormously with years but its gross and BO achievements have been accordingly heavily exaggerated as well.
My point is DDLJ was a blockbuster and also a cult movie. A rare combination , otherwise you mostly have movies which became cult over time and never did well at the BO. Gadar and HAHK are greater hits but the cult of DDLJ was much greater to the extent that an entire generation of directors tried redoing that theme. A lot of movie makers had that movie inspiration in their works.it was the perfect package of movie, music, direction, acting all that was needed to become a blockbuster and then there was a cult around it which made it the most watched, most talked and most copied movie post 1990…
The Big Fight: How Salim-Javed changed Hindi cinema
Sholay had violence well above what the average Hindi cinema audiences were used to in the 1970s.
Starting from the train robbery right in the beginning to the gritty shoot-out in the climax, the film is full of violent scenes. But there is hardly any blood. Despite bullets flying thick and fast, bandits and bystanders being cut down every now and then, there is no sign of the diluted version of tomato ketchup that we have now got used to.
The first signs of blood are introduced in the very last scenes when Thakur uses his nail-studded shoes to squash Gabbar’s hands to a pulp.
A major reason for this was to keep the censor board at bay but, as it turned out, the impact was more devastating this way. Because the violence was psychological.
Cutting off a proud man’s arms is such a distressing act of violence that one doesn’t have to show the severance in all its bloody, gory glory.
The horror of a whole family being wiped out is again not linked to the extent of bloodshed. Especially when a child’s head is blown off from point-blank range.
Even Ahmed’s death — a shocking end to a young man with potential — is not shown but symbolised through the killing of an ant.
Each one of these scenes is unimaginably violent without focusing on the actual act of violence.
In many ways, Sholay marked the pinnacle of the series of violent films that Salim-Javed were accused of writing. Sholay’s violence was a ‘choreographed ballet’ that was created with the help of mega-budgets and foreign technicians and equipment.
However, Salim-Javed’s forte was not the elaborately mounted ‘fight scene.’ In fact, the real speciality of this dynamic duo was conjuring the kind of violence that played on your mind rather than the sort that played out only in front of your eyes.
Salim-Javed focused on creating a context that affected the audience’s psyche and made the actual fights seem far more impactful. The physical violence was accentuated by psychological violence, and this was often achieved long before any punches were actually thrown.
Action was no longer a resolution mechanism, a punishment meted out to the villain at the climax. The fight now came right in the initial scenes and was often used to set up the hero’s character. And the hero did not fight with his fists alone; he brought his anger and his psychological scars into battle.
In Deewaar, when Vijay Verma fights Peter’s goons in the famous scene at the dockyard warehouse, we can sense that his manic anger is not just against these goons (with whom he has no history). He is channelling his anger against the father who abandoned him, a society that thought nothing of punishing a little boy for his father’s sins, and a system that is failing him and his brother.
At the end of it, when his mother asks why he didn’t avoid the fight, Vijay’s angry retort is exactly what the audience has been thinking all this while. ‘Tum chaahti ho main bhi mooh chhupake bhaag jaata (You wanted me to hide my face and run away)?’
Deewaar had just this one fight scene but the film always comes across as exceedingly violent because, in the viewers’ minds, Vijay starts getting beaten up the day the disgruntled workers tattoo ‘Mera baap chor hai (My father is a thief)’ on his arm. It is only now that he is able to give it back and begin the process of finding some sort of closure.
This was a common pattern in Salim-Javed’s scripts: the action scene would be announced much in advance and the tension kept simmering till it exploded into the actual fight.
In Zanjeer, during Inspector Vijay Khanna and Sher Khan’s confrontation in the police station, the police officer — in an unprecedented move for a Hindi film hero — kicks the chair the crime boss is about to sit on.
Their tussle begins right then with Sher Khan taunting Vijay that it is only because of the safety of the station and the security his uniform affords him that he can dare to do such a thing. Vijay picks up the gauntlet, walks into Sher Khan’s ilaaka (territory) sans uniform and challenges him to a bout.
The high-voltage fight scene actually takes up only a couple of minutes of screen time but it was written as a wellpaced, crackling-dialogue-laced event that seems to last longer on screen and even longer in our memories.
