from april 08th toapril 14th, 2016 - Box Office India : India`s premier

16 April, 2016 Vol. 7 Issue 32 `200
India’s Premier Film Trade Magazine
Make
It A
Double,
Please
Shah Rukh Khan
shares his experience of
coming face-to-face with
himself in the emotional
thriller FAN
PAGE 12 >>
www.boxofficeindia.co.in
BOI + BOXOFFICE!
Upcoming North America
Releases
PAGE 22 >>
North America and UK BO
PAGE 23 >>
Indie Hain Hum
With content-rich films steadily
hitting the marquee, what is the
way forward for indie filmmakers? PAGE 16 >>
Rest Content
Let’s meet three promising
“I Want To Get
Attached…”
directors – Tanuj Bharmar, Tinu
Prosenjit Chatterjee on his journey,
Suresh Desai and Ashwini Iyer
not only as an actor but now in an
Tiwari – who are making their
altogether new role
debut shortly
PAGE 27 >>
PAGE 20 >>
Volume 7 • Issue 32 • 16 April 2016
PUBLISHER
Nitin Tej Ahuja
[email protected]
EDITOR
Vajir Singh
[email protected]
CHIEF SUB-EDITOR
Carol Lobo
HEAD OF DESK
Shikha Saroj Gupta
[email protected]
PRINCIPAL CORRESPONDENT
Rohini Nag
[email protected]
CORRESPONDENT
Soumita Sengupta
[email protected]
Swagata Panjari
[email protected]
DESIGN CONSULTANT
Sajid Moinuddin
www.hbdesign.in
PHOTOGRAPHER
Yogen Shah
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Publisher & Printer: Nitin Tej Ahuja
Editor: Vajir Singh
All Rights Reserved. Reproduction of any matter
published in this magazine, in part or whole, in any
language or format, without the express written permission of the Publisher is strictly prohibited and will
be liable for legal action.
W
ith school vacations underway, one is sure that for a certain section of our readership,
making plans to keep their kids suitably engaged and entertained is currently
consuming a substantial portion of their energies. And with patience and serenity not
exactly the hallmarks of today’s kids, parenting is a tough job indeed and one with constantly
shifting goal posts.
But just as one man’s meat is another man’s poison, one parent’s nightmare is a dream come
true for many a product seller or service provider! So right from travel agencies, to amusement
parks, to hobby and activity classes, to gaming arcades to television programmers – they are all
having a field day as they go about cashing in on the pester power that peaks around this time of
the year.
But guess who is not coming to this party? The Hindi film producer, usually quite adept at
riding popular trends and milking prevalent circumstances. For proof, just turn to our ‘Next
Attraction’ page, which carries information on scheduled releases. Except for the upcoming
Shortcut Safaari and Dhanak in June, you will be hard-pressed to find made-for-children Hindi
films in a listing that extends as far out as Christmas 2017.
On the other hand, distributors of Hollywood films have a conveyor belt of releases lined up to
feed the demand. This year alone, Indian screens have already hosted Alvin & The Chipmunks
4, Zootopia, Kung Fu Panda 3 and last week’s release, The Jungle Book. And there is even more
in store during the rest of 2016 – Alice Through The Looking Glass, Angry Birds, Teenage Mutant
Ninja Turtles 2, Finding Dory, The Legend Of Tarzan, The Secret Life Of Pets, Ice Age 5, Pete’s
Dragon, Kubo And The 2 Strings, Storks, Sausage Party, Trolls, Fantastic Beasts And Where To
Find Them, Moana, Sing, and Jumanji.
That list expands even further when you include films that may have a broader audience base
but still count on children as a very important segment– a good example being the recently
released Batman v Superman: Dawn Of Justice. Before this year is through, we will also see the
little ones being wooed by films like Captain America 3 – Civil War, X-Men: Apocalypse, Star Trek
Beyond, Ghostbusters 3, Star Wars: Rogue One and more.
Obviously, Hollywood’s love affair with children’s films is driven not as much by the
philanthropic intent of making kids’ vacations memorable as it is by commerce and economics.
And when over 80 per cent of the Top 50 Hollywood hits of all time have been kid-friendly, that’s
about as emphatic a commercial endorsement that any genre can get.
Hollywood’s success with the category, not only abroad but even right here in India, would
make our reluctance to try and replicate the same seem even more baffling. The size of the
opportunity does prima facie seem enormous. Just think of the numbers involved: as per the
2011 Census of India, out of a total national population of around 121 crore, the number of
citizens below the age of 15 is almost 37.25 crore. To put that statistic in perspective, look at it
this way – if all the kids in our country were to secede and form a new nation, that hypothetical
Kidistan would be the third most populous nation on Earth after China and India!
Not only do children form a huge constituency in our country, they also influence what
products and services the household budget is spent on. And with the joint family system having
given way to smaller, nuclear families, the indirect financial power in the hands of kids has only
increased. Even more so in urban centers where working couples are willing to spend on their
children’s indulgences in lieu of spending time together.
Why, then, with every possible factor almost screaming out about the viability of children’s films
do we see so few of these being produced locally? To be fair, we have occasionally tried our luck
with the genre and have experienced moderate success too with films like Chhota Chetan, Anjali,
My Friend Ganesha, Makdee, I Am Kalam, Chillar Party, Stanley Ka Dabba and Chhota Bheem
Himalayan Adventure that released earlier this year. However, these have been so few and far
between that there’s never really been any momentum behind the genre. And for every such film
that has just about broken even, there have been many more that have left their backers, well,
just broken.
Moreover, unlike a Bhaag Milkha Bhaag, that opened our eyes to the true potential of both
biopics as well as sports-based films, or the astounding success last year of Bahubali: The
Beginning, that showed us what could be achieved through a mix of historic fiction and fantasy,
we haven’t yet had a monster kiddie hit to demonstrate how big that market is.
And therein lies the classical chicken-and-egg dilemma: we are afraid to put money behind
children’s films because we are unsure about the actual size of the market... and because we
don’t give our children’s films the scale and resources and budgets they need to truly appeal to
their target audience, the resultant collections dishearten us from dabbling with the genre.
In other words, what we are really looking for is a poster child for children’s films before we
start backing them wholeheartedly. Until that happens, we will literally keep throwing the baby out
with the bath water!
REG: MAHENG/2009/56446
Nitin Tej Ahuja
16 April 2016
Box Office India
03
TAKE ONE
Adults Only?
India’s Premier Film Trade Magazine
GOLD REVIEWS
FAN
Banner: Yash Raj Films
Producer: Aditya Chopra
Director: Maneesh Sharma
Cast: Shah Rukh Khan,
Waluscha de Sousa, Shriya Pilgaonkar,
Deepika Amin, Yogendra Tiku,
Sayani Gupta
Writer: Habib Faisal (screenplay and
dialogue), Sharat Katariya (dialogue),
Maneesh Sharma (story)
T
o start with, FAN is not your usual
Hindi film. It doesn’t have songs.
It doesn’t have the scenes you
usually associate with leading man Shah
Rukh Khan. It doesn’t have SRK’s antics
or him falling in love with the leading lady.
But while watching the movie, do you
really care or miss any of this? Not one
bit. Apart from the fact that the film is
gripping from start to finish, the double
role played by Khan is jaw-dropping, and
even though we have seen him essay
many types of characters, the two he
plays in FAN leave you all but hypnotised.
If the charisma of the super star
character played by Khan makes you falls
in love with him once again, the other
character he plays, Gaurav, takes him to
a different level as an actor. If you’re an
SRK fan, you will love him even more,
and if you aren’t a fan, you will likely be
converted after watching this movie.
That’s the kind of impact the film has.
The film starts with 25-year-old Gaurav
Chanana (Shah Rukh Khan), a young lad
from Inder Nagar, Delhi, who is madly
awestruck by superstar Aryan Khanna
(Shah Rukh Khan). Gaurav runs a cyber
cafe but all he really wants to achieve in
life is to meet Aryan Khanna, whom he
refers to as ‘senior’ and himself as ‘junior’
since Gaurav looks a lot like Aryan.
Gaurav wins a local competition and
some money, and he uses it to visit
Mumbai to meet his idol and wish him
on his birthday. But things go a little
awry. Gaurav misbehaves with Aryan’s
on-screen rival Sid Kapoor, hoping to
please the star, but it has the opposite
effect. Gaurav’s feelings for Aryan do
an about turn and, now, all he wants is
to do is make Aryan regret the way he
treated him.
Gaurav sets out to tarnish Aryan’s
image and will do anything to have the
latter apologise for his behavior. What
follows is a clash between the star and
his fan. What happens next forms the
crux of the story.
There are very few films that can
successfully turn the protagonist into the
antagonist, to make the audience fall in
love with the lead character, only to turn
tables as the story progresses. That’s
where FAN scores. Maneesh Sharma’s
direction and writing complement each
other to the fullest. His characters are
well-defined and the script justifies the
story to the fullest. The most endearing
sequences in the film are those featuring
Gaurav and how his antics come so
naturally to him. Sharma plays well with
both characters (Gaurav and Aryan).
The basic story has a certain simplicity
attached to it, making it a smooth, flowing
delight on the big screen. Sweeping in its
scale and originality of vision, the film not
just pushes the envelope, it redefines the
boundaries of popular cinema.
Many scenes are spectacularly
scripted, like the one where Aryan
Khanna meets Gaurav for the first time;
the scene where Gaurav arrives outside
Aryan’s house on the latter’s birthday;
Gaurav’s skit at the local competition;
the execution of his plan at Madame
Tussauds, his outburst at Aryan’s house;
and the climax, which is an exceptional
end to this beautiful tale. The first half of
the film has its moments and the second
half keeps you glued to the screen. The
chase sequences, which are beautifully
captured, are another highlight of this
film.
Dialogue by Sharat Katariya and Habib
Faisal is crisp, natural and outright
honest, contributing a great deal towards
endearing FAN to the audience. The
screenplay is well drafted and imbued
with reason. The background score is
subtle and suits the temperament of
the narration. Cinematography by Manu
Anand is top notch. Editing by Namrata
Rao is to the point. With a runtime of 142
minutes, there is hardly a dull moment.
The narration is pacey and engrossing
from start to finish. The end is sufficiently
justified and emotional sans melodrama.
Performance-wise, there is no other
actor who can play the role of Gaurav
with such conviction as Shah Rukh
Khan does. As Aryan Khanna, he owns
the screen. His look and walk (different
for both the characters he plays), and
dialogue delivery are major attractions
of the film. Undoubtedly, this is another
award-winning performance from SRK.
Waluscha de Sousa plays her part
exceptionally well. Shriya Pilgaonkar
delivers a confident performance.
Deepika Amin she stays true to her
character throughout. Yogendra Tiku is
notable. Sayani Gupta is splendid. The
others play their respective parts well.
The supporting cast is good.
Verdict: FAN is indeed a treat for
movie-goers and will be a BIG winner at
the ticket counter.
Karo Dil Ki
04
Box Office India
16 April 2016
NEXT ATTRACTION
APR 2016 - DEC 2017
Apr 22, 2016
Nil Battey Sannata
Santa Banta Pvt Ltd
Laal Rang
Aakhri Sauda – The
Last Deal
Apr 29, 2016
Baaghi
Shortcut Safaari
May 06, 2016
Cabaret
Traffic
1920 London
Dear Dad
May 13, 2016
Azhar
One Night Stand
Buddha In A
Traffic Jam
May 20, 2016
Sarbjit
Saat Kadam
May 27, 2016
Phobia
Raman Raghav 2.0
7 Hours To Go
AZHAR
BAAGHI
CABARET
SARBJIT
LAAL RANG
M.S. DHONI: THE UNTOLD STORY
June 03, 2016 Jagga Jasoos
Housefull 3
Raaz Reboot
June 10, 2016 Do Lafzon Ki Kahani
Madaari
Dhanak
June 17, 2016 Udta Punjab
June 24, 2016 Junooniyat
Eid, 2016
Raees
Sultan
July 15, 2016
Happy Bhaag Jayegi
July 22, 2016
Great Grand Masti
July 29, 2016
Dishoom
Aug 12, 2016
Mohenjo Daro
Rustom
Aug 19, 2016
Bombay Mumbai
Banjo
Aug 25, 2016
A Flying Jatt
Sep 02, 2016
M.S. Dhoni: The Oct 28, 2016
Ae Dil Hai Mushkil
Shivaay
Nov 11, 2016
Rock On 2
Nov 18, 2016
Tum Bin 2
Nov 25, 2016
Force 2
Dec 02, 2016
Wajah Tum Ho
Dec 09, 2016
Befikre
Christmas, 2016 Dangal
Jan 26, 2017
Baadshaho
Kaabil
Feb 10, 2017
Raabta
Untold Story
Apr 28, 2017
Half Girlfriend
Sep 09, 2016
Baar Baar Dekho
Eid, 2017
Salman - Kabir
Sep 16, 2016
Pink
Khan’s Next
Sep 23, 2016
Manmarziyan
Diwali, 2017
Sons Of Sardaar
Sep 30, 2016
Rangoon
Dec 15, 2017Sanjay Leela Bhansali’s
Sep, 2016
Dobaara
Next
Oct 07, 2016
Mirzya
16 April 2016
Box Office India
Christmas, 2017 Aanand L Rai’s Next
SULTAN
05
STRAIGHT NEWS
Organisational Shift
At Star India
S
TAR India has announced a series of leadership changes as part of an
organisational shift to strategic business units for accelerated growth. Uday
Shankar will be Chairman and CEO, whereas Sanjay Gupta, the incumbent COO, has
been elevated to Managing Director-Star India, while K Madhavan will be Managing
Director-South. Both Gupta and Madhavan will continue to report to Shankar. STAR
has also established empowered business units, each with its own CEO reporting to
Gupta. These CEOs are Amit Chopra of Entertainment (drama and movie channels
across national and regional channels in Hindi, English, Bengali and Marathi); Nitin
Kukreja, CEO of Sports (which includes a leading portfolio of channels under the
STAR Sports banner); Ajit Mohan, CEO of Digital (which oversees Hotstar); and Vijay
Singh, CEO of Fox STAR Studios (which produces and distributes Bollywood and
regional films). Kevin Vaz has been appointed as CEO of South and will report to
Madhavan.
IFFLA Winners Announced
T
he 14th annual Indian Film Festival of Los
Angeles (IFFLA) concluded on April 10, with
a red carpet and gala fete that featured the North
American premiere of Anu Menon’s poignant and
stirring feature, Waiting starring Kalki Koechlin,
as well as the presentation of the festival’s Grand
Jury and Audience Choice Awards. Visaaranai,
directed by Vetri Maaran, took home the Grand
Jury Prize for Best Feature. The Best Actor award went to Sanjay Mishra for his
performance in Masaan; and the Best Actress award honoured the cast of Parched
starring Tannishtha Chatterjee, Radhika Apte, Surveen Chawla and Lehar Khan.
Special jury mentions were made of both Neeraj Ghaywan’s Masaan and Aligarh,
directed by Hansal Mehta.
T-Series Hits
10-Million
Mark
A
fter notching up 1 million
subscribers on YouTube in 2013,
T-Series has added 9 million more
subscribers to its channel in just over
two years, becoming the first South
Asian channel to cross the 10-million
subscriber mark. Cumulatively, the
music label has gained more than
7.7 billion views on its channel and is
arguably one of the most popular music
channels in the world on YouTube.
T-Series was, in fact, among the first in
the Indian music industry to embrace
YouTube in 2011, to take its music
global. With 16 channels on YouTube
driving more than 30 billion views so
far and 13.6 million subscribers, the
T-Series network attracts 41 million
views per day.
Shaan
Performs At
WWI
The Grand Jury Prize for Best Short was presented to Playgrounds, directed by Shamik
Sen Gupta and Pallavi MD. Honourable mentions were given to Payal Sethi’s Leeches for
the performances of its two lead actors, Sayani Gupta and Preeti Golacha, as well as The
Manliest Man, for director Anuj Gulati’s cinematic vision. The audience at this year’s IFFLA
chose Leena Yadav’s Parched as their favorite feature film of the festival, while director
Nishant Roy Bombarde’s Daaravtha was chosen as the Best Short.
Muvizz.com Acquires
O
nline video streaming platform muvizz.com has expanded its library by
signing a deal with PVR and acquiring 25 movie titles for exclusive streaming.
The deal will now give subscribers access to movies such as The Reluctant
Fundamentalist (2012), Another Year (2010), Greenberg (2010), The Greatest
(2009), A Single Man (2009) and Nightwatching (2007), among others. Muvizz.
com says these titles span languages and genres, including feature films,
documentaries and short films. The website currently has around 300 titles and is
planning to acquire more very soon.
New Miniplex In Uttarakhand
K
SS Miniplex, a wholly owned subsidiary of KSS Limited, has launched a miniplex
in Rudrapur. This is the second such property in Uttarakhand and the tenth in
the country. The two-screen miniplex will sport state-of-the-art video auditoriums and
sound systems with a luxurious ambience for patrons. The miniplex projects audiovisual content in full HD, powered by 3D compatible technology and ultra-modern
digital sound. KSS plans to establish more than 500 such cinemas in India.