It ends with Sher Khan acknowledging the new hero — ‘Aaj zindagi mein pehli baar Sher Khan ki sher se takkar hui hai (This is the first time Sher Khan has fought someone just as brave)’ — and bringing the episode to a satisfying close.
In Trishul, Amitabh Bachchan’s devil-may-care character acts in a similar fashion when trying to evict Madho Singh (Shetty) from the land that he has bought.
The standard Hindi film action sequence — where the hero beats up and throws out the villain — is preceded by a sequence that builds the tension, with Vijay walking up to Madho Singh and asking him to leave. Then, of course, he returns with an ambulance to pack the beaten villains into.
Again, the violence is made memorable by introducing dialogues and other elements that accentuate both the action and the character.
In a way, the violence in Trishul is set up by the way Vijay is introduced in the first scene where he lights a dynamite fuse with his beedi and calmly walks away from the danger zone.
You get an inkling of the impending violence from the manner in which he explains his fearlessness: ‘Jisne pachees baras apni maa ko har roz thoda thoda marte dekha ho, use maut se kya dar lagega (If someone has seen his mother die a little every day, why would he fear death)?’
The most protracted build-up of an action sequence in a Salim-Javed film was in Kaala Patthar, where both Vijay (Amitabh Bachchan) and Mangal (Shatrughan Sinha) were presented as diametrical opposites, shown to be getting increasingly angry with each other, and finally pitted against one another in a pitched battle.
Incidentally, this fight (which happens just before the interval) is preceded by two near-skirmishes between the two heroes, both triggered by insignificant things like a matchbox and a cup of tea. Both incidents are defused in the nick of time by Ravi (Shashi Kapoor), but it all adds towards the explosion of the final showdown.
Not all of Salim-Javed’s orchestrated fight sequences were serious, though.
In Don — a film where the mood was more light-hearted — Vijay/Don taunts villain Shaakaal (played by Shetty) repeatedly in a police van. By now the audience knows a fight is coming, which will facilitate the gang’s escape and bring about the climax, and it is brought on by a series of wisecracks made about Shetty’s supposed cowardice.
In Deewaar, Kaala Patthar and Trishul, as in a few other films, the initial fight is the biggest action sequence of the film; the first two do not even have a ‘resolution fight’ at the climax, and the one in Trishul seems distinctly tamer than the ‘ambulance’ scenes.
As macho heroes became more and more popular in the late 1970s and 1980s, this became a template for action films, where there was always a fight scene to introduce the hero or set him up as one.
Film writer Jai Arjun Singh talks about Deewaar but it could well be about some of the other Salim-Javed classics when he says: ‘The movie’s power draws as much from its silences as from its flaming dialogue, and the writing of Salim-Javed, in conjunction with Bachchan’s incomparable performance, take it to heights Indian cinema has rarely touched since. The power of Deewaar lies in its ability to make us feel the tragedy rather than present it to us all gift-wrapped on a platter.’
Having said this, Salim-Javed did popularise the genre of Hindi film where the ‘fight scene’ was no longer a pre-climax formality in which the bad guy is given some half-hearted punches as punishment before being taken away by the police.
Since most of their scripts were based on the premise of revenge, they brought in the concept of what film historian Kaushik Bhaumik calls ‘proportional justice.’
Bhaumik gives the example of Yaadon Ki Baaraat where the violent manner in which the villain Shaakaal is killed is similar to the brutal way in which he murdered the heroes’ parents. He meets his end near a rail track, a setting reminiscent of the one where the parents are murdered and the three brothers get separated.
Even in Zanjeer, Vijay’s parents are shot dead by Teja on the night of Diwali, the firecrackers drowning out the gunshots. When Vijay arrives at Teja’s den to take revenge, it is yet another Diwali night.
In a way, the blood and gore of destroying Gabbar’s hands in Sholay is also an instance of ‘proportional justice.’ Gabbar cuts off Thakur’s arms and he, in turn, orchestrates the retribution in which Gabbar’s hands are rendered useless. The sudden appearance of blood in that scene seemed to underline the completion of this quest for justice.
Incidentally, the climax of Sholay was supposed to have been even more violent, with Gabbar being impaled to death.
The Emergency-era censor board refused to allow the depiction of a former police officer taking the law into his own hands. Hence, the death and Thakur’s guttural screams were replaced by a tamer version where the police force walked in and arrested Gabbar.