06
S
inger Shaan recently performed
at Whistling Woods International’s
weekly workshop under the 5th Veda
Cultural Hub. He sang a medley of
songs representing every state of the
country. Shaan also shared insights on
the history and power of Indian male
playback singers, from KL Saigal, Talat
Mahmood, and Mohammad Rafi to Udit
Narayan, Kumar Sanu, Sonu Nigam and
Arijit Singh. He shared his experiences
of singing songs in Bengali, Kannada,
Gujarati, Marathi, Punjabi, Tamil and
also an Italian song, which, he sang
with Italian and Hindi lyrics on the spot
to show students that music has no
language. The event commenced with
an audiovisual documentary on the art
of singing and its evolution, made by the
students of WWI. They also gave a cover
performance of the song Hey shona,
which was originally sung by Shaan.
Box Office India
16 April 2016
All figures in crores (rupees)
Last Week
Current Week
Weekly Change
Release Date
Movies
Box Office
Exh
Dist
Bookies
Exh
Dist
Bookies
Exh
Dist
Bookies
April 8, 2016
Fan
Weekend
60
64
61
60
64
61
0
0
0
First Week
100
103
101
105
110
105
5
7
4
Total
150
175
165
160
175
180
10
0
15
Weekend
2
3
3
2
3
3
0
0
0
First Week
3
5
5
3
5
5
0
0
0
Total
4
6
6
5
6
6
1
0
0
Weekend
1
3
2
1
2
2
0
-1
0
First Week
2
5
3
2
3
3
0
-2
0
Total
3
6
4
3
4
4
0
-2
0
Weekend
21
24
22
22
20
22
1
-4
0
First Week
35
38
36
34
31
36
-1
-7
0
Total
52
60
55
50
48
52
-2
-12
-3
Weekend
6
8
7
6
6
5
0
-2
-2
First Week
10
11
10
10
9
8
0
-2
-2
Total
12
13
13
12
12
11
0
-1
-2
Weekend
15
18
16
16
18
16
1
0
0
First Week
22
25
24
22
25
24
0
0
0
Total
26
30
28
30
32
30
4
2
2
April 15, 2016
April 22, 2016
April 22, 2016
April 29 , 2016
May 6, 2016
16 April 2016
Nil Battey Sannata
Santa Banta Pvt Ltd
Baaghi
1920 London
Azhar
Box Office India
07
TRADE TRAC
Dynamic Trade Estimate of Box Office
TRADE GUP
Vinod Mehra’s Son To Debut
A
nother star kid to join the Hindi film industry is the late Vinod Mehra’s son, Rohan
Mehra, who will be launched by Nikkhil Advani. Last year, the director had
launched Athiya Shetty and Sooraj Pancholi in Hero under the Salman Khan Films
banner. But, this time, it will be under his own banner, Emmay Entertainment.
A source close to the filmmaker reveals, “The film is under process. It’s a thriller,
partially based on a true story. Nikkhil will be producing the film, which will be directed
by one of his assistants. Since the script is currently under way, everything is under
wraps. But the film will start rolling at the end of this year and the producers are planning
to launch Rohan in a big way.” The production house is already talking to a few actresses
whom they want to cast.
PS: Nikkhil Advani also has a script based on the stock market. He is giving it the final
touches and will soon start approaching leading actors. This movie will start rolling in
mid-September.
Irrfan Opts Out Of
SLB’s Film
A
fter Sanjay Leela Bhansali wrapped Bajirao Mastani,
he barely took a breather before he and his writers got
busy with their next script. It is said that the film is based on
poet and lyricist Sahir Ludhianvi and his relationship. There
were reports that the director had roped in Irrfan for the film.
Apparently, the actor loved
the script but a source
close to the actor says
he opted out, citing date
issues. “That’s all that’s
known about the film so
far. The director and writers
have just finished the final
draft and will announce
the new casting,” says the
source from the production
house.
It’s Called
Gulaab
Jaamun
D
AR Motion Pictures
is back in action. The
production house has signed
newcomer Sarvesh Mewara,
a graduate from the Whistling
Woods International, who has
made a few short films. This
film is called Gulaab Jaamun,
a coming-of-age love story as
sweet as the mithai itself.
After Mewara finished his script, he approached Huma
Qureshi through common friends. The actress loved it and
agreed to sign on. The production house is currently looking for
a leading man. It’s a coming-of-age love story with a twist. The
film should start rolling at the end of June.
Befikre Heads To Paris
A
ditya Chopra
along with
his Befikre team,
and leading actors
Ranveer Singh and
Vaani Kapoor, left
for Paris last night,
for a two-month
schedule. Chopra
plans to complete
the film in one go.
Both the actors
had prepped for
their respective
roles by attending a
workshop and script
reading sessions.
A source close to
the unit says, “The
workshop lasted
more than a month.
Vaani was learning
to ride a bike at
YRF and they were
both also learning
French as the film
will have French
lines with subtitles.
The shoot in Paris
starts on April 17
and will wrap on
June 15.’’
That’s not all.
Even editor Namrata
Rao has flown to
Paris along with the
cast, where she will
be editing the film
on the sets, to make
sure they wrap up
on time. The film is
all set to release on
December 9.
For more trade news please log on to www.boxofficeindia.co.in
08
Box Office India
16 April 2016
Machine Heads To
Georgia
B
ox Office India was the first to tell you that Abbas
Burmawalla would be launching his son Mustafa in
their next film Machine. The director duo (Abbas Mustan)
recently finished the final draft of the film and they have
cast Kiara Advani opposite Mustafa.
A source close to the film says, “The entire unit will
head to Georgia in July as the film will be shot there. A small schedule will be held in
Mumbai.” Abbas-Mustan is producing the film under their home banner and plan to
release it in the first half of next year. It’s a love story with a twist.
Imtiaz Ali – The Mentor
I
mtiaz Ali and Ranbir Kapoor worked together in two films, Rockstar and Tamasha,
and we all know that they are very close friends. In fact, Ali is also one of the
favorite directors of the Kapoor family. In the past, he has also worked with Kareena
Kapoor Khan in Jab We Met, so the bond with the Kapoor family goes way back.
Lately, we heard that Ali is being a mentor to Kapoor’s cousin Armaan Jain, who
made his debut with Lekar Hum Deewana Dil, which was directed by Ali’s younger
brother Arif Ali. The film unfortunately bombed at the box office but the young lad is
now being mentored by Imtiaz Ali.
A source close to the director adds,
“Whenever Imtiaz find s the time, he meets
Armaan Jain and is keeping a close eye
on what scripts he is being offered. The
director is also suggesting tips on what to
look at when offered a script.” Now that
he’s getting the right guidance, let’s hope
the kid has a bright future.
Husband
Versus Wife
W
ell, we’ve seen many a big film,
even superstars, clash at the box
office. Now, for the first time, we will
see husband and wife clash. Yes, we
are talking about Tony D’Souza and his
wife. While wife Jasmine Moses D’Souza
makes her debut with One Night Stand,
featuring Sunny Leone, Tanuj Virwani and
Nyra Banerjee, hubby Tony D’Souza will
have his film Azhar, featuring Emraan
Hashmi, Nargis Fakhri and Prachi Desai,
releasing on the same day, May 13.
Guess Who?
A
lthough talent is the most important prerequisite to be a good actor, looks are pretty important too. There’s this actress who
has always been known for her stunning beauty. She recently lost some weight and is looking even more stunning. Naturally,
everyone around her is bowled over and raving about how beautiful she’s looking.
So what’s the problem? Well, not long ago, the actress had shot for a film before she shed all those kilos. The film is only halfcomplete and the director is now wondering how to accommodate the actress’ new and gorgeous look when shooting resumes!
How do you go from a chubby look to Size 0? Oof!!!
16 April 2016
Box Office India
09
TRADE QUIZ
ALL ABOUT COOKING
A full quiz on food and Bollywood
Q VIVECK VASWANI
1
4
5
Which film
starring Jaya
Bachchan was
about a cook?
Who played the
title role?
In which Hindi
film does a
South Indian
star play a
skilled cook
from Bihar?
2
3
Which unusual love story revolves around great food
delivered to the wrong person by mistake?
In which film does SRK play an aspiring chef?
6
Ranbir Kapoor
makes ladoos
and jalebis in
which film?
Which superstar played a
South Indian character in
a film? What did he mix
his spaghetti with, and
how did he eat it?
10
Box Office India
16 April 2016
16 April 2016
Box Office India
11
1. ‘Bawarchi’, starring Rajesh Khanna in the title role.
2. ‘The Lunchbox’ directed by Ritesh Batra.
3. Yash Johar’s ‘Duplicate.
4. R. Madhavan in ‘Ramji Londonwalley’.
5. ShahRukh Khan played a South Indian character in ‘RaOne’. He
eats his spaghetti with dahi, with his bare hands in the film.
6. Ranbir Kapoor makes ladoos and jalebis in ‘Ajab Prem Ki Gazab
Kahani’.
7. Amitabh Bachchan played a chef who is a confirmed bachelor in
In which film does
Amitabh Bachchan
make his living selling
jaggery (gur)?
10
‘Cheeni Kum’.
8. ‘Dal roti khao, Prabhu ke gun gaao’ in ‘Jwar Bhata’.
9. Dus Numbri
Hifazat
Rock Dancer
Which films have the
following songs:
‘Na tum ho yaar aloo, na
hum hain yaar gobi’.
‘Batata vada’.
‘You are my chicken fry’.
9
10. Rajshri Productions ‘Saudagar’.
7
ANSWERS
In which film did
Jaya Bachchan’s
husband play the
role of a chef?
8
Dharmendra sings a lovable song about food in a
film with Saira Banu. Name the song and the film.
@BOI
Make It A
Double, Please
Shah Rukh Khan tells Vajir Singh what it was like to come face-to-face with
‘himself’, in the emotional thriller, FAN
What, according to you,
is the genre of FAN ?
I think it’s an
emotional thriller.
Is this the first time
you’ve attempted an
emotional thriller?
No, Darr was a love
story and a thriller. But
this kind of genre… it’s
the emotional journey
of a person who wants
to meet his star, which
then turns into a thriller
and then comes back
to emotion. So yeah...
12
This is also romance of
a different kind, right?
Fans do love their stars.
According to me, it is
romance. It’s the love story
of someone who loves you
from very far, loves you
unconditionally and without
knowing or expecting
anything. Otherwise you
expect something in all other
relationships, like husbandwife... Stuff like Saturday
ko chhuti lena, or be nice
to mother, or saara family
khaana ek saath khayega.
So love has conditions. ‘You
have to be with me’; ‘We have
to meet once a month even
if you are outdoors.’ But,
here, there are no conditions.
A person loves you and
loves you unconditionally,
so maybe that’s why they
forget that it’s one-sided
love, they love you so much.
They don’t know you but
woh aapki izzat karta hai,
respect karta hai, yeh bhi
maanta hai ki aap usko pyaar
karte hai. But he doesn’t
know you. And you don’t
know that person. So it’s
kind of a love story. I think
being known as a ‘romantic
hero’ people assume that I
only romance a heroine. I try
to romance the audience.
Sometimes I choose not to
do a character when I feel
I should not make people
love them because they
are not good people. In this
case, Gaurav is a very good
person. So is Aryan. And
you have to make people fall
in love with both of them,
without picking sides, who’s
good and who’s bad.
The presentation and the way
Box Office India
16 April 2016
this film has been written
are unusual. Apart from that,
you’ve played this kind of
role before. Why are people
saying that with this film,
SRK is reinventing himself?
People have their own
opinions about what a star
is doing, from the outside.
That’s exactly like Gaurav,
who has an opinion about
Aryan Khanna. People
have opinions and they
expect their opinions to be
followed or not followed. As
a character, I feel the film
is a little more in the ‘real’
space although the story
is imaginative. Maneesh
(Sharma) himself does films
in the real, middle-class
space. I think, this time,
he has extended himself.
The story of Aryan Khanna
is in the real space, the
movie star’s personal life,
not the flamboyance or his
exterior life. It is a different
way to treat a love story. Even
though I have played double
roles before, I have not really
ventured into such a double
role. This is very different
because the idea is that one
should very clearly feel that
they are two different people,
dono alag hai. I think that will
be the victory of the film.
Is it apt to use the
word ‘reinventing’?
I don’t think so. I do the films
I want to do. This one started
two years ago, so why and
when did I start ‘reinventing’?
I liked the story a few
years ago but we couldn’t
make the film back then
because of the technology.
It’s not reinvention; it’s
about wanting to tell a story
at that point of time.
Sometimes I want to tell a
story but I don’t get that story
from a director. Everybody
doesn’t want to tell the
same story. There are lots of
attachments to it. Sometimes,
you feel like working with
a certain director but does
he have a story you want
to tell? Sometimes, I meet
so many good friends who
are directors and they tell
me they want to work with
me and I want to work with
them too but I don’t feel like
doing that story at that time.
Everything has to match. So
FAN fulfilled certain desires
in me to do something like
this. Maneesh had a story
like this. Adi (Aditya Chopra)
was ready to produce a story
like this. And, more than
anything else, we had the
time and technology to do it.
We recently interviewed
Maneesh, and he said
the idea of FAN came
to him when he visited
Mannat the first time.
He came to see me. After
speaking to me, when he
went out, he had an actual
friend called Gaurav who
is a big fan of mine. So I
think he got the idea when
he saw people outside,
As a character, I feel
the film is a little
more in the ‘real’
space although the
story is imaginative.
Maneesh (Sharma)
himself does films
in the real, middleclass space. I think,
this time, he has
extended himself
saw them standing, and
then thought ‘what if one
of them wanted to meet
him or got attached to him?
And then SRK met him and
something went wrong?’
During the filming of Rab
Ne Bana Di Jodi (RNBDJ),
he told me, ‘ Sir, woh ek
kahaani thi, maine woh
chhod di. Mere paas yeh
waali hai.’ And he started
telling me about the film.
We liked the idea then too
but the pitch had to be that
Gaurav is a look-alike, not a
double. And we didn’t know
how to do that. As years
went by, when I was dubbing
one day, I said to him, ‘Woh
picture banao yaar, we have
the technology also. Kyun
nahi bana rahe, VFX bhi hai
let’s try all this?’ Adi said,
‘Tu pakka bana raha hai?’ I
said, ‘Next year.’ So they took
time to revisit it and develop
it with the writing, etc. What was so special about
the concept that it stayed
with you for four years?
It’s one of those concepts
you will remember whenever
someone narrates a story
16 April 2016
Box Office India
like this. For an actor to
play a double role, you will
remember someone who
offers that to you. But a
double role should not be a
‘double role’. I should play
a 25-year-old and 50-yearold in the same frame. I
didn’t know how that was
possible but now, having
done it, it was difficult but
not impossible. We reached
the point where people
think it’s not the same
hero. People ask me, ‘Woh
doosra ladka kaun hai?’ I
think that’s quite nice, that
we got that kind of feel.
Was it easy playing Gaurav
because you’ve done theatre?
Technically, it’s very difficult
because of the make-up
and VFX. You have to have a
certain amount of experience
doing double roles to do this
one. Physically, there was
only one challenge because
I was hurt throughout the
shooting. Since my knee
was injured, all the action,
dancing and running was
difficult. I think the theatre
training really helps, the
body language, losing
weight, the walk. Also it
helps that Maneesh and
I are from Delhi, so the
language was easy.
Having said that, most of
the input Maneesh had was
very clear. He had lived with
it for so long that he had
an interesting idea of how
the mind of Gaurav should
be, his lines. I think he had
written it for so long that he
knew each nuance and the
dialogue. But, yeah, as an
actor, it was very challenging
and interesting. The makeup used to take very long.
Was it easy to play
Aryan, since you are
playing yourself?
No, Aryan was more difficult.
People will mistake him for
Shah Rukh Khan but he is
not Shah Rukh Khan. Aryan
is a little more responsible,
strict, and his sense of
humour isn’t as good as
mine. He’s a little more
real. He’s a different kind
of family man. Also, he’s
someone who’s come from
Delhi but very attached to
13
@BOI
what he has achieved. Very
different from me. For me,
the more difficult role is
Aryan Khanna’s. The issue
with Aryan is I should make
sure he’s dignified. It should
not look like he’s the bad guy
or Gaurav is the bad guy.
Both of them have to look like
normal people. So Aryan was
very difficult for me to play,
because you have to save
him from being arrogant or
a bad person. People watch
the trailer and think he’s
arrogant, which he’s not. He’s
reacting to a situation like
any normal person would.
And there’s no showing him
shooting, or trying to show
him as a star, which I am.
So it’s not like I can say,
‘Aisa hoga, crowd hoga.’
Except for that one
scene, which was shot on
my birthday and was a real
shot. Apart from that, the
rest is his private life. I had
to change his voice, I had to
change the walk. Normally, I
would maintain a star walk.