The original version is available quite freely on YouTube and is a gut-wrenching watch. Sanjeev Kumar’s measured performance throughout the film has a tragic conclusion when he breaks down and cries at his ‘victory.’
Javed Akhtar and Salim KhanBy and large, the anger of Salim-Javed’s (seen, left) heroes was the result of some serious psychological hurt that was as violent on a mental level as their action sequences were on a physical level.
Be it the tattoo in Deewaar or an ‘illegitimate father’ in Trishul or a distant father in Shakti, the resulting psychological violence inflicted on the hero returned to wreak vengeance and this translated into extremely violent action scenes whose impact was far greater than the screen time they occupied.
In many films this impact was further heightened by the intensity that the writers’ favourite — Amitabh Bachchan — brought to the fight scenes. Salim Khan says, “Amitabh Bachchan is physically very weak in real life, but he projects aggression amazingly well. When most heroes pick up a gun, they look as if they don’t really know how to handle it and the gun may go off accidentally. But when Amitabh picks up a gun, it seems that he really means business.”
At a time when the industry had given up on Bachchan, Salim-Javed were the only ones who kept their faith in him. And coincidentally, it was a fight scene in which they noticed the actor for the first time.
Bachchan recalls, “I had a fight scene in Bombay To Goa where I fight while I am also chewing gum. I get punched in the face, roll over and get up, still chewing gum. Salim-Javed had found this scene quite impressive.”
A cursory fight scene in a not-so-successful film was what hooked the writers and inspired them to tie their fortunes to that of a struggling actor. And eventually their gamble paid off: the actor became Hindi cinema’s first action hero and Salim-Javed were ‘credited’ for bringing in a wave of action in Hindi films.
As they say, it is all written!
Excerpted from Written By Salim-Javed: The Story Of Hindi Cinema’s Greatest Screenwriters by Diptakirti Chaudhuri, published by Penguin India, with the author’s permission.
The movie review at TOI comes the closest and forms the crux-
“If you watch Imtiaz Ali’s new film assuming that Deepika-Ranbir have unfinished business, you will forgive Tamasha its indulgence. The writer-director obviously knew he was dangling a carrot in front of these two Bollywood exes whose unrequited love has been gossip-column fodder for years now. And, they probably decided (this is an assumption) that if they hook up on screen once again, perhaps they could reach a closure.”
and then – ” Deepika and Ranbir convey their angst and passion so convincingly that you’re hooked. Except for the curiosity about them, the rest of the drama is `oh,never-mind’.
Above along with the corruption in the film industry which KRK hints in his review (not putting up the review here for obvious reasons ) is where shooting in Europe comes in the picture.
Indian filmmakers are bajaaoing Fox , UTV-Disney, Reliance etc with heavy duty prices. This movie is budgeted at 90cr plus the P&A ?
If one has watched KRK video he hints at Sajid N taking this money from UTV with an explicit understanding that the other SRK’s
(Siddharth Roy Kapur ) share is included in that price and will go to him behind the scene.
Corruption has steeped in a creative / movies field too ????
There is nothing beating the Desi ingenuity come what may !!!
This is a lol story for people who have been following RGV’s book titled ‘ Guns and Thighs’ which he has dedicated to Ayn Rand,Bruce Lee, Urmila Matoandkar,Amitabh Bachchan,Pornstar Tori Black and a few gangsters…….
EXCLUSIVE: He (Ram Gopal Varma) has gone bonkers, crazy and has perverted mindset – Boney Kapoor
” And now, the filmmaker has opened up about his feelings for the actress in his autobiography titled, Guns and Thighs – The Story of My Life by dedicating a chapter on his celebrity crush. In the book, he describes Sridevi as the “Goddess of beauty” and why he cannot forgive her husband Boney Kapoor.”It was a love letter… I was going overboard but that was my feeling. Everyone can have a crush on anyone, be it on a real person or a celebrity, you enjoy that feeling of high… It is almost like a drug.”
It further reads, “…To see Sridevi making tea in Boney Kapoor’s kitchen was a huge letdown. I won’t forgive him because he brought the angel down from heaven to the kitchen of his apartment,” Varma said while confessing his love for the actress during a session at Times Lit Fest.