But because Gaurav’s walk
was different, even this
guy’s had to be different.
And the way he talks. I
also had to maintain that
their backgrounds are the
same, similar colony, lower
middle class, but Aryan has
become a sophisticated star
and he’s just a regular fan.
Did you give any input to
Maneesh while he was
writing Aryan’s character?
Actually, no. Adi and
Maneesh were very clear
because they were using
my archival footage and
my stardom to establish
that Aryan was a star,
without actually saying it.
We didn’t have to establish
this by showing a song,
him shooting, nothing.
14
But as soon as I am cast,
you can show the rise of
a star and say Shah Rukh
Khan. You accept that.
But they were very clear
that they wouldn’t take any
personal moments from my
life because it’s too close
to the truth, whether it is
my children, my wife or my
sister. They didn’t want to
have any exposure where I
would be awkward ke yaar
yeh meri family ka kyun?
Except for my house. We
took my house because
there’s no other house for a
crowd to come, Madh Island
mein bhi nahi hai, so that
was out of convenience. But
it was not meant to make
things awkward that I was
expressing my personal
world to the outside world.
We used archival footage
but we have to see him as
a character otherwise it
could go against the film.
Aryan Khanna, Shah Rukh
Khan nahi hai. My fans,
who come to see the film,
should not assume that he
is the real me, just as they
don’t assume this in many
films. I’m not Kaali or I’m
not a killer from Baazigar.
There’s little stuff like Aryan
playing video games with
his kid, but they were very
clear they didnt want an
input on how I would behave
and I didn’t have to give
any inputs as nothing was
taken from my personal life.
I was just telling the press
that I have given more
retakes as Aryan Khanna.
For example, how would he
get angry? I have a different
way of getting angry. He’s
more mature. So we didnt
want anything of mine
coming in. Maneesh had
studied me so closely as a
star and as a person that
We used archival
footage but we
have to see him as a
character otherwise
it could go against
the film. Aryan
Khanna, Shah Rukh
Khan nahi hai. My
fans, who come to
see the film, should
not assume that
he is the real me,
just as they don’t
assume this in
many films
he’s got a laptop full of stuff
on me. Sometimes, he
would say, ‘Ki sir, aapne yeh
line boli thi uss interview
mein.’ They have hundreds
of photos and videos and
interviews as research. Playing a fan and working
with a fan, that is Maneesh,
who came to Bombay with
the dream to direct you.
What was that like?
Maneesh is a very fine
filmmaker. He’s got a
different take. I’ve worked
with him in RNBDJ, known
him for some time, and
spent some time with
him. He’s from Delhi too,
so maybe there’s that
relationship. Somewhere
down the line, he’s really
not a fan; he just wanted
to make a film with me.
There are people like
Jaideep (Sahni), Maneesh
and four or five other
directors I know who felt
that Shah Rukh Khan Dilli se
chala gaya, hum bhi jaa sakte
hai. He wanted to be a filmmaker, he took a scholarship,
and went to Cal Arts. Parents
usually don’t know how films
are made. We went to the
same college, he tried to find
a path where he could do
the same things and come to
Mumbai and be a filmmaker.
While doing this,
somewhere down the line,
in Cal Arts, apparently he
got a lot of chances for
internships. But he said,
‘Nahi, I’ve decided ki agar
maine Shah Rukh ko soch
ke agar maine aisa sab kiya
hai toh main usi ke saath
picture banata hoon.’ I think
it’s a good thought. He called
me up and said, “Mein aa
raha hoon picture banane
ko aapke saath.’ I said, ‘Aa
jao,’ I encouraged him.
In our interview, he had
said he called up Subhash
dada and you took the
phone. Is it really that easy
to get in touch with you?
I don’t know, Subhash
explained saying. ‘Koi
America se aapko phone kar
raha hai.’ And I could tell
Box Office India
16 April 2016
that he sounded educated.
He also had a Master’s
in Filmmaking, so he had
background. He sounded
very decent. And because
I’m from Delhi, I understand
how Delhiites are. He was
very direct. ‘Picture karni hai
aapke saath, sir, I’m coming
from America.’ I found that
very sweet. I said, ‘Aaja,
abhi toh nahi hoga but we’ll
meet. Then he joined Adi
and assisted Kunal Kohli on
Fanaa. I used to meet him
and tell him ‘Tu likh apni
picture.’ So it’s not easy to
get in touch, but I can make
out more often than not. And
when I have the time, I meet
people; when I don’t, I don’t
meet people for months. I
meet a lot of people, even if
I am not working with them.
It has its disadvantages
too, for when you meet
someone, the next
day’s headlines say
you’re going to work
with him or her.
That’s okay because
I know who I’m
working with. I go to
parties or attend some event
and people say ‘he’s working
with them’. Sooner or later, it
will be announced who I’m
working with. Everybody has
their own way of formulating
an idea, which is okay, we
don’t even need to clarify.
Now you don’t even react!
I don’t because everyone
knows that I am doing what
I want to anyway, and with
whom I am working. Earlier,
someone had asked me,
‘Are you not doing a film
with me because you’re
doing that one.’ I would say,
‘This is a commitment and
we are working on it, why
would we change it?’ Now
everyone knows that a lot of
stuff on social media or even
the regular media is put out
there just to make news and
it is not verified. Your
filmography
shows
that after
every three
movies, you
used to do a
small film. But
we haven’t seen
you do a small
film in three
years.
FAN was a small film when
we started out. Even Raees.
Even Gauri Shinde’s is a
small film. But when we were
making FAN, we thought we
would restrict it to BombayPune, Delhi-Pune, but Adi
suggested that we make it
bigger and go to Croatia.
I’ve never done a small or
a big film. I’ve done films
that make me have fun as
an actor. Sometimes, it so
happens that I’m doing twothree big films. Sometimes,
it so happens that I’m doing
two-three small films. The
ideology has never been
that I’ll make a small or a big
film. Now that I’ve decided
to make two to three films
a year, one will have to be
fairly small. One has to be
a 50-60 day film. I have
to keep that in mind.
How happy are you with
the final product?
Everyone’s seen it now.
The marketing unit saw it
yesterday. We’ve seen it at
a technical level in case
we want to cut out some
stuff, we did the grading
and all. It’s looking nice.
When you make a film, it
usually turns out to be either
better or worse than you
hoped. But this is exactly
the film we set out to make.
It was meant to be a very
special film. There will be a
lot of questions raised, ke
gaane nahi hai... Commerce
ke liye woh zaroori hota
hai... SRK ka yeh scene
hona padega... But we
were very clear ke uss se
hatenge nahi, so much so
that ki Jabra hit bhi ho gaya
magar picture mein nahi hai.
When we started making
the film, we had a certain
idea and it’s turned out
to be exactly like that. We
thought it would be a 2-hour,
20-minute film, but the
actual run-time is 2 hours,
13 minutes, plus 5 minutes
of credits. But we are more
or less where we thought
we would be with the film.
There were plans that
Red Chillies would make
movies that would not
feature you. What’s
happening on that front?
16 April 2016
Box Office India
The ideology has
never been that I’ll
make a small or a
big film. Now that
I’ve decided to
make two to three
films a year, one
will have to be fairly
small. One has to be
a 50-60 day film. I
have to keep that in
mind.
We are still doing that. We
have tied up for Raees
and then a film with Karan
(Johar), which has me
in it. We are working on
Ittefaq now, which should
go on the floors soon, and
it doesn’t feature me. We
are doing one more film
which is yet to be cast.
There’s a Marathi film too.
There’s a Farah (Khan) film
without me, so that’s being
rewritten. There are also a
few other projects, which
we should announce soon.
What are the other plans?
There’s Imtiaz’s (Ali) film,
Aanand’s (L Rai) film, the
VFX unit is going to start
on the next film. They are
expanding, looking to tie up
with companies to expand
internationally. We are now
purely a production house!
With these four to five
films, our hands are full. 15
RIGHT NEWS RIGHT NOW
Proud To Be Indie
Content-rich films are steadily increasing their market
share even as a discerning audience is demanding
intelligent cinema. What is the way forward for indie
filmmakers?
Q ROHINI NAG, SOUMITA SENGUPTA
O
ur film industry has always
been defined by a seemingly
impenetrable divide between
commercial and independent cinema.
For many decades, commercial cinema
has always ruled over smaller, art house
or parallel films. But despite the minimal
release windows, these films have
emerged as clear winners when it comes
to content.
In the last three years, independent
cinema has seen some interesting debuts
by first-time filmmakers. It all started
with The Lunchbox, Gattu, Ankhon
Dekhi and continued with Ship Of
Theseus, Sulemani Keeda, Miss Lovely,
Margarita With A Straw, Shahid, B.A Pass,
Filmistaan and last year we had films
like Masaan, Angry Indian Goddesses,
Titli and Manjhi: The Mountain Man. The
films wowed critics at top international
festivals, and back home they attracted
both niche and mainstream viewers. Can
these directors follow up with films that
are as good, if not better?
With the audience’s perception of
these films changing and the popularity
of content-driven films growing stronger,
many A-list actors are keen on being
part of offbeat subjects. With the evolved
interest of the movie-going audience,
things have also changed in the way we
market and produce these films. Better
still, many large production houses too
have started taking a keen interest in
independent cinema.
This week, we asked indie filmmakers
how their lives have changed post the
release of their first films. We also asked
industry insiders to comment on how the
scenario and audience perspective has
evolved for these films. Over to them:
NAGESH KUKUNOOR
DIRECTOR
Nothing has changed
(for filmmakers) but
something has, and that
is, people are looking for
good content. Content
has genuinely changed.
16
The Lunchbox
It has become very cheap and you can
even shoot something on your phone. It is
also because of this that everyone is now
making films.
I made Hyderabad Blues back in the
day and everyone says that I started the
trend … I was living outside the country
for 10 years before making that film, so
I didn’t know what was commercial and
what was not. I was doing my own thing.
Since I was not constrained by anything,
I went ahead and made Hyderabad Blues
just the way I wanted to.
Luckily, the film made money over
a period of time and that’s why it gave
me the confidence to continue. The
problem with films like that is that they get
stuck at the distribution level. Although
independent films are enjoying a better
release than they used to, it’s still a big
challenge.
When multiplexes became popular,
I was thrilled because when you have
a multiplex, you have 1100-1200 seats
and it’s very hard to give the impression
that your film is running housefull, which
people used to do with single screens.
But soon, we found the same happening
with multiplexes because all the prime
show exhibitors were running big movies.
Even though we get a release, we get
smaller shows and odd timings. So it
is still a serious challenge to release an
independent film.
Today, marketing is killing it. You
might have an interesting concept but
how will that reach the audience? Yes,
today content is the first thing people are
looking for. I am constantly trying different
subjects and, yes, there is still a struggle
to release a film. I don’t blame anyone
for that; it’s the subject that sometimes
holds it all together. There is a demand
for independent cinema, and once the
demand grows, so will supply. Slowly and
steadily, things will change.
For example, Dhanak is a a happy film,
it’s a film for the family. It’s a much
wider film, which makes it easier to
push it. But darker, edgier films get
stuck, like my last film Lakshmi. Yet,
Filmistaan
Sulemani Keeda
Masaan
Box Office India
16 April 2016
as a filmmaker, I want to try different
subjects. A film has to challenge me,
the subject has to challenge me,
otherwise there is no meaning in being
an artist. ELAHE HIPTOOLA
PRODUCER
Nagesh Kukunoor was
the first director to
make an independent
film and one which was
successful. It really
opened the doors for
other filmmakers who wanted to make
similar cinema. Even when Nagesh
makes a film with a star, he also makes
it a ‘Nagesh Kukunoor film’, which he
does to date.
But those days we were specific to
the content. For instance, Hyderabad
Blues released in Mumbai in only
one cinema, with only one show. We
couldn’t apply for the National Award
because the print would have to be
submitted well in advance and we
had only one print, which we used to
release the film. Thankfully, the film
started with one show but ran for 33
weeks and got all the love it needed
from the audience. Till four to five years
ago, when things were still film-specific,
you knew your content, you knew your
target audience and you knew where to
release.
Now, it’s a cookie-cutter scenario,
whether you make a film for `50 lakh
or for `10 crore, you have to spend
a minimum `5 crore on marketing.
Unfortunately, people are clubbing that
with the cost of the film. Earlier, I used
to approach people with details about
the star cast and the budget I wanted.
But today, when I state the film’s
budget, they add another `5 crore as
the marketing budget, which pushes up
the overall budget. Then they say, ‘It’s
too much for a film like this.’
There’s always an extra `5 crore
added but I don’t want that! I only want
money to make a film. Distribution too
follows a cookie-cutter mould, where
only big films get the best shows. It is
not creative any more. We still need a
lot of support. Big production houses
are making such films but that’s only
once a year and they cast known
actors. So independent films still need
a strong push.
NITIN KAKKAR
DIRECTOR (FILMISTAAN)
Things have definitely
changed and indie
films are no longer
restricted to a single
show. Masaan, Dum
Laga Ke Haisha and
16 April 2016
Box Office India
Killa are a few examples from last year.
And a good number of people turned
out to watch these films. My point is,
write a good story, narrate it in an
interesting way and keep it engaging
enough for the audience to watch the
film. They should be happy to see it.
But, over the years, I have learnt that if
you don’t have big names attached to
your film, spreading awareness
becomes difficult. The only way you
can promote your film is via word-ofmouth publicity.
My next film Ramsingh Charlie
is about the journey of an artiste,
someone who plays Charlie in a
circus. When the circus shuts down,
he moves to the bigger circus of
life, where he now has to juggle
between what he loves, which is
performing as Charlie in a circus, and
his family. Everyone plays multiple
roles in real life. Ramsingh Charlie is
every independent filmmaker’s story
because they too are also juggling
between what they like to do and doing
something for survival.
Ankhon Dekhi
NEERAJ GHAYWAN
DIRECTOR (MASAAN)
The last year and half
has shown great signs
of change with Piku,
Dum Laga ke Haisha,
Neerja and Kapoor &
Sons working
wonderfully at the box office. It is a
sign of evolving audience tastes.
However, we still have a long way to
go. For instance, we have an abysmal
number of cinemas for the number of
films we make and the growing
audience volume. Masaan was
accepted by a larger audience. What
the audience wants today is good
content.
Titli
AMIT MASURKAR
DIRECTOR (SULEMANI KEEDA)
Sulemani Keeda had a
small release in
December 2014 and
almost immediately we
released it on the
internet and now on
Netflix. The online response and the
reception we got at festivals helped us
get some recognition. So yes, the film
did help open doors for me, my cast
and crew.
My second film, Newton is a black
comedy set in the deep jungles of
central India. It is produced by Manish
Mundra. He’s the first producer I
approached because the subject of
this film is very different and Manish
is someone who takes calculated risks
on films that he believes in.
Angry Indian Goddesses
BA Pass
17
RIGHT NEWS RIGHT NOW
Rajkummar Rao plays the title role
of Newton. He was our unanimous
first choice. ANIL THADANI
DISTRIBUTOR, AA FILMS
Good content has
always worked and
that’s why a film like
Vicky Donor did so
well. It was backed by
Viacom18 Motion
Pictures but it had all new faces and
stood out for its content. Another
thing that is very important today is
to have strong marketing muscle. If
you’re confident about your product,
one should go all out to create
awareness about it.
There was a time when a film
with newcomers didn’t have any
scope and it was promoted only if
it featured a star kid. Student Of
The Year had Karan Johar but a
film like Fukrey had no known face.
Obviously, one needs the muscle to
market their film.
Last year, regional films like Killa
and Bahubali did fabulous business
through word-of-mouth publicity.
Today, audiences are looking for
content-rich films, and that’s what
actors have started doing. Today,
big league actors too are looking
for different scripts and that’s why
you see Airlift, Neerja and Kapoor &
Sons, each one with great content
and known faces.
Across the country, regional films
are doing well. What happens is that
small films get a limited release and
they are not presented on a wider
scale. It’s just that tastes in urban
areas are different from tastes in
rural areas. In urban areas, you have
a window to showcase those films
but in a rural area, you don’t have
that scope so it is risky. Hence, they
get limited screens.
But it is heartening to see that
even within a limited released
structure, a good amount reels in.
They are not path-breaking numbers
but they are good enough when
you don’t have a brand or a face
featuring in it but when you have
recognised faces and when you have
popular commercial faces, then it
goes to another level.
I distributed Angry Indian
Goddesses and Masaan, and now I
am doing Waiting. One has to believe
in the content to take up a film. The
film should entertain the audience.
SHILADITYA BORA
CEO, DRISHYAM FILMS The Indian independent film industry
18
is going through its
best phase yet. Times
are changing slowly
but surely. Four to
five years ago, it was
very difficult for an
independent film or a film with
newcomers to obtain a theatrical
release. Exhibitors too had a
monopoly and were wary of placing
bets on independent cinema. Only
PVR Director’s Rare was distributing
and showcasing small, independent
films and documentaries. But all that
is changing now and mainstream
distributors are open to distributing
independent films.
However, while exhibition/
distribution channels are opening
up for smaller films, the number of
quality indie films is still quite low.
So it is the responsibility of content
producers to consistently raise the
bar.
At the end of the day, the audience
is the biggest stakeholder in a film’s
success and the Indian audience is
showing definite signs of maturity.
While earlier big-budget Khanstarrers were the only main draws,
the audience is now also opening up
to other kinds of cinema.
No one has cracked a code;
everyone is trying to figure it out in
these exciting times. But to make this
ecosystem sustainable, it has to be
a win-win for everyone – producers,
exhibitors, directors, writers, actors
as well as the audience. My take on
this is that a film never fails, it is the
budget that fails. Often, a star’s fees
comprise the major chunk of a film’s
entire budget. To make more films,
more economically viable, exorbitant
star fees need to be reined in and
budgets made more efficient. Gattu
Manjhi: The Mountain Man
KAMAL GIANCHANDANI
CEO, PVR PICTURES
We believe the Indian
market has space for
different kinds of
cinema. The Indian
market is now mature
enough to have a
sizeable number of discerning
movie-goers, who are constantly
looking for new and cutting-edge
content. We want to remain well
poised to service this rapidly growing
segment. The idea behind releasing
small-budget movies in a continuous
form is to build this particular
audience segment. So, while
star-driven movies continue to scale
up in terms of the box office,
non-traditional films are also leaving
a mark at the box office.
Margarita With A Straw
Ship Of Theseus
Box Office India
16 April 2016
Krian Pictures is all set with its first production,
Laal Rang, which hits screens next week. Raj
Malik, Senior Vice-President, Production and
Distribution, talks to Rohini Nag about the film, his
distribution experience and the decision to foray
into film production
You have vast experience in the
distribution sector. Why did you decide
to turn producer?
It was a well-thought-out move. As an
organisation, Krian Pictures has been in
the cinema services space for a long time
and we have been providing hardware
technology support to the multiplex/
cinema fraternity for years. Since most
leading multiplex operators are our
clients, and we have had a vibrant
relationship with the exhibition sector
overall, representing film content was
the most logical way forward for us as a
company, in terms of growth.
We forayed into film distribution in
2013 and subsequently decided to
produce our own films. We are looking at
building an annual slate of films. I have
been involved with film distribution for
18 years and the learnings are coming
in handy to cherry pick production
projects, keeping commercial viability as
a yardstick, without compromising on the
creative landscape.
How did Laal Rang come about?
Laal Rang is an amazing script and
hence it has also turned out to be an
entertaining film. We heard the narration
and felt that we should back a subject
that was quirky, humorous, dealt
with relationship dynamics and most
importantly delivered a social message
that is relevant and relatable. The director
of Laal Rang, Syed Ahmad Afzal, and
his team have done a brilliant job and
taken the script to another level. We
are confident that the film will be well
received at the box office.
What was it about the film that made you
want it to be your maiden venture as a
producer?
We felt timing and scale were two
key influencing factors in having
Laal Rang as our first film on the big
screen. The audience today is hungry
for differentiated content and is open
16 April 2016
Box Office India
to consuming films which promise
entertainment value that is real and
unapologetic. Laal Rang has all the right
ingredients of a commercial entertainer,
great story telling, lilting music and some
brilliant performances.
After the songs and promos of the film
released, what feedback have you
received?
We have been constantly receiving great
feedback. We are flooded with requests
to see the film. It’s quite heartening to
see that, besides awareness, the film is
generating curiosity value and the desire to
watch the film is high among the general
audience. Being close to a film project and
seeing it take shape and form, sometimes
it’s difficult to gauge how soon it will
connect with consumers. But the reactions
and feedback are very encouraging.
Now that you have watched the film, how
happy are you as a producer?
Simply ecstatic! Every film is a piece of art
that combines almost all the art faculties
that exist. Films like Laal Rang are not
easy to make since they are shot at real
locations, which can sometimes be difficult.
What kind of release are you planning
for Laal Rang in India and overseas?
We felt April 22, 2016, was a good
date for Laal Rang’s launch since it is
the holiday season. With the summer
vacations beginning, the family audience
has more time to spend together and for
movies. Laal Rang is a film for the entire
family and hence this was the best period
for its release.
We are looking at giving the film a
strong release in terms of screen count.
We want this film to be available to
the maximum number of film-goers
everywhere. Hence the intent is to launch
the film in smaller towns also, besides the
metros and mini-metros. The overseas
audience has also evolved and are we
see strong prospects for Laal Rang.
From the trade point of view, what
makes Laal Rang hot property?
Laal Rang is hot property for a variety of
reasons. As we all know, creatives and
commerce are always at loggerheads
and when the alignment is right, you
have a great film in hand. The basics
of Laal Rang are perfectly in order and
the audience will be humming its music
for a very long time. The characters are
relatable and the performance of each
artiste is outstanding. The landscape of
the film (Karnal) is earthy and beautifully
captured on camera.
Randeep Hooda has delivered a great
performance. He is duly acknowledged
as one of the finest actors of our times.
Commercially the film will deliver above
and beyond its investment. The trade
seems to be in agreement with us,
looking at the support the film is already
getting.
Will you venture into the regional space
as well?
Yes. Regional films are generating
exponential box-office numbers even
outside their respective language
playgrounds. This should be capitalised
on.
What kind of films do you want to
produce under Krian Pictures?
We are committed to producing films
which promise entertainment value, true
to its genre and core audience segment.
The organisation wants to produce
films at the right price point and keep
the ROI prospects in clear perspective
at the outset itself. The intent is also to
mount our films well, through innovative
marketing and distribution efforts, pooling
our relationships, and through various
synergies within the organisation, which
also serve the entertainment sector. The
vision and mission is to transform the
organisation into a film studio with a slate
of films every year, which are looked
forward to by the audience.
19
IN NEWS
“Our mission is to
transform into a film
studio”
SPOTLIGHT
Rest Content
The Indian audience has become very choosy about the films they want to watch, provoking a
shift from star-driven cinema to content-driven films. This change has thus given new directors
a platform and they have been coming up with some refreshing concepts. This week, Soumita
Sengupta spoke to three promising directors – Tanuj Bhramar (Dear Dad), Tinu Suresh
Desai (1920 London) and Ashwini Iyer Tiwari (Nil Battey Sannata) – who are making their
debut in the industry. Over to them:
Dad’s The Word
TANUJ BHRAMAR
BACKGROUND
I am from Ranchi and attended boarding
school in Dehradun. I have been inclined
towards the fine arts ever since I can
remember. As a child, I was a painter and I
didn’t like academics, so a 9-to-5 job was
never on my list. After college, I came to
Mumbai, where I exhibited my paintings at
the Jehangir Art Gallery but since I had to
choose a career that was more specific, I
applied to Columbia University for higher
studies.
COLUMBIA CALLING
I got into Columbia University for a course
in film direction, and interned on shows
like The Big Bang Theory and Family Guy.
I also worked on some animation films.
After my course, I could either return to
India or stay back in the US. Hollywood
has done everything, from emotions to
space, but Bollywood has a lot of scope,
where one can experiment with genres.
That’s why I came back to India in 2012.
HUNT FOR DEBUT FILM
When I came to Mumbai in 2012, I didn’t
want to assist anyone. I started working
on my own story, Dear Dad. The story,
on a father-son relationship, comes from
my very own personal journey. I was in a
boarding school in Dehradun and, after
every vacation, my father would drive
down from Delhi to Dehradun, to drop me
at school. Those journeys have stayed
with me. In India, we have a stereotypical
mindset, where we assume that fathers
and sons never get along. But I share a
beautiful bond with my father and that’s
where the germ of the story came from.
It took me two years to finalise the script
and get a producer on board. I am grateful
to Shaan Vyas of Sikhya Entertainment for
giving me this chance.
GETTING ARVIND SWAMY ON
BOARD
I give credit to my casting director
Anmol Ahuja for this. When we were
brainstorming about the cast, and Anmol
suggested Arvind sir’s name. I was
looking for an actor who exuded a warm
personality because only then would the
audience accept the actor in a father’s
role, especially the kind of role that my
story demands. So we went to Chennai to
meet him, and after a few meetings, he
agreed to be part of the film. He loved the
story and connected to it, and was very
eager to start work on the film.
Then we did our reading sessions and
character sessions, like giving him the
background of the character he would
be playing, before we started shooting.
Now everyone is talking about him and is
reminded of films like Roja and Bombay,
where he played the hero. I am glad
everyone is waiting to watch him on the
big screen again.
That's Scary
TINU SURESH DESAI
BACKGROUND
I have always wanted to become a
20
director so I started assisting very
early, with directors Neeraj Pandey and
Vikram Bhatt. My journey with Vikram
Bhatt goes back a long way, starting
Box Office India
16 April 2016
with working with him in Shaapit. I
started assisting back in 1997 with
Zameer, Rajat Rawail’s movie, after
which I worked with many other
directors.
to make a good film because it means
that people will come and watch it. The
audience no longer goes by genre; they
want good films and reject the bad
ones. Even films featuring A-list actors
have not been spared (when they are
not good), so it’s a clear sign that the
audience only accepts quality films.
ON BAGGING 1920 LONDON
After Vikram Bhatt decided to make
the third part of 1920, they began
searching for a director. Since I had
worked with him in Shaapit, he was
familiar with my work. But my name
came through Neil Nitin Mukesh, with
whom I have worked in Players as an
associate director. Neil suggested my
name and since Vikram already knew
me, I got a call from him. So, bagging
this film was a cakewalk for me.
ON 1920 LONDON
Today, we have sub-genres in horror and
many more genres are being added. But
1920 London is a clean film and it also
has a thriller element. Also, our horror
films are usually based inside a house
but ours is not restricted to a house.
The scale of the film is very huge.
ON RUSTOM
THE STRUGGLE STARTS
I have worked in the industry for a
very long time and I have worked with
the best directors. So when I got my
first break as a director, I thought I
had cracked the formula. But it was
only after the film was made that the
real struggle began. There were many
challenges and we couldn’t release
the film for a while. That can be very
upsetting when it is your very first film.
I am very relieved that the film is finally
releasing.
ON HORROR FILMS
Horror is a very tricky genre in our film
industry. Not everyone likes watching
horror films, so the genre has a select
audience. As a filmmaker, it is my duty
I had worked with Neeraj in Special 26
and we had always thought of working
together. When nothing seemed to be
working out, I got a call from Vikram’s
office. Neeraj told me that I should
take up 1920 London and that’s how it
became my debut film. I share a great
bond with Neeraj, so when he had the
story of Rustom, he called me and
that’s how my second film as a director
happened.
Writing Bug
ASHWINI IYER TIWARI
BACKGROUND
I grew up in the Mumbai suburbs and
come from a middle-class, South
Indian family. Both my parents are in
the teaching profession and I am the
only child. I was very actively involved
in the cultural arts since my childhood.
From dancing to painting, I tried out
almost everything. While in college, I
was to prepare to become a Chartered
Accountant but I realised that Book
Keeping was not my cup of tea. I told
my mother I couldn’t graduate with
Commerce and wanted to paint instead.
She tried to tell me that painting
wouldn’t pay the bills and I needed
to do something specific with my life.
During those days, the arts were not
very popular but my mother got to know
about Commercial Arts. So I entered
that stream because I could continue
painting and it would also help me earn
a livelihood.
ENTERING THE AD WORLD
I worked with Leo Burnett for 14 years
and learnt everything I knew about
creativity there. We used to make ad
16 April 2016
Box Office India
films and I worked with many directors.
I was involved in making ads right from
the script level to the edit, till the final
product came out.
I also liked writing and kept pestering
Nitesh (Tiwari), my husband, to let me
write. He had written a short story,
which I had directed. It was called
What’s For Breakfast and the film
received many awards. At that point, I
realised I could tell stories. After that
short film, I made ads, and a few short
films for Leo Burnett. But I was still
craving to write.
ON NIL BATTEY SANNATA
Nitesh had this small idea when we
started working on the story. Once I
finished writing it, I narrated the script to
Ajay Rai, who was working on Bhoothnath
Returns. He loved the script and said we
should make it. I agreed and he insisted
that I direct the film. Then, Aanand L Rai
came on board as he loved the script. The
best thing about this film is that everyone
attached to it loved the script, including
Dhanush, who loved it so much that he
asked me to also make it in Tamil.
21
NEWS, ANALYSIS AND RESULTS FROM NORTH AMERICA
www.boxoffice.com
UPCOMING NORTH
AMERICA RELEASES
(PART 2)
ELVIS & NIXON
APRIL 22 What could the King of Rock ’n’ Roll and POTUS have in com-
THE HUNTSMAN: WINTER’S WAR
April 22 What happened before Snow White? A return to the surreal world
of 2012’s Snow White and the Huntsman could answer the question. In this
origin tale, the evil Queen Ravenna is locked in what amounts to a real bad
case of sibling rivalry with her equally powerful sister. After a betrayal puts
them at odds and in competition to rule, Eric the huntsman and his true
love, Sara, must stop the witch queens by defeating the “fairest” in the land.
–REBECCA COSTANZO
mon? Apparently a lot. Witness the untold true story of the day in 1970
that Elvis Presley appeared at the White House requesting an appointment
with President Nixon. What resulted was an unlikely “meeting of the minds”
between the eccentric music legend and the paranoid commander in chief. This
film captures a moment in Oval Office history that is, incidentally, the most
requested photograph in the National Archives. –REBECCA COSTANZO
DISTRIBUTOR Bleecker Street CAST Michael Shannon, Kevin Spacey,
Alex Pettyfer, Johnny Knoxville, Colin Hanks, Evan Peters, Ashley
Benson, Tate Donovan DIRECTOR Liza Johnson GENRE Comedy / Historical RATING R for some language RUNNING TIME 87 min.
KEANU
APRIL 29 Jordan Peele and Keegan-Michael Key star in this offbeat comedy
DISTRIBUTOR Universal CAST Charlize Theron, Emily Blunt, Chris
Hemsworth, Jessica Chastain, Sam Claflin, Colin Morgan, Sophie
Cookson, Nick Frost, Alexandra Roach DIRECTOR Cedric NicolasTroyan GENRE Action / Adventure / Fantasy RATING PG-13 for fantasy action violence and some sensuality RUNNING TIME TBD
about two friends who hatch a plan to retrieve their stolen cat by posing as
drug dealers for a street gang. In typical Key & Peele fashion, this silly comedy duo are sure to bring some laugh-out-loud moments. –DAWN TAYLOR
DISTRIBUTOR Warner Bros. / New Line CAST Jordan Peele, KeeganMichael Key, Method Man, Will Forte DIRECTOR Peter Atencio GENRE
Comedy RATING TBD RUNNING TIME TBD
A HOLOGRAM FOR THE KING
MOTHER’S DAY
APRIL 22 Based on the novel of the same name by Dave Eggers, this
drama depicts the last-ditch attempt of a disillusioned American businessman to fend off failure. He travels to Saudi Arabia to try to secure
an IT contract for a massive complex being constructed in the desert.
The cast is led by seasoned hit-maker Tom Hanks and helmed by Tom
Tykwer in their second collaboration after 2012’s Cloud Atlas. –REBECCA
APRIL 29 Director Garry Marshall has been on a holiday-movie kick this
decade. The director of films like Valentine’s Day and New Year’s Eve is back with
another heart-warming romantic comedy—just in time for Mother’s Day. The
film follows intertwining stories about the lives of several mothers as the holiday
approaches. It features an A-list cast that includes Julia Roberts and Jennifer
Aniston and is a promising choice for a movie outing with Mom. –DAWN TAYLOR
COSTANZO
Roadside Attractions CAST Tom Hanks, Ben Whishaw,
Tom Skerritt, Sarita Choudhury DIRECTOR Tom Tykwer GENRE Drama
/ Comedy RATING NR RUNNING TIME 108 min.
DISTRIBUTOR
DISTRIBUTOR Open Road CAST Julia Roberts, Jennifer Aniston, Kate
Hudson, Jason Sudeikis, Timothy Olyphant DIRECTOR Garry Marshall
GENRE Romantic Comedy RATING PG-13 for language and some suggestive material RUNNING TIME 114 min.
COMPADRES
RATCHET & CLANK
APRIL 22 A buddy cop movie mixed with a vengeance drama, Compadres
APRIL 29 The storyline of this animated film adaptation of the popular
is the story of a police officer’s quest to find the criminals who murdered his
wife. He crosses paths with an awkward teenage hacker and begrudgingly
uses the kid’s skills to track down the villains. Laughs and action ensue in this
romp through Mexico. –REBECCA COSTANZO
videogame will be familiar to fans. A pair of unlikely heroes stumbles upon
a dangerous weapon capable of destroying entire planets. The duo must join
forces with the Galactic Rangers to save the galaxy from the evil Chairman
Drek. –DAWN TAYLOR
DISTRIBUTOR Lionsgate / Pantelion CAST Omar Chaparro, Erick Elías,
Aislinn Derbez, Joey Morgan, Eric Roberts, Héctor Jiménez DIRECTOR Enrique Begne GENRE Action / Foreign / Comedy RATING NR
RUNNING TIME 110 min.