When contacted, Boney, who sounded a bit irked, said, “He (RGV) has gone bonkers, crazy and he has a perverted mindset, what do you do with such a person? He has done whatever he wanted to, maybe he wanted publicity, but I don’t want to react and give him any further publicity.”
Haven’t been able to watch tamasha yet, but it’s good to hear positive reactions (from sane folks)
Imtiaz may get a bit excited but essentially is a competent film maker with his heart & faculties in the right place
& seems he still has not sold himself to the box office ..
I Feel VINDICATED
anyhow I’m checkin out the music layer by layer
After grasping the hindi language, I’m onto dialects (a bit like PK)
Ace words there …
Innovatively used by Rahman …
hum humaeen se tohri battiyan
karke bakht bitaavein hain
Khudahi hanste, khudahi rote
Khudahi khudko sataave hain
Tohre kaaran basti saari
Humka karat majaak re
Pehle yaan pe phirte the hum
Apni poori dhaak re….
Really enjoyed these interesting words & beautiful wordplay
“Humaeen”, “bakht”, “khudahi”, wow…
Haven’t seen the film but from the promos :
Deepika is superbly natural & authentic
She’s really FLOWERING into a highly effective performer
And she doesn’t indulge in “hey watch me act” ala vidya balan
(She indulges in “hey watch my pins” though)
Catch her in the “girlfriend promo” of tamasha —authentic instinctive stuff by deepika
I’m ‘proud’ when I see her act nowadays …
Sometimes when I skim thru my own comments, I feel
Tu koi au hai…
Ps: on a related note, skimmed thru bits of rangans review
Though haven’t seen this film, it’s good to see Rangan showing signs of ‘growth’. It’s uncanny but seems hes being reading my criticisms (of him)…
The track required the team to travel from one place to another to capture the beauty of the gorgeous locations that we have seen in the video of the song. Shah Rukh and Kajol too faced the brunt of extreme climate at various regions. But at the same time they had a lot of fun shooting it.
On the second day the team was shooting at the waterfalls and Shah Rukh Khan while doing a step lost his balance but Kajol grabbed his hand just on time and saved him from falling off the cliff.
Tamasha First Monday Business
Tuesday 01 December 2015 14.30 IST
Box Office India Trade Network
Tamasha dropped on Monday which always looked on the cards as although the weekend was decent it was mainly due to performance at high end multiplexes and they can’t sustain a film at the levels Tamasha was collecting. The first four day business of Tamasha is as follows.
Tamasha has done well in Mysore which should do around 6 crore nett business but in other circuits performance is not upto the mark especially North India. The first week business will probably finish at around 55 crore nett if it sees normal weekday trending but the only hope for the film is a 5 crore total again on Tuesday and this may allow it to get traction in week two.
80 cr IMO would be v good for this, A bunch of us went for this movie and none of us liked it. TBH Imitiaz could have done a better job conveying what the movie is about in the promos. i think most people went in expecting a rom-com with a serious second half
The budget is around 60 crores so it still needs a good secondweek to get to safety. A 80 to 90 range will make it a clean hit. But still a disappointment. When they started this movie RK was red hot and I am pretty sure they were aiming much higher.
but in some ways this is the classic Imtiaz Ali graph. Rockstar performed this way as well and that film had much greater buzz in every sense. The only film of his that really bucked this trend was LAK which opened much bigger because it was also more accessible though that film too wasn’t the strongest on the followup. At the lower end he of course had JWM. Tamasha might fall behind even Rockstar in today’s money (in fact it’s quite likely to and with the biggest actress in town) and it’s certainly not going to be like say ZNMD (90 crores a number of years ago with SIngham also playing (though the audiences probably didn’t overlap much here). But the point is that Imtiaz Ali makes these films that forget appealing to the entire multiplex demographic actually play to a cross-section of even the younger demographic. Contra BOI this isn’t a multiplex problem. YJHD got it’s 185 crores or whatever also playing only to the multiplexes. You can get a big one doing that even if not the absolute biggest deal. But Imtiaz Ali makes these films with more limited appeal (not criticizing him necessarily even if I find him grossly overrated as a director) that cannot be big hits even in the best case scenario. But he has a standing with that target audience, he takes the right star combos, shoots in the right places, etc.. in short sends all the right signals and even if he doesn’t get the best possible initial finds enough of one. Then he gets the right reviews one way or the other and the films don’t collapse. They do half-decently if not better and he repeats the same all over again eventually. This is I think most of the story. Part of it also is that even his target audience has become too jaded or even bored with all this stuff. Much harder to satisfy them. There was a time when a certain kind of film would be considered ‘cool’ just by pushing certain buttons. Not anymore. I do think that even by the most liberal standard Tamasha is going to be a disappointing box office story (Piku did 80 just recently) but my larger point is that with Imtiaz Ali in this genre it might not be reasonable to expect much more.