DISTRIBUTOR Focus/Gramercy CAST James Arnold Taylor, Paul
Giamatti, John Goodman, Bella Thorne, Rosario Dawson, Sylvester
Stallone DIRECTORS Jerrica Cleland, Kevin Munroe GENRE Animation
RATING PG for action and some rude humor RUNNING TIME TBD
22
BXIndia_16Apr.indd 2
APRIL 16, 2016 BOXOFFICE
4/12/16 11:11 AM
BXIn
:11 AM
THE BOSS
TOP 10 GROSSING FILMS IN NORTH AMERICA
Weekend of Apr. 8–10, 2016
(U.S. Dollars)
TITLE (Distributor)
WEEKEND
GROSS
1 THE BOSS (Universal)
$23,586,645
3,480
$6,778
2 BATMAN V SUPERMAN: DAWN OF JUSTICE (Warner Bros.)
$23,363,079
4,102
$5,696 $296,613,621
3 ZOOTOPIA (Disney)
$14,345,422
3,444
$4,165 $296,004,904
4 MY BIG FAT GREEK WEDDING 2 (Universal)
$6,476,200
3,027
$2,139
$46,809,020
5 HARDCORE HENRY (STX Entertainment)
$5,107,604
3,015
$1,694
$5,107,604
6 MIRACLES FROM HEAVEN (Sony / Columbia)
$4,706,681
2,783
$1,691
$53,713,300
7 GOD'S NOT DEAD 2 (Pure Flix)
$4,239,794
2,354
$1,801
$14,024,089
8 THE DIVERGENT SERIES: ALLEGIANT (Lionsgate / Summit)
$3,517,977
2,503
$1,406
$61,747,543
9 10 CLOVERFIELD LANE (Paramount)
$2,905,190
1,886
$1,540
$67,880,730
10 EYE IN THE SKY (Bleecker Street)
$2,896,596
1,089
$2,660
$10,473,110
TOP 10 GROSSING FILMS IN UNITED KINGDOM
LOCATION LOCATION CUMULATIVE
COUNT AVERAGE
GROSS
Weekend of Apr. 8–10, 2016
$23,586,645
(U.S. Dollars)
TITLE (Distributor)
WEEKEND
GROSS
LOCATION LOCATION CUMULATIVE
COUNT AVERAGE
GROSS
1 ZOOTOPIA (Disney)
$3,342,844
760
$4,398
$26,532,710
2 BATMAN V SUPERMAN: DAWN OF JUSTICE (Warner Bros.)
$3,227,465
899
$3,590
$47,320,749
3 THE HUNTSMAN: WINTER'S WAR (Universal Pictures)
$2,231,820
880
$2,536
$4,290,179
4 EDDIE THE EAGLE (Lionsgate UK)
$1,787,798
602
$2,970
$8,099,716
5 KUNG FU PANDA 3 (Fox)
$887,179
550
$1,613
$18,464,486
6 MIDNIGHT SPECIAL (E1 Films)
$658,742
400
$1,647
$703,423
7 MY BIG FAT GREEK WEDDING 2 (Universal Pictures)
$493,743
355
$1,391
$4,709,306
8 10 CLOVERFIELD LANE (Paramount)
$353,251
282
$1,253
$7,191,306
9 LONDON HAS FALLEN (Lionsgate UK)
$291,865
202
$1,445
$15,057,893
10 HARDCORE HENRY (Entertainment)
$285,141
314
$908
$285,141
NORTH AMERICAN GROSSES FOR INDIAN FILMS Weekend of Apr. 2–3, 2016 (U.S. Dollars)
TITLE (Distributor)
WEEKEND GROSS
LOCATION COUNT
LOCATION AVE.
CUMULATIVE GROSS
KI & KA (Eros)
$207,413
148
$1,401
$795,900
KAPOOR & SONS - SINCE 1921 (Fox International)
$130,438
69
$1,890
$2,576,253
APRIL 16, 2016 BOXOFFICE
BXIndia_16Apr.indd 3
23
4/12/16 11:11 AM
@BOI
Jokes Apart
Akashdeep, director of Santa Banta Pvt Ltd, and lead actress Neha Dhupia in
conversation with Team Box Office India
Box Office India (BOI): What is Santa
Banta Pvt Ltd all about, especially since it
is based on two iconic characters in the
Indian humour space?
Akashdeep: The first thing we have done is
put faces to these two funsters of folklore.
They have been around for such a long time
but there has never been a face to them. So
Boman (Irani) and Vir (Das) are the faces
of Santa and Banta. My last film Ghaath
with Manoj (Bajpayee), featured Tabu and
it was Irrfan’s first film, and it also starred
Om (Puri) and Anupam (Kher). As you can
imagine, it was a very intense film and it also
did well.
Just when things were settling down, I
moved to Sahara, where I was for seven
years, before which I came back to the
industry, which had changed by then. I was
the first CEO of a film company but I didn’t
realise that, during those seven years, they
were all corporates by the time I quit and
actually started making films.
I went to John (Abraham) as I had the
story Dil Mil Gaye. He was like, ‘Haan, I
know you, you are the CEO of Sahara.’ I also
went to many other people and I realised
that they all know me only as the CEO. The
new generation had arrived and corporates
only identified you by your last hit. I realised
24
that I needed a brand that would sell
without actors. I love humour and I love to
have fun, so I thought I should do some
Internet research to find out who owned the
IP of Santa and Banta with the trademark
because this is not something you can
register as a title to be made into a film as it
has existed in this surreal world for decades.
Radio City actually owned Santa Banta
and I took it from them and wrote the
script. Then Viacom18 approached me
and I showed them that I owned the world
trademark for the films, television, mobile
content based on these two characters and
that is how the discussion started.
BOI: How much is your film influenced by
the jokes we generally hear about Santa
and Banta?
Akashdeep: Not at all. I don’t even think it’s
a joke. Although it has been treated with
humour, everybody is dead serious and it
is a proper story about two detectives who
are sent on a mission to the Fiji Islands and
how they mumble, stumble and yet emerge
victorious. So it is about its protagonist, its
antagonist, its characters and everyone has
a role. Also, it is not a two-hero film. It has
an ensemble cast comprising Boman Irani,
Vir Das, Neha (Dhupia), Lisa Haydon, Ram
Kapoor, Johnny Lever, Sanjay Mishra, Vijay
Raaz, Vrajesh Hirjee and cameos by Ranjit,
Vikas Bhalla and Sonu Nigam.
It features an entire team of actors with
a story that as a beginning, a middle and
an end; it is not just a series of jokes. A lot
of people tell me, ‘Oh Santa Banta? Arrey
tere ko toh kamal ho jayega,’ and I say ki,
no, jitna aap ko lagta hai that this brand will
take off, there is an equal amount of fear
because a lot of people in the audience are
going to say they expected more from my
film. Santa Banta implies that it should be
full of jokes and that viewers will be in splits
every two minutes. But it is not like that in
my film.
BOI: You mentioned that you were out of
the loop for seven years. While scripting
this film, was it difficult for you to keep the
younger generation in mind?
Akashdeep: No, but we have to keep in
mind the fact that everything changed so
fast in those five to seven years that when
corporates came along, multiplexes started
coming up and three-hour films were a
waste of time. We had to make a two-hour
film because gone are the days when you
had seven to eight songs; you have to
restrict it to what you really need. Since this
Box Office India
16 April 2016
is a light-hearted film, we have restricted
it to four songs but nowadays even four
songs are too much. But they are fun songs
and we are fortunate to have good music.
Nowadays, everybody has a fixed set of
technicians but we had to change things
so I took on a new cameraman and a
new editor, not people from my old team.
These were people who have done digital
work, cameras have changed. I was one
of those fortunate people who had been in
the corporate scenario from day one and
I knew we couldn’t work like we used to.
Now everything has to be in tandem with
the corporate culture, unlike earlier when
producers used to take their own decisions.
In fact, Viacom was the first to suggest
Boman and Vir. The said that they believe
in the brand and with them being a part
of this film, even before it began, taking
new-age comedians was best so that
if everything went well, we could make
sequels a few years down the line. At
that time, Boman was already a wellestablished name on stage and he had
done great work in cinema as well, and
Vir was the new kid on the block who was
very good at stand-up comedy. Also, when
every scene has two people, you want one
to be big and the other small; one tall, one
short; one mature, one young… they suited
that combination too.
16 April 2016
Box Office India
BOI: Neha, tell us about your role
and what made you sign this film.
Neha Dhupia (ND): Well, since I had
been doing indie films for a while, when
Akash called me for Santa Banta, I was,
like, okay, this sounds like fun. But I
don’t believe anything that Akshay says
(laughs), so I called Boman to check if
he was really doing this film and he said
he was. I was, like, this sounds good.
What I marvel at is the fact that
Akashdeep has singlehandledly got such
a huge comedy canvas in one film…
Sanjay Mishra, Johnny Lever, Boman,
Vir, Vrajesh, Ram Kapoor, and several
other people, and just to be able to be in
a comedy film like this was great for me.
As for what I am doing in the film… it is
not pathbreaking and my role is not going
to change the world. It was crazy but it
was also fantastic just to be there. As an
actor, one must not over-intellectualise
the craft and only look at the canvas
that is offered. And Akash really offered
each one of us a good canvas.
BOI: Tell us about Viacom coming
on board and backing the film.
Akashdeep: They liked it at the concept
stage. In fact, the first letter I was given
before the agreement was for three
films as they are still looking at it as a
franchise. If a film does slightly well
and with brand value like this, you want
to push it. It will surprise you to know
that our P&A spend is all we have to
recover, between satellite, theatrical,
music, overseas, the rebate for shooting
in Fiji, and the cost of production.
It is almost a plus film. Whatever
we spend on P&A and uplinking of
theatres is all we require now, and I
am sure we will achieve that number.
Unfortunately, we have a one-week
window, woh bhi bahot naseeb se milti
hai. A week earlier, there is FAN and
a week later, Baaghi. So we have that
window. It is a simple and sweet film
for families in particular. Santa Banta
could have always gone into a slightly
adult joke format but, first, there are no
jokes and, second, we have deliberately
kept the humour at a kid-friendly level.
We were in Fiji and could so easily have
shot every second scene on the beach.
I am being very truthful when I say that
it is a 360-degree brand. I am already
in advanced talks for an animation
film, we want to do a web series and
we want to do television series. One
film and one series every year, two
to three seasons of Santa Banta on
television, followed by a film. Fingers
crossed, let’s see. Where are the brands
in India now? We have a few in the
animation space, like Chhota Bheem
and Bal Ganesh but ab kya brand hai
India mein other than Santa Banta?
25
SOUND BOX
Culture Curry
Album: Laal Rang
Banner: Krian Pictures
Producers: Nitika Thakur
Music Directors: Mathias Duplessy,
Vipin Patwa, Shiraz Uppal
Lyrics: Mange Ram Koch,
Dushyant Kumar, Shakeel Sohail,
Kausar Munir, Vikas Kumar
Music Label: T-Series
W
ith a hard-hitting topic like
illegal trade of blood, upcoming
film Laal Rang had just two
options for music - keep it minimal and let
the story be the hero or have exceptional
music that would seamlessly blend in
with the plot. Since the film is based
on real incidents in Haryana, it needed
a distinctively local music flavour, for
which the director has got composers like
Mathias Duplessy, Vipin Patwa and Shiraz
Uppal.
Vipin Patwa kick-starts the album with
Bhang ragad ke, a recreation of the raagini
Tu raja ki raj dulari with lyrics by Mange
Ram Koch. The composer has maintained
a wonderful balance between with the
classic and contemporary. Without
losing the classical touch, the musical
arrangements of the track feature rock
elements blended with trance and desi
arrangements. Renowned
Haryanvi singer Vikas Kumar
has done a perfect job.
French composer Mathias
Duplessy, who has also
composed the background
score of the film, has
experimented with the desi
style for Bawli booch. With
the desi elements combining
soft rock brought into the
orchestration, it sets the mood of the
track and once again showcases Kumar’s
talent. The arrangements are catchy yet
simple, highlighting the romantic lyrics by
Dushyant Kumar.
The flavour of the album changes
with Shiraz Uppal’s Mera mann, a
romantic track that breaks away from the
Haryanvi structure. The arrangements are
quintessentially Bollywood and features
classic Sufi elements. With the simple
lyrics of Shakeel Sohail and the vocals of
Kashif Ali and Uppal, the song is easy on
the ear. The song offers a catchy hook
and is well rendered by Ali.
Duplessy is back with the fusion track
Aye khuda, sung by Mukhtiyar Ali and
Sameer Khan. The orchestration is the
highlight of the track and the escalating
progression of the composition elevates
the number. The musical
arrangements feature some
great fusion of guitar, violins and
percussion. The lyrics by Kausar
Munir, about a conversation with
God, are another highlight of
this track. This is one of the best
tracks of the album.
Laali, once again Duplessy’s
composition, is a commendably
created thematic number that
highlights the plot. The well written track
by Munir has been sung by Sameer
Khan, who has succeeded in mirroring
the haunting feel of the number. The
composer has once again experimented
with his compositional style, this time
bringing in a well-orchestrated piece heavy
on Western instruments.
The Haryanvi flavour returns as the
album ends with Patwa’s Kharch karod,
created in two versions. While the original
is a slow and sad song, the tempo of the
second version is quite fast. Vikas Kumar
has not only sung the track but also
penned its lyrics with the rap by Patwa.
Verdict: A well-executed, culturally-rich
album.
– Swagata Panjari
Down To Earth
Vipin Patwa on composing two haunting tracks, Bhang ragad ke
and Kharch karod, for Laal Rang
Q SWAGATA PANJARI
C
omposer Vipin Patwa, who has
been part of films such as Main
Aur Charles and Bollywood
Diaries, is now gaining popularity for his
work in Syed Ahmad Afzal’s upcoming
film Laal Rang. “The music of Laal
Rang is quite different. Its tone is set in
Haryana since that is where the film is
based but it is also a very Bollywood kind
of film. Earlier, the makers got French
music composer Mathias Duplessy to
create the soundtrack but they later
brought me on board too, to give the
tracks a Haryanvi touch,” says Patwa.
The soundtrack of Laal Rang consists
of six songs. To give the compositions
the much-needed folk touch, Patwa
got noted Haryanvi singer Vikas Kumar
behind the mic.
“I wasn’t aware of the script. The
filmmakers were looking for songs and
26
they just told me the gist of the plot. I was
told that they needed songs that have a
Haryanvi flavour. I did a little research
on Haryanvi folk music and then tried to
compose music based on those tones.
I have also composed a raagini, Bhang
ragad ke, but I haven’t treated it as a
raagini per se. I have given the track
a touch of trance and Bollywood. The
songs have an earthy touch, I haven’t
tried to make the music commercial,” he
reveals.
Patwa, who began his musical career
by creating jingles for All India Radio in
2002, has worked with several singers
over the years, including Sonu Nigam,
Mika, KK, Shaan, Shreya Ghoshal and
Sunidhi Chauhan. For this film, Patwa
succeeded in getting lead actor Randeep
Hooda to rap for the track Kharch karod.
On the idea behind bringing Hooda on
board as singer, Patwa says, “It is a
song full of attitude and I have placed
it in a different manner. It is a happy
melody but I have used it as a sad song
in the film. Initially, I tried to get rappers
like Badshah and Honey Singh for the
track but we didn’t have that kind of
budget. Then I thought of getting Hooda
to rap and I had no idea that he has
such great musical sense. The most
important thing is that he understands
the rhythm and tempo of the music.
With this track, I also became a
songwriter, as I have written the rap
portion, which describes Hooda’s
character (Shankar) in the film.”
Soon, the composer will be working
on Sudhir Mishra’s Aur Devdas, followed
by Akshara Haasan and Vivaan Shah’s
Laali Ki Shaadi, Aankhen 2 and Ajay
Bahl’s upcoming film.
Box Office India
16 April 2016
He has ruled the Bangla film industry for over three decades
and has more than 300 films to his credit, some of the popular
ones he has featured in being Chokher Bali, Sob Charitro
Kalponik and Autograph. Recently, his film Shankhachil won the
National Award for Best Bengali Film. Prosenjit Chatterjee talks
to Soumita Sengupta about his journey, not only as an actor but
now in an altogether new role
Congratulations on winning the
National Award for Best Bengali Film,
Shankhachil.
Thank you! It’s a very nice feeling and I
am hoping for the best. Bengali cinema
has always made it to the National
Awards. There is a lot of energy and
respect around the film. Although we
never dreamt it would bag a National
Award, we knew the film had a lot of
potential and we will be sending it to
various international film festivals.
Can you tell us a little about the film and
what the title means?
Shankhachil is a bird, one that flies
anywhere. Usually, birds don’t go out
of their vicinity but this one is known to
fly anywhere. Our film is basically about
the father-daughter relationship. It is
the physical and emotional journey of a
family along the Indo-Bangladesh border.
All Bengalis will relate to a subject that
highlights the partition, a family’s battle
for survival. It is based on an original
story by Goutam Ghose and Sayantani
Pututandu.
Why did you choose the April 14 holiday
slate to release the film?
It’s New Year for Bengalis, which we call
Poila Boishak, and every Bengali around
the world, whether Indian or Bangladeshi,
celebrates this festival on the same day
with equal joy. That’s why we chose this
holiday date to release the film.
Shankhachil is an Indo-Bangladesh joint
venture. Please comment.
The audience we are catering to is the
same, and that’s why we took this step.
The culture, the language is almost
same. The market is the same; we just
happen to be two different countries.
There may be a border separating the
two countries but Bangla films have a
huge audience in Bangladesh. So we
are trying to erase the border through
films. I am a part-producer from India.
When you make an Indo-Bangladesh
16 April 2016
Box Office India
film, the script has to be approved by
both governments. So our aim was
to bring both countries together. We
released the film on the same day in
both countries. The promotions are on
there as well. In fact, I will be visiting
Bangladesh soon to interact with the
media.
The film is also releasing worldwide in
different languages. How did Zee Studios
come on board?
Since the film has universal appeal, we
wanted to release it worldwide. We were
talking to a few people and that’s when
Zee Studios stepped in. We are very
happy that they are releasing our film in
Mumbai, Delhi and Bangalore.
What kinds of roles excite you?
For the last seven to eight years, I
have been doing both kinds of roles
– commercial and edgy films. The
character should excite me. When I look
at Mr Amitabh Bachchan doing different
types of roles, I feel greedy as an actor
because he does all sorts of films. And
as an actor, one should be open to all
kinds of cinema, not only the kind that’s
working. But with each film, I know my
target. So when I am doing a Goutam
Ghosh film, I know my audience and
when I am doing a Srijit film, I know my
audience.
You have dominated the Bangla film
industry for a very long time. What are
your comments on the changes in the
industry?
Our industry has gone through its
best days, and bad days, even worst
days, and then Bangla cinema is once
again standing on its own feet. Today,
filmmakers are concentrating on quality;
the number of releases is increasing
as is the quality of films. We are back
to experimenting, and the best part
is I am consistently working with new
directors. This means a lot of fresh
energy is entering the industry and these
filmmakers want to experiment. That’s
one thing that has changed.
Today, we can finally call it an
‘industry’. It’s become far more
structured and methodical; there are
different departments and specialists at
work. It’s getting far more professional.
Earlier, it was more like a family affair,
and passion ruled over profit. Even
the number of films made every year
has increased substantially. Thanks
to the expansion in the number of
multiplexes, Bengali cinema is getting
the right distribution too. The box-office
collections of Bangla films have also
grown substantially. As a result, we can
experiment with genres. So it is truly a
very interesting phase.
I am inspired by Yash Chopra,
a man who changed with the times, and
Bachchan sir, who gives actors like me a
boost to keep going. Every decade brings
change and we have no choice but to
change too as films are a reflection of
society.
As a producer, what kind of content do
you want to be associated with?
I want to get attached to films that have
novelty, and that applies to television too.
I made a show called Gaaner Oparey,
a mega-serial based on Rabindranath
Tagore. I want to get attached to projects
that are meaningful. As an actor, I may
have done 10 trashy films in the last 10
years but I don’t regret that because
those films have brought me fame. But
when I am producing, the content has
to be very close to my heart. I might not
make a lot of money but I should support
that content because even it doesn’t
work immediately, with my support,
content like that can find a place.
What keeps you away from Hindi films?
(Laughs) I want to do quality work. When
I look at the Hindi films being made
today, it makes me very happy. It was
Dibakar Banerjee who forced me to do
Shanghai. Now I have Traffic coming up.
27
DESI TADKA
“I want to get attached to
films that have novelty”
WORLD CINEMA
Date Of
Release
Country/
Language
Movie/Genre
Cast
Director
First Weekend
April 6, 2016
France (French)
Les Visiteurs: La
Révolution - The
Visitors: Bastille Day
(Comedy)
Christian Clavier, Jean
Reno, Franck Dubosc
Jean-Marie Poiré
Opened at 370 theatres with
the screen average of $ 3,266
Total: $ 12,08,440
April 7, 2016
Italy (Italian)
Veloce Come Il Vento Italian Race (Drama)
Stefano Accorsi, Matilda
De Angelis, Lorenzo
Gioielli
Matteo Rovere
Opened at 225 theatres with
the screen average of $ 3,482
Total: $ 7,83,409
April 7, 2016
South Korea (Korean)
Nal Boreowayo - Insane Gang Ye-Won, Lee Sang- Lee Chul-Ha
(Drama/Thriller)
Yoon, Choi Jin-Ho
Opened at 173 theatres with
the screen average of $ 2,411
Total: $ 4,17,032
April 8, 2016
Spain (Spanish)
Julieta (Drama)
Adriana Ugarte, Michelle Pedro Almodóvar
Jenner, Rossy de Palma
Opened at 73 theatres with
the screen average of $ 965
Total: $ 70,411
April 9, 2016
Japan (Japanese)
Mohican Kokyo Ni
Kaeru - The Mohican
Comes Home (Drama)
Ryuhei Matsuda, Akira
Emoto, Atsuko Maeda
Opened at 199 theatres with
the screen average of $ 2,018
Total: $ 4,01,505
Shuichi Okita
For more cinema news please log on to www.boxofficeindia.co.in
SYNOPSIS
Over 20 years since the first
Mario, the head of the De
Soo-A is admitted against
Julieta’s life finds her on
Eikichi had left Hiroshima
film, this instalment again
Martino family that has been
her will to a psychiatric
the verge of madness when
for Tokyo, where he tried to
follows medieval knight,
putting together racing cars
hospital, where she records
she loses her husband
find success with his music
Godefroy de Montmirail, and
for generations, is forced
the horrific things going-on
Xoan. Her daughter,
band but failed. Years
his loyal servant, Jacquouille,
to make way for his young
in the hospital. A year
Antía, who just turned 18,
later, he returns home
teleporting through time. This
talented daughter Giulia
later, an unknown sender
decides to run away. While
to tell his father that his
time around, they are stuck
and son Loris. Together,
delivers the notebook to a
trying to find her, Julieta
girlfriend is pregnant. They
during the turbulent era of
they return to the track,
producer at a broadcasting
realises just how little
throw a party to celebrate
the French Revolution, when
while escaping their demons
station. He seeks out
she knows her daughter.
but the old man suddenly
the latter’s descendants
and learning what it really
Soo-A, who is now in prison
collapses and goes to
take over Montmirail castle
means to be a family.
as a murder suspect.
hospital. Eikichi struggles
as the aristocrats flee.
to make his father happy.
– Compiled by Rohini Nag
28
16 April 2016
Box Office India
APRIL 21–28, 2016
CALIFORNIA, US
WHAT’S IT ALL ABOUT?
Since its inception in 1999, the
Newport Beach Film Festival (NBFF)
has evolved into one of the most
prestigious multicultural events with
around 350 screenings. The eight-day
festival prides itself on bringing the
best of local and international cinema
to Newport Beach by hosting tributes,
special screenings and seminars.
In its 17th edition, the organisers
have shortlisted around 450 films
from 3,000 short and feature films.
The categories of the festival are
similar to its earlier editions, with the
line-up comprising narrative features,
documentaries, spotlight and short
films and cover a wide range of genres
like drama, science fiction and comedy.
The horror category, introduced last
year, continues this year as well.
INDIAN CONNECT
Anupam Sharma’s romantic drama
UnIndian features in the spotlight
category. The film features cricketer
Brett Lee, Tannistha Chatterjee
and Supriya Pathak. It is a story
of an Indian, single mother Meera
(Chatterjee) who lives in Sydney and is
trying to break away from the traditional
mould of her family by following her
own dreams. She falls in love with an
Australian man Will (Lee). Her parents
oppose this unlikely union as they
search for a suitable Indian match.
WATCH OUT FOR!
OPENING NIGHT
After The Reality
Directed by David Anderson, After The
Reality is a comedy drama featuring
Matthew Morrison, Sarah Chalke
and Jom Dore as the principal cast.
The story revolves around Scottie, a
contestant on Bachelorette-style reality
show Young Bucks. His life is thrown
into turmoil after his father’s death as
Scottie is forced to quit the show and
reunite with his sister Kate at the family
cabin, creating a funny and poignant
story about loss, reality show romance,
and the love between siblings.
SPOTLIGHT
•The Man Who Knew Infinity
•Sunset Song
•Love Is All You Need?
•Baby, Baby, Baby
•Orange Sunshine
•Love & Friendship
•My Internship In Canada
•Flying Colours
•The Phone
•Unindian
FAMILY FILM SERIES
•One Day On Carver St
•The Fox And The Hound
•Queen Bum
•Theodora
•Earned Wings
•Awesome Beetle’s Colors
•A Boy Called Su
•The Land Of Nod
•Isa And The Frog Prince
•Violet
•My Home
•Napoleon: The Ticket
•Bear Story
DOCUMENTARY
•The Weekend Sailor
•Tony Robbins: I Am Not Your Guru
•Beyond Laughter And Tears
•Ocean Stories: Greg Stone
•The Cajun Navy
•Right To Row
•La Tradition
UnIndian
•Rwanda & Juliet
•Left On Purpose
•Synesthesia
•The Ballad Of The Dreadnought
•The New Orleans Sazerac
•Being George Clooney
•Winning
•Chasing The Win
•Off The Rails
•South Bureau Homicide
•Syl Johnson: Any Way The Wind
Blows
•Goodbye Darling, I’m Off To Fight
•South Bureau Homicide
•In Pursuit Of Silence
•Noodle Deli
•The Ground Below
•The House Is Innocent
SHORTS
•Snowmen
•The Clockmaker’s Dream
•Beauty & Chaos
CLOSING NIGHT GALA
The Fixer
Ian Olds’ directorial is a story of a
former Afghanistan war journalist who
moves to Northern California and find
himself in a whole new whirlwind of
danger, working as a crime reporter for
the local newspaper.
– Swagata Panjari
TOUR GUIDE
Air
Visa
Hotels
JET AIRWAYS
US VISA REQUIREMENTS
FAIRMONT NEWPORT BEACH
Mumbai – Abu Dhabi – Los Angeles – Abu Dhabi – Mumbai
BOMÚAUHÚLAX
LAXÚAUHÚBOM
•Valid Passport
4500 MacArthur Blvd, Newport Beach,
Fare: `66,169
EMIRATES
Mumbai – Dubai – Los Angeles – Dubai – Mumbai
BOMÚDXBÚLAX
LAXÚD XBÚBOM
Fare: `70,395
•Confirmed Air Ticket
•Two Passport Size Photographs
Box Office India
+1 949-476-2001
•Hotel Booking Details
HYATT REGENCY NEWPORT
BEACH
•Cover Letter
1107 Jamboree Rd, Newport Beach,
•Bank Account Details
CA 92660, United States
•Proof of Accommodation
16 April 2016
CA 92660, United States
+1 949-729-1234
29
AWAY & BEYOND
Newport Beach Film Festival
LIGHTS CAMERA ACTION
Raabta
T
he first schedule
of T-Series and
Maddock Films’
Raabta is under
way in Budapest.
Produced by
Bhushan Kumar,
Homi Adajania and
Dinesh Vijan, who
is also directing
Raabta, the film
stars Sushant Singh
Rajput and Kriti
Sanon.
Ae Dil Hai Mushkil
A
Mohenjo
Daro
Father
T
nother schedule of Dharma Productions’ Ae Dil Hai Mushkil is in progress
in Rajasthan. Produced by Hiroo Yash Johar and Karan Johar, and also
directed by Karan Johar, the film stars Aishwarya Rai Bachchan, Ranbir Kapoor,
Anushka Sharma and Fawad Khan.
A
nother schedule of Yash Corporation’s Father recently concluded in Kashmir.
Produced by Paresh Mehta, Sagar Nath Jha, Abinash Singh Chib and directed by
Suzad Iqbal Khan, the film features Narendra Jha, Komal Thakker, Paresh Mehta, Raj
Sharma, Amit Lakhani, Sagar Nath Jha and Sudam Aftab Khan.
Tum Bin 2
T
he first schedule of T-Series’ Tum Bin 2 is under way in Scotland. Produced
by Bhushan Kumar and directed by Anubhav Sinha, the film features Neha
Sharma, Aditya Seal and Aashim Gulati in the lead. Music: Ankit Tiwari.
Kaabil
F
ilmKRAFT Productions’ Kaabil recently went on the floors in Mumbai.
Produced by Rakesh Roshan and directed by Sanjay Gupta, the film
features Hrithik Roshan and Yami Gautam.
Phobia
T
he VFX of Eros International and NextGen Films’ Phobia is under way
at Pixel Digital Studios. Produced by Viki Rajani and directed by Pawan
Kriplani, the film features Radhika Apte in the lead.
30
he last schedule of Ashutosh
Gowariker Productions and
UTV Motion Picture’s Mohenjo Daro
recently concluded at Mehboob
Studios. Produced by Siddharth Roy
Kapur and Sunita Gowariker, and
directed by Ashutosh Gowariker, the
film stars Hrithik Roshan and Pooja
Hegde.
Commando 2
T
he first schedule of Sunshine
Pictures’ Commando 2 recently
commenced in Mumbai. Produced
by Vipul Shah and directed by
Deven Bhojani, the film stars Vidyut
Jammwal.
Phillauri
T
he first schedule of Clean Slate
Films and Fox Star Studios’ Phillauri
recently commenced in Punjab.
Produced by Anushka Sharma, Karnesh
Sharma and Fox Star Studios, and
directed by Anshai Lal, the film features
Anushka Sharma, Suraj Sharma and Diljit
Dosanjh.
Box Office India
16 April 2016
PARTY
WHAT: Special Screening of FAN
Shah Rukh Khan
Ranveer Singh
Arjun Kapoor
Parineeti Chopra
Madhuri Dixit Nene
Tabu
Saqib Saleem
Mini Mathur
Waluscha de Sousa
Anu Malik
WHAT: Sarbjit Trailer Launch
Vanita and Omung Kumar with Kiran Deohans
Aishwarya Rai Bachchan Randeep Hooda
Richa Chadda
Darshan Kumaar
Jackky Bhagnani and Bhushan
Kumar
Utkarshini Vashishtha, Sandeep
Singh and Deepshika Deshmukh
FRAME2FRAME
Shah Rukh Khan promotes his film FAN at the press
meet hosted by PVR Superplex in Noida
16 April 2016
Box Office India
Anjana Sukhani, Swapna Waghmare
Joshi, Shabinaa Khan and Swwapnil
Joshi at the trailer launch of their
upcoming film Laal Ishq
Manoj Bajpayee and Divya Dutta at
the trailer launch of their upcoming
film Traffic
Priyanka Chopra at the press
meet after receiving Padma Shri
Award
31
Pictures: Yogen Shah
The cast and crew of Buddha In A Traffic Jam at the trailer launch of the
film
REGIONAL TIMES
PUNJABI
Next Week
Upcoming Release
VAISAKHI LIST
ZORAWAR
SYNOPSIS
April 22, 2016
May 6, 2016
Banner: Gakhal Bros Ent
Producers: Palwinder Singh Gakhal,
Gurvinder Singh Gakhal,
Iqbal Singh Gakhal
Director: Smeep Kang
Cast: Jimmy Sheirgill, Sunil Grover,
Shruti Sodhi
Banner: PTC Motion Pictures
Producer: PTC Motion Pictures
Director: Vinnil Markan
Cast: Yo Yo Honey Singh, Pawan
Malhotra, Parul Gulati
The film follows Indian soldier,
special agent Zorawar Singh
and his search for his long-lost
father. Once thought to be dead,
Zorawar traces his father to
Durban and tries to resolve the
mystery.
Remark: Ho hum!!!