Still thinking about Tamasha, easily Imtiaz’s most interesting film that touches some unusual themes/concerns like the dual unhappy lives, built on self-deceit, that most human beings live and how difficult it is to get out of such a rut. I would say that’s pretty heady stuff for a commercial Hindi love story.
Even the title of the film couldn’t be more apt – on one level, it is obviously referencing the folk stories that Ranbir’s character is fascinated with, but more so I think it’s about the daily farce or rat race that is life.
I am hearing it’s not doing too well. Hardly surprising, because like Swades, it’s a very internalized film which doesn’t make for very entertaining cinema in a conventional sense.
Saw Tamasha again. So much of what happens earlier in the film makes far more sense now. For example Ranbir’s decision at their first meeting is all part of him wanting to escape his ‘real’ life which isn’t actually his real life, and he can be the version of himself that has been buried away. And then Deepika’s entire behaviour post the birthday party – although on first viewing it appeared that she was being unreasonable and kinda crazy, actually she perhaps saw through the facade and knew what was really underneath, and she was almost playing the role of a therapist in helping him ‘heal’.
I could happily watch this film a third time. And I’m glad to say that even if it’s not commercially doing great, everyone I’ve watched it with has loved it.
Television’s Dhritarashtra is now a world star. No, not for fathering a 100 sons or being torn between the principles of dharma and his love for his son Duryodhana, but for winning a gold medal in a world bodybuilding meet in Bangkok on Saturday. A former pilot, Thakur Anoop Singh has scripted a new high.
Thakur Anoop Singh’s journey has been truly remarkable. He has a pilot’s license but when the 2008 global recession hit the airline industry, he was forced to look at other options. Anoop decided to enter Fit Factor, which was India’s prominent model search competition. He made a good impression and finished as the runner-up.
Owing to his good looks and muscular physique, it was only a matter of time before the 6-foot tall made the transition into the glitzy world of entertainment.
Anoop got an opportunity to work in Mahabharata, India’s mythological magnum opus, which was telecast on STAR Plus in 2011. He was chosen to portray the character of King Dritarashtra in the serial. He was appreciated for the good work in the serial. Promptly, he named his twitter handle @DRITARASHTRA
A fitness freak, Anoop worked on his body and finished third at the Mr Asia event recently. In Bangkok, last week, he was up against bodybuilders from 47 nations. Anoop struck gold in the “fitness physique” category of the seventh WBPF World Bodybuilding and Physique Championships. Indians won 11 medals in Thailand.
Anoop is expected to make his film debut in Bollywood, Telugu and Marathi films soon.
Now here is one compliment we are sure would not only make Aamir Khan feel good but also something that he would love treasuring for life. Legendary actor Dilip Kumar’s actress wife Saira Banu feels Aamir Khan is that one actor who comes closest to following the thespian’s footsteps in the film industry.
When quizzed by the indianexpress.com to name an actor from the current generation who she thought comes a shade close to Dilip Kumar, Saira Banu said, “They are all very good and talented and are doing excellent work. Now we have to see who follows the footsteps of Dilip Saab. The closest to that kind of thinking is Aamir Khan.”
Saira Banu, however, refused to comment on Aamir Khan’s ‘intolerance’ statement at RNG awards that kicked up a storm recently. “That is an issue which I would not like to touch upon,” she said.
Recently, at the Filmfare Glamour and Style Awards Rekhaji presented the Most Glamorous Star (among males) award to Shah Rukh Rukh and on receiving the trophy the Baadshah of Bollywood said, “No, no, getting award from you is my foreplay.”