TELUGU
This Week
Next Week
EEDO RAKAM - AADO
RAKAM
SARRAINODU
April 22, 2016
April 14, 2016
Banner: AK Entertainments
Producer: Ramabrahmam Sunkara
Director: G Nageswara Reddy
Cast: Manchu Vishnu, Sonarika
Bhadoria, Raj Tarun
Banner: Geetha Arts
Producer: Allu Aravind
Director: Boyapati Srinu
Cast: Allu Arjun, Rakul Preet Singh,
Catherine Tresa
BENGALI
This Week
This Week
SHANKHACHIL
POWER
April 15, 2016
April 15, 2016
Banner: Nideas Creations &
Productions
Producers: Prosenjit Chaterjee, Mou
Roy Chowdhury, Habibur Rahman
Khan, Faridur Reza Sagar
Director: Goutam Ghose
Cast: Prosenjit Chaterjee, Shajbati,
Kusum Shikder
Banners: Shree Venkatesh Films,
Surinder Films
Producers: Shrikant Mohta, Nispal
Singh
Director: Rajib Biswas
Cast: Jeet, Sayantika, Nusrat Jahan,
MARATHI
Last Week
This Week
VRUNDAVAN
EK HOTA VALYA
April 8, 2016
April 15, 2016
Banner: Realistic Film Company
Producers: Raj Premi, Suniel
Khandpur, Sandeep Sharma
Director: TLV Prasad
Cast: Raqesh Bapat, Mahesh
Manjrekar, Ashok Saraf
Verdict: Below Average
Banner: Sharp Mind’s Moving
Images
Producer: Mukesh Thombre
Director: Sharadchandra Jadhav
Cast: Sharadchandra Jadhav,
Nandkumar Patil, Priyanka Sasane
– Compiled by Rohini Nag
32
Box Office India
16 April 2016
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(EROS INTERNATIONAL)
WEEKS COLLECTIONS THEATRES
1
1,30,00,000
294
TOTAL
COLLECTIONS
1,30,00,000
1
26,25,00,000
357
26,25,00,000
2
3,60,00,000
398
15,30,00,000
EAST PUNJAB
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(EROS INTERNATIONAL)
CI
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(MARUDHAR ENTERTAINMENT)
NIZAM-AP
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(INDRA FILMS)
WEEKS COLLECTIONS THEATRES
1
34,00,000
45
TOTAL
COLLECTIONS
34,00,000
1
5,20,00,000
95
5,20,00,000
2
1,43,00,000
86
5,35,00,000
WEEKS COLLECTIONS THEATRES
1
18,00,000
36
TOTAL
COLLECTIONS
18,00,000
1
2,21,00,000
36
2,21,00,000
2
50,00,000
43
1,95,00,000
WEEKS COLLECTIONS THEATRES
1
16,00,000
30
TOTAL
COLLECTIONS
16,00,000
1
4,00,00,000
116
4,00,00,000
2
55,00,000
52
2,60,00,000
WEST BENGAL
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(EROS INTERNATIONAL)
ASSAM
FILM
(DISTRIBUTOR)
LOVE GAMES
(SONAM FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(VARDHAMAN FILMS)
WEEKS COLLECTIONS THEATRES
1
18,00,000
62
TOTAL
COLLECTIONS
18,00,000
1
2,50,00,000
62
2,50,00,000
2
58,00,000
120
2,37,00,000
WEEKS COLLECTIONS THEATRES
1
5,00,000
30
TOTAL
COLLECTIONS
5,00,000
1
35,00,000
10
35,00,000
2
4,00,000
22
35,00,000
DELHI - UP
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(EROS INTERNATIONAL)
CP
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(MARUDHAR ENTERTAINMENT)
RAJASTHAN
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(MARUDHAR ENTERTAINMENT)
MYSORE
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(EROS INTERNATIONAL)
FILM
(DISTRIBUTOR)
LOVE GAMES
(AA FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(EROS INTERNATIONAL)
ORISSA
FILM
(DISTRIBUTOR)
LOVE GAMES
(RAJDHANI FILMS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(PRAKASH FILMS)
h, 2016
5 Marc
16 April 2016
Box Office India
WEEKS COLLECTIONS THEATRES
1
5,00,000
20
TOTAL
COLLECTIONS
5,00,000
1
9,00,00,000
130
9,00,00,000
2
26,00,000
30
84,00,000
1
95,00,000
88
TOTAL
COLLECTIONS
95,00,000
1
8,25,00,000
125
8,25,00,000
2
2,47,00,000
122
10,87,00,000
WEEKS COLLECTIONS THEATRES
1
28,00,000
62
TOTAL
COLLECTIONS
28,00,000
1
2,80,00,000
68
2,80,00,000
2
45,00,000
60
1,85,00,000
WEEKS COLLECTIONS THEATRES
1
22,00,000
35
TOTAL
COLLECTIONS
22,00,000
1
2,25,00,000
35
2,25,00,000
2
60,00,000
45
2,69,00,000
WEEKS COLLECTIONS THEATRES
1
7,00,000
20
TOTAL
COLLECTIONS
7,00,000
1
8,75,00,000
80
8,75,00,000
2
85,00,000
40
3,20,00,000
BIHAR & JHARKHAND
TNK
FILM
(DISTRIBUTOR)
LOVE GAMES
(SPI - JAWAHAR CINEMAS)
THE JUNGLE BOOK
(UTV SOFTWARE)
KI & KA
(EROS INTERNATIONAL)
WEEKS COLLECTIONS THEATRES
Vol. 7
Issue
26
WEEKS COLLECTIONS THEATRES
1
12,00,000
46
TOTAL
COLLECTIONS
12,00,000
1
70,00,000
10
70,00,000
2
10,00,000
32
94,00,000
WEEKS COLLECTIONS THEATRES
1
4,00,000
25
TOTAL
COLLECTIONS
4,00,000
1
65,00,000
7
65,00,000
2
4,00,000
26
39,00,000
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33
BOX OFFICE COLLECTION
MUMBAI
BOX OFFICE COLLECTION
FILM
PRODUCER
WEEK
NETT. LAST WEEK THEATRES
TOTAL NETT.
Love Games - Love Dangerously
Mukesh Bhatt, T-Series
1
3,94,00,000
793
3,94,00,000
Club Dancer
S. Mukerji
1
2,18,946
34
2,18,946
Hum Hain Wonder Boys
Maruti Nandan Entertainment
1
82,255
7
82,255
Sardaar Gabbar Singh**
Sunil Lulla, Sharrath Marar
1
2,19,00,000
450
2,19,00,000
The Jungle Book*
Jon Favreau, Brigham Taylor
1
72,91,00,000
1131
72,91,00,000
Ki & Ka
Sunil Lulla, Rakesh Jhunjhunwala, RK Damani, R Balki
2
11,47,00,000
1,076
48,70,00,000
Love Chakra
Dheeraj Films...Entertainment
2
1,92,172
13
6,19,222
Rocky Handsome
Sunir Kheterpal, John Abraham
3
3,31,500
25
23,72,31,500
Kapoor & Sons
Hiroo Yash Johar, Karan Johar, Apoorva Mehta
4
1,45,51,000
230
70,91,51,000
Dare You
Red Berry Entertainment, Blue Berry Films
4
49,262
5
9,42,623
Cute Kameena
Simmi Karna
4
74,042
8
16,41,214
Miss Teacher
Jai Prakash
4
1,57,373
10
17,54,657
Dawat E Shaadi
Sayed Waseem Yaba, Samiulla Fayaz
4
1,19,232
4
8,17,429
Jai GangaaJal
Prakash Jha Productions, PLAY Entertainment
6
1,66,623
17
30,65,91,998
Neerja
Fox Star Studios, Atul Kasbekar, Shanti Sivaram Maini
8
6,14,337
18
69,87,14,587
*Including all formats **Only hindi version
PVR CINEMAX
FROM APRIL 08TH TO APRIL 14TH, 2016
444 SCREENS
501
NO
FILMS
SHOWS
AUDIENCE
NETT
GROSS
(COLLECTION FROM 115 STATIONS)
GROSS TOTAL
WEEK
1
LOVE GAMES
1792
39165
44,67,019
62,93,334
62,93,334
1
2
KI & KA
3603
231112
3,23,38,370
4,52,93,831
16,79,99,895
2
3
KAPOOR & SONS
539
32890
50,00,981
69,91,700
21,71,39,199
4
FROM APRIL 08TH TO APRIL 14TH, 2016
INOX
402 SCREENS
NO
FILMS
1
(COLLECTION FROM 102 STATIONS)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
LOVE GAMES
1374
26045
30,36,508
39,94,801
39,94,801
2
KI & KA
3151
172705
2,28,58,132
3,02,85,119
11,88,28,151
2
3
KAPOOR & SONS
417
18919
27,21,144
36,24,581
18,07,40,575
4
349 SCREENS
FILMS
SHOWS
1
FROM APRIL 08TH TO APRIL 14TH, 2016
CARNIVAL / BIG / GLITZ
NO
WEEK
AUDIENCE
NETT
GROSS
(COLLECTION FROM 123 STATIONS)
GROSS TOTAL
WEEK
1
LOVE GAMES
1628
29551
25,35,336
37,19,783
37,19,783
1
2
KI & KA
2336
96749
1,10,45,959
1,58,98,362
5,37,74,949
2
3
KAPOOR & SONS
205
7325
9,35,347
13,78,736
6,36,22,499
4
FROM APRIL 08TH TO APRIL 14TH, 2016
SRS CINEMAS
59 SCREENS
NO
1
2
3
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
34
SHOWS
405
719
161
AUDIENCE
5340
28452
4026
NETT
4,67,387
28,99,831
4,26,084
GROSS
7,35,866
45,26,838
6,69,247
(COLLECTION FROM 21 STATIONS)
GROSS TOTAL
7,35,866
1,51,07,741
2,48,81,569
Box Office India
WEEK
1
2
4
16 April 2016
FROM APRIL 08TH TO APRIL 14TH, 2016
WAVE INC.
35 SCREENS
NO
1
2
3
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
SHOWS
322
512
119
AUDIENCE
9621
30151
4289
NETT
-
30 SCREENS
FILMS
KI & KA
SHOWS
218
AUDIENCE
13049
NETT
20,46,147
29 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
SHOWS
110
325
112
AUDIENCE
1327
19121
6019
NETT
2,39,667
35,54,164
11,87,288
SHOWS
212
260
42
NETT
1,99,209
8,33,895
1,13,721
SHOWS
169
181
AUDIENCE
4356
7381
NETT
3,65,079
6,24,037
SHOWS
14
133
26
NETT
24,771
11,58,983
2,44,452
SHOWS
-
AUDIENCE
-
NETT
1,75,323
3,23,607
19,864
16 April 2016
Box Office India
SHOWS
186
324
35
WEEK
1
2
4
(COLLECTION FROM 24 STATIONS)
GROSS TOTAL
5,42,520
38,44,970
WEEK
1
2
GROSS
37,290
17,16,840
3,60,500
(COLLECTION FROM 11 STATIONS)
GROSS TOTAL
37,290
69,21,800
94,38,639
WEEK
1
2
4
GROSS
-
(COLLECTION FROM 3 STATIONS)
GROSS TOTAL
1,75,323
13,44,001
21,44,784
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
29 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
GROSS
5,42,520
9,44,700
MOVIE TIME
NO
1
2
3
(COLLECTION FROM 13 STATIONS)
GROSS TOTAL
1,99,209
28,82,823
42,00,253
FROM APRIL 08TH TO APRIL 14TH, 2016
10 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
GROSS
-
AUDIENCE
274
10100
2022
SILVER CITY
NO
1
2
3
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
30 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
(COLLECTION FROM 7 STATIONS)
GROSS TOTAL
3,40,250
1,84,25,719
4,38,22,707
E-SQUARE
NO
1
2
3
WEEK
2
FROM APRIL 08TH TO APRIL 14TH, 2016
37 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS
3,40,250
49,97,554
16,67,124
AUDIENCE
3019
10189
1172
GOLD CINEMA
NO
1
2
(COLLECTION FROM 10 STATIONS)
GROSS TOTAL
76,00,246
FROM APRIL 08TH TO APRIL 14TH, 2016
36 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
GROSS
16,63,106
MUKTA A2
NO
1
2
3
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
DT CINEMAS
NO
1
2
3
GROSS TOTAL
14,76,871
2,05,76,411
3,28,37,953
FROM APRIL 08TH TO APRIL 14TH, 2016
CITY PRIDE
NO
1
GROSS
14,76,871
52,58,412
7,21,936
(COLLECTION FROM 10 STATIONS)
AUDIENCE
3633
12428
1855
NETT
3,89,198
13,88,824
2,28,210
GROSS
5,41,210
19,24,435
3,24,297
(COLLECTION FROM 9 STATIONS)
GROSS TOTAL
5,41,210
81,54,183
1,22,85,803
WEEK
1
2
4
35
BOX OFFICE COLLECTION
FROM APRIL 08TH TO APRIL 14TH, 2016
M2K CINEMAS
5 SCREENS
NO
1
2
3
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
SHOWS
28
70
28
AUDIENCE
562
3682
1237
NETT
75,858
5,15,449
1,74,697
10 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
Cinemas
NO
1
2
3
SHOWS
35
98
42
AUDIENCE
591
3453
1976
NETT
72,180
4,50,726
2,51,166
19 SCREENS
SHOWS
32
129
17
NETT
1,32,841
9,71,892
69,715
AUDIENCE
4571
17142
NETT
3,53,357
16,15,822
SHOWS
98
49
14
NETT
1,66,084
2,94,108
19,422
AUDIENCE
737
670
NETT
41,596
39,498
SHOWS
-
NETT
28,166
1,18,419
1
2
3
LOVE GAMES
KI & KA
KAPOOR & SONS
36
WEEK
1
2
GROSS
2,80,140
4,90,180
32,370
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
2,80,140
20,22,520
26,01,310
WEEK
1
2
4
GROSS
58,246
55,313
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
58,246
2,64,211
WEEK
1
2
GROSS
35,208
1,48,024
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
35,208
4,90,758
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
19 SCREENS
FILMS
(COLLECTION FROM 22 STATIONS)
GROSS TOTAL
4,99,600
1,02,62,965
AUDIENCE
598
1474
CITY GOLD
NO
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
5 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS
4,99,600
22,30,470
SHOWS
29
33
CITY PULSE
NO
1
2
(COLLECTION FROM 4 STATIONS)
GROSS TOTAL
1,96,530
45,10,000
38,63,920
FROM APRIL 08TH TO APRIL 14TH, 2016
8 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS
1,96,530
14,61,780
1,03,750
AUDIENCE
2009
2947
186
KT VISION
NO
1
2
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
5 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
GROSS TOTAL
1,20,300
34,99,190
72,02,710
SHOWS
275
480
IP CINEMAS
NO
1
2
3
(COLLECTION FROM 2 STATIONS)
FROM APRIL 08TH TO APRIL 14TH, 2016
58 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS
1,20,300
7,51,210
4,18,610
AUDIENCE
1072
8637
541
MIRAJ
NO
1
2
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
MAXUS CINEMA
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
GROSS TOTAL
75,858
18,94,079
30,28,239
FROM APRIL 08TH TO APRIL 14TH, 2016
SPICE
NO
1
2
3
GROSS
-
(COLLECTION FROM 2 STATIONS)
(COLLECTION FROM 5 STATIONS)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
98
176
64
2909
8485
1862
2,26,818
9,22,759
2,18,712
3,22,570
12,66,706
2,99,460
3,22,570
43,77,424
57,29,354
Box Office India
WEEK
1
2
4
16 April 2016
FROM APRIL 08TH TO APRIL 14TH, 2016
WIDE ANGLE
9 SCREENS
NO
1
2
3
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
SHOWS
76
48
23
AUDIENCE
1534
2005
289
NETT
1,84,563
2,60,959
44,403
12 SCREENS
FILMS
1
2
3
LOVE GAMES
KI & KA
KAPOOR & SONS
AUDIENCE
NETT
GROSS
GROSS TOTAL
104
51
9
1440
1636
155
97,188
1,34,592
15,405
1,83,580
2,48,860
28,000
1,83,580
8,80,820
13,89,970
SHOWS
162
233
12
AUDIENCE
3860
11814
526
NETT
2,98,984
9,45,566
50,181
SUNCITY
FILMS
LOVE GAMES
KI & KA
SHOWS
138
125
AUDIENCE
2235
3338
NETT
2,33,469
3,69,258
SHOWS
177
49
13
NETT
1,29,898
1,58,037
22,971
SHOWS
27
21
AUDIENCE
610
584
NETT
59,244
63,958
SHOWS
92
139
35
NETT
1,56,371
4,60,330
78,993
SHOWS
21
33
AUDIENCE
808
1320
NETT
50,030
75,736
16 April 2016
Box Office India
(COLLECTION FROM 9 STATIONS)
GROSS TOTAL
1,49,840
11,08,494
4,19,050
WEEK
1
2
4
GROSS
64,403
67,077
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
64,403
3,17,898
WEEK
1
2
GROSS
1,95,466
5,75,414
98,742
(COLLECTION FROM 3 STATIONS)
GROSS TOTAL
1,95,466
14,75,834
21,75,318
WEEK