This obviously left Rekha amazed but the smile on her face didn’t deter and she too gave a rather interesting reply, “After 61, nothing matters. So go on.”
the daily images out of Chennai continue to be astonishing. An absolute catastrophe. The airport has been shut down now. Most or parts don’t have electricity. With all this water lying around there are fears of dengue returning with a fury. It’s just incredible.
Infrastructure is an undeniable part of the problem, as is the overdevelopment of low-lying and flood prone areas during the recent (ridiculous) real estate boom. What’s also shameful is how negligibly the national media has been covering this; the BBC has much more comprehensive coverage of the floods!
[Chennai is the latest warning with respect to the global warming crisis. The Indian scientists in Paris have already referred to this. Unfortunately this will become increasingly the norm in many parts of the world. The ‘developing’ world will find it very hard to keep developing with this sort of natural catastrophe always around the corner. It will affect everyone in the world of course but some places, some countries, some economies will get hit much harder than others and will certainly be the first to face disaster in this sense. we tend to think of global warming in completely apocalyptic terms but it’s not just about this sort of doomsday scenario. It’s also about the intensification of various natural events. From earthquakes to typhoons to droughts to what not, if everything is just notched up a few degrees you already have incredible cataclysms.
It’s not just about development. These events have serious political consequences. From creating huge classes of the dispossessed to forcing refugee movements to fostering extremist politics everywhere the results of such crises are too varied, too enormous to get our minds wrapped around but we already know that when even the strongest democracies are pushed in certain directions they react in very unfortunate ways.
Finally it is always the case that when such natural disasters take place we are always more ‘moved’ when major cities in all their iconic ‘finery’ are impacted. Anything that happens in a ‘rural’ or non-urban area, anything that is not considered ‘central’ in this sense is simply ignored. At best it’s an abstraction that might occupy the news feeds for a while but is never presented to us or never occupies us with the same sense of urgency.
Global climate change of this sort is perversely democratic in a way. It might not impact everyone equally, at least in the initial rounds, but it will get to everyone eventually and even before it actually does this it will trigger all kinds of social, economic, political upheavals that won’t spare anyone in either group.]
The film has shown poor trends on weekdays. In fact except from Saturday, the film has not performed up to the expectation. The trend is even lower than this year’s release Dil Dhadakne Do which was also targetted at multiplexes. Except from Mysore the performance is poor everywhere.
Tamasha 6th day collection has dropped again. It is probably due to the fall in multiplexes. And also the film has not done well in North India in the opening weekend. We have reported this earlier also that these are the circits which sustain well on weekdays. So the drop was always on the cards.
Tamasha box office collection in 6 days will be 51.07 crore. At the start of this year, this film was expected to be among the top 5 grossers of 2015. But at the end it will not be among the top 15. It may also not beat the lifetime collection of Ranbir Kapoor-Imtiaz Ali’s last film Rockstar which was released in 2011.
The second weekend will be very crucial for Tamasha. A 12-15 second weekend will be required for a decent run in the coming days. But looking at the trend it seems difficult.
Due to its big budget, the film will not be able to recover its high cost unless it shows some dramatic turnaround in the second week. The complete report about Tamahsa cost and recovery will be updated soon.
Prem Ratan Dhan Payo Business Update
Thursday 03 December 2015 12.00 IST
Box Office India Trade Network
Prem Ratan Dhan Payo has seen dropping collections after the first week. The film is still a big hit due to the huge first week but should really have held better at the box office The business of Prem Ratan Dhan Payo in Hindi till date is as follows.
Week One – 163.89 crore (8 days)
Week Two – 24.56 crore
Week Three – 3.50 crore (expected)
Total – 191.95 crore
The best performance is in Mumbai circuit where the film will do around 72 crore nett but Delhi / UP has not performed well as collections will remain below 35 crore nett which means it is not even in the top ten films of Delhi / UP. The North India business is the big let down as when North plus the circuits where Prem Ratan Dhan Payo has done well all do well then it normally results in a blockbuster.
even on the investment it cannot be a ‘big’ hit at that gross. I doubt it can be any sort of hit. When you look at trade journals later guys like Taran and Nahta say one thing in the popular media and give very different ratings in their journals which they know no one really looks at barring those in the business who in any case don’t follow popular media reports to figure out how well or not a film has done.