1
2
4
SHOWS
28
GROSS
73,850
1,13,150
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
73,850
3,11,500
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
6 SCREENS
FILMS
LOVE GAMES
GROSS
1,49,840
2,04,570
33,460
CINE PARK
NO
1
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
3 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS TOTAL
3,02,885
15,91,927
AUDIENCE
2281
6029
987
DEVI
NO
1
2
(COLLECTION FROM 4 STATIONS)
FROM APRIL 08TH TO APRIL 14TH, 2016
11 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
GROSS
3,02,885
4,84,137
CINEMARC
NO
1
2
3
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
2 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS TOTAL
4,04,866
45,60,488
-
AUDIENCE
1159
1612
339
OHM CINEMA
NO
1
2
(COLLECTION FROM 7 STATIONS)
FROM APRIL 08TH TO APRIL 14TH, 2016
20 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
GROSS
4,04,866
12,56,684
70,090
K SERA SERA
NO
1
2
3
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
8 SCREENS
NO
1
2
WEEK
FROM APRIL 08TH TO APRIL 14TH, 2016
20 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
WEEK
1
2
4
(COLLECTION FROM 5 STATIONS)
SHOWS
RAJHANS
NO
1
2
3
GROSS TOTAL
2,43,710
15,78,824
22,48,809
FROM APRIL 08TH TO APRIL 14TH, 2016
STAR WORLD
NO
GROSS
2,43,710
3,40,354
58,925
(COLLECTION FROM 2 STATIONS)
AUDIENCE
-
NETT
12,590
GROSS
-
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
12,590
WEEK
1
37
BOX OFFICE COLLECTION
FROM APRIL 08TH TO APRIL 14TH, 2016
PICCADILY SQUARE
4 SCREENS
NO
1
2
FILMS
LOVE GAMES
KI & KA
SHOWS
21
33
AUDIENCE
737
3060
NETT
81,760
3,89,181
11 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
SHOWS
106
62
25
AUDIENCE
2135
3270
858
NETT
1,88,593
3,00,171
47,104
6 SCREENS
FILMS
1
LOVE GAMES
GROSS
GROSS TOTAL
15
169
12,662
16,461
16,461
SHOWS
-
TOP 3
NO
FILMS
1
2
LOVE GAMES
KI & KA
OM
NO
1
2
AUDIENCE
-
NETT
1,22,110
11,700
FILMS
LOVE GAMES
KI & KA
38
1
GROSS
-
(COLLECTION FROM 3 STATIONS)
GROSS TOTAL
1,22,110
1,91,403
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
AUDIENCE
845
1101
332
NETT
98,020
1,27,716
38,512
GROSS
1,26,750
1,65,150
49,800
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
1,26,750
6,34,350
8,46,210
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
TOP 3
7 SCREENS
(COLLECTION FROM 1 STATIONS)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
28
2
-
1,64,737
39,553
2,32,279
55,769
2,32,279
3,01,931
OM
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
2 SCREENS
FILMS
LOVE GAMES
KI & KA
SURAJ
OM
NO
1
SHOWS
25
26
7
WEEK
FROM APRIL 08TH TO APRIL 14TH, 2016
4 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
WEEK
1
2
4
(COLLECTION FROM 3 STATIONS)
NETT
SSR RUPASI
NO
1
2
3
(COLLECTION FROM 9 STATIONS)
GROSS TOTAL
2,44,679
11,39,196
22,06,022
AUDIENCE
8 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS
2,44,679
3,86,550
61,256
SHOWS
MOVIE WORLD
NO
1
2
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
E4U
NO
GROSS TOTAL
81,760
15,20,879
FROM APRIL 08TH TO APRIL 14TH, 2016
PRIYA ENTERTAINMENTS
NO
1
2
3
GROSS
-
(COLLECTION FROM 2 STATIONS)
SHOWS
24
14
AUDIENCE
593
517
NETT
73,318
77,889
GROSS
91,648
97,362
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
91,648
-
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
SURAJ
2 SCREENS
SHOWS
5
17
AUDIENCE
214
792
NETT
14,323
61,857
GROSS
20,900
88,410
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
20,900
3,04,850
Box Office India
WEEK
1
2
16 April 2016
COSMOPLEX
FROM APRIL 08TH TO APRIL 14TH, 2016
5 SCREENS
NO
1
2
3
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
SHOWS
35
28
28
AUDIENCE
645
2073
117
NETT
84,872
3,05,286
23,569
2 screens
FILMS
LOVE GAMES
KI & KA
SHOWS
11
9
AUDIENCE
249
190
NETT
17,499
13,072
2 SCREENS
FILMS
LOVE GAMES
SHOWS
28
AUDIENCE
237
NETT
14,409
SHOWS
94
NETT
6,00,453
SHOWS
41
30
AUDIENCE
338
290
NETT
45,560
48,160
AUDIENCE
868
1848
NETT
74,920
2,11,224
SHOWS
-
AUDIENCE
-
NETT
40,845
44,208
16 April 2016
Box Office India
WEEK
1
(COLLECTION FROM 2 STATIONS)
GROSS TOTAL
55,000
3,26,800
WEEK
1
2
GROSS
1,13,140
3,13,280
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
1,13,140
10,10,991
WEEK
1
2
SHOWS
-
GROSS
-
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
40,845
2,22,822
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
2 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS
55,000
52,900
BMG CINEMA
NO
1
2
(COLLECTION FROM 5 STATIONS)
GROSS TOTAL
6,32,056
FROM APRIL 08TH TO APRIL 14TH, 2016
2 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS
6,32,056
SHOWS
26
60
PDR
NO
1
2
WEEK
1
FROM APRIL 08TH TO APRIL 14TH, 2016
5 SCREENS
FILMS
LOVE GAMES
KI & KA
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
18,012
SM5
NO
1
2
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
5 SCREENS
FILMS
LOVE GAMES
KI & KA
GROSS
18,012
AUDIENCE
7708
REDROCK
NO
1
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
25,360
-
FROM APRIL 08TH TO APRIL 14TH, 2016
8 SCREENS
FILMS
LOVE GAMES
GROSS
25,360
19,000
EOS CINEMAS
NO
1
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
MOVIEPLEX
NO
1
GROSS TOTAL
1,06,090
-
FROM APRIL 08TH TO APRIL 14TH, 2016
BALAJI
NO
1
2
GROSS
1,06,090
3,81,608
29,462
(COLLECTION FROM 1 STATIONS)
AUDIENCE
-
NETT
98,905
89,831
GROSS
-
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
98,905
5,67,350
WEEK
1
2
39
BOX OFFICE COLLECTION
ROLLING
OMREELS
NO
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
ROLLING REELS
3 SCREENS
FILMS
LOVE GAMES
KI & KA
SHOWS
-
AUDIENCE
-
NETT
43,442
58,141
3 SCREENS
FILMS
LOVE GAMES
KI & KA
SHOWS
-
AUDIENCE
-
NETT
41,874
72,405
2 SCREENS
NO
1
NO
1
2
3
NO
1
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
M4U
OM
SHOWS
-
OM
RAGINI
OM
RAGINI
NO
FILMS
1
LOVE GAMES
OM
NO
FILMS
1
2
3
LOVE GAMES
KI & KA
KAPOOR & SONS
40
GROSS TOTAL
41,874
2,68,572
GROSS
-
WEEK
1
2
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
5,884
2,65,981
4,42,392
SHOWS
AUDIENCE
-
-
WEEK
1
2
4
NETT
12,846
GROSS
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
12,846
-
WEEK
1
FROM APRIL 08TH TO APRIL 14TH, 2016
SHOWS
-
AUDIENCE
-
NETT
38,232
47,253
8,175
GROSS
-
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
38,232
2,86,417
4,67,117
WEEK
1
2
4
FROM APRIL 08TH TO APRIL 14TH, 2016
2 SCREENS
FILMS
LOVE GAMES
(COLLECTION FROM 1 STATIONS)
FROM APRIL 08TH TO APRIL 14TH, 2016
2 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
OM
NETT
5,884
55,757
14,615
2 SCREENS
STAR X
GROSS
-
AUDIENCE
-
M4U
FILMS
LOVE GAMES
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
MOVIE LOUNGE
NO
1
2
3
GROSS TOTAL
43,442
3,32,648
FROM APRIL 08TH TO APRIL 14TH, 2016
PACIFIC
NO
1
2
GROSS
-
(COLLECTION FROM 1 STATIONS)
SHOWS
14
AUDIENCE
175
NETT
16,552
GROSS
20,690
(COLLECTION FROM 1 STATIONS)
GROSS TOTAL
20,690
WEEK
1
FROM APRIL 08TH TO APRIL 14TH, 2016
MAHARAJA
2 SCREENS
(COLLECTION FROM 1 STATIONS)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
20,644
-
20,644
WEEK
1
FROM APRIL 08TH TO APRIL 14TH, 2016
MAXX
2 SCREENS
(COLLECTION FROM 1 STATIONS)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
18,576
56,257
8,443
-
18,576
3,30,153
4,83,693
Box Office India
WEEK
1
2
4
16 April 2016
FROM APRIL 08TH TO APRIL 14TH, 2016
VINAY CINE COMPLEX
2 SCREENS
NO
1
NO
1
2
FILMS
LOVE GAMES
KI & KA
SHOWS
23
11
AUDIENCE
512
208
NETT
47,714
22,974
GROSS
59,642
28,718
3 SCREENS
FILMS
LOVE GAMES
KI & KA
SHOWS
28
9
AUDIENCE
311
119
NETT
39,245
15,076
SHOWS
21
28
21
GROSS TOTAL
51,020
2,56,580
WEEK
1
2
FROM APRIL 08TH TO APRIL 14TH, 2016
2 SCREENS
FILMS
LOVE GAMES
KI & KA
KAPOOR & SONS
WEEK
1
2
(COLLECTION FROM 1 STATIONS)
GROSS
51,020
19,600
LONDON PARIS
NO
1
2
3
GROSS TOTAL
59,642
2,42,776
FROM APRIL 08TH TO APRIL 14TH, 2016
FUN STAR
OM
(COLLECTION FROM 2 STATIONS)
AUDIENCE
356
1000
654
NETT
48,380
1,42,665
94,428
(COLLECTION FROM 1 STATIONS)
GROSS
64,093
1,88,548
1,24,760
GROSS TOTAL
64,093
5,23,352
12,03,622
WEEK
1
2
4
LOVE GAMES - DAYWISE COLLECTION
LOVE GAMES
1st day
2nd Day
3rd Day
4th Day
5th Day
6th Day
7th Day
1st week
MUM
30,00,000
30,00,000
35,00,000
15,00,000
12,00,000
9,00,000
10,00,000
1,30,00,000
DUP
20,00,000
21,00,000
22,00,000
10,00,000
8,00,000
7,00,000
7,00,000
95,00,000
EP
7,00,000
8,00,000
8,50,000
3,50,000
3,00,000
2,00,000
2,00,000
34,00,000
CP
6,00,000
6,00,000
6,50,000
3,00,000
2,50,000
2,00,000
2,50,000
28,00,000
CI
4,50,000
4,00,000
4,50,000
2,00,000
1,50,000
1,00,000
1,50,000
18,00,000
RAJ
5,50,000
5,00,000
5,50,000
2,50,000
2,00,000
1,50,000
1,50,000
22,00,000
NIZ-AP
4,00,000
3,00,000
4,00,000
2,00,000
1,50,000
1,00,000
1,00,000
16,00,000
MYS
2,00,000
1,00,000
2,00,000
1,00,000
50,000
50,000
50,000
7,00,000
WB
4,00,000
4,00,000
4,00,000
2,00,000
1,50,000
1,50,000
1,50,000
18,00,000
B&J
3,00,000
2,00,000
3,00,000
1,50,000
1,00,000
1,00,000
1,00,000
12,00,000
ASM
1,00,000
1,00,000
1,00,000
50,000
50,000
50,000
50,000
5,00,000
ORI
1,00,000
1,00,000
1,00,000
50,000
50,000
50,000
50,000
4,00,000
TNK
1,00,000
1,00,000
1,00,000
50,000
50,000
50,000
50,000
5,00,000
Total
89,00,000
87,00,000
98,00,000
44,00,000
35,00,000
28,00,000
30,00,000
3,94,00,000
KI & KA - DAYWISE COLLECTION
KI & KA
1st week
8th Day
9th Day
10th Day
11th Day
12th Day
13th Day
14th Day
2nd week
Grand Total
MUM
11,70,00,000
58,00,000
80,00,000
96,00,000
31,00,000
30,00,000
33,00,000
35,00,000
3,60,00,000
15,30,00,000
DUP
8,40,00,000
41,00,000
60,00,000
67,00,000
22,00,000
21,00,000
23,00,000
23,00,000
2,47,00,000
10,87,00,000
EP
3,92,00,000
19,00,000
30,00,000
40,00,000
13,00,000
12,00,000
14,00,000
15,00,000
1,43,00,000
5,35,00,000
CP
1,40,00,000
8,00,000
9,00,000
10,00,000
3,00,000
3,00,000
3,00,000
4,00,000
45,00,000
1,85,00,000
CI
1,45,00,000
8,00,000
11,00,000
12,00,000
4,00,000
4,00,000
4,00,000
5,00,000
50,00,000
1,95,00,000
RAJ
2,09,00,000
10,00,000
12,00,000
15,00,000
5,00,000
5,00,000
5,00,000
6,00,000
60,00,000
2,69,00,000
NIZ-AP
2,05,00,000
9,00,000
14,00,000
15,00,000
4,00,000
4,00,000
4,00,000
4,00,000
55,00,000
2,60,00,000
MYS
2,35,00,000
12,00,000
20,00,000
20,00,000
7,00,000
7,00,000
7,00,000
10,00,000
85,00,000
3,20,00,000
WB
1,79,00,000
11,00,000
12,00,000
16,00,000
4,00,000
4,00,000
4,00,000
5,00,000
58,00,000
2,37,00,000
B&J
84,00,000
2,00,000
3,00,000
3,00,000
50,000
50,000
50,000
50,000
10,00,000
94,00,000
ASM
31,00,000
50,000
1,00,000
1,00,000
25,000
25,000
25,000
25,000
4,00,000
35,00,000
ORI
35,00,000
50,000
1,00,000
1,00,000
25,000
25,000
25,000
25,000
4,00,000
39,00,000
TNK
58,00,000
2,00,000
3,00,000
5,00,000
2,00,000
2,00,000
2,00,000
10,00,000
26,00,000
84,00,000
Total
37,23,00,000
1,81,00,000
2,56,00,000
3,01,00,000
96,00,000
93,00,000
1,00,00,000
1,18,00,000
11,47,00,000
48,70,00,000
16 April 2016
Box Office India
41
BOX OFFICE COLLECTION
SARDAAR GABBAR SINGH - DAYWISE COLLECTION
SGS
1st day
2nd Day
3rd Day
4th Day
5th Day
6th Day
7th Day
1st week
MUM
17,00,000
18,00,000
19,00,000
8,50,000
7,00,000
5,00,000
4,00,000
78,00,000
DUP
10,00,000
11,00,000
12,00,000
5,00,000
4,00,000
3,00,000
2,00,000
47,00,000
EP
2,50,000
2,50,000
2,50,000
1,25,000
1,00,000
1,00,000
1,00,000
11,00,000
CP
4,00,000
4,00,000
5,00,000
2,00,000
1,50,000
1,00,000
1,00,000
18,00,000
CI
3,00,000
3,00,000
3,00,000
1,50,000
1,25,000
1,00,000
50,000
13,00,000
RAJ
4,00,000
4,00,000
4,00,000
2,00,000
1,50,000
1,00,000
50,000
17,00,000
NIZ-AP
3,50,000
3,50,000
5,00,000
1,75,000
1,25,000
1,50,000
1,50,000
18,00,000
MYS
NR
NR
NR
NR
NR
NR
NR
NR
WB
1,50,000
1,50,000
1,50,000
75,000
50,000
50,000
50,000
6,00,000
B&J
1,50,000
1,50,000
2,00,000
75,000
50,000
50,000
50,000
7,00,000
ASM
50,000
50,000
50,000
25,000
25,000
25,000
25,000
2,00,000
ORI
50,000
50,000
50,000
25,000
25,000
25,000
25,000
2,00,000
TNK
NR
NR
NR
NR
NR
NR
NR
NR
Total
48,00,000
50,00,000
55,00,000
24,00,000
19,00,000
15,00,000
12,00,000
2,19,00,000
THE JUNGLE BOOK - DAYWISE COLLECTION
THE JUNGLE BOOK
1st day
2nd Day
3rd Day
4th Day
5th Day
6th Day
7th Day
1st week
MUM
3,60,00,000
4,86,00,000
5,90,00,000
2,71,00,000
2,57,00,000
2,80,00,000
3,75,00,000
26,25,00,000
DUP
1,10,00,000
1,48,00,000
1,81,00,000
83,00,000
79,00,000
85,00,000
1,25,00,000
8,25,00,000
EP
49,00,000
1,01,00,000
1,25,00,000
57,00,000
54,00,000
60,00,000
70,00,000
5,20,00,000
CP
40,00,000
50,00,000
60,00,000
30,00,000
28,00,000
30,00,000
40,00,000
2,80,00,000
CI
25,00,000
38,00,000
52,00,000
24,00,000
23,00,000
24,00,000
26,00,000
2,21,00,000
RAJ
30,00,000
40,00,000
50,00,000
25,00,000
23,00,000
25,00,000
30,00,000
2,25,00,000
NIZ-AP
60,00,000
81,00,000
79,00,000
37,00,000
35,00,000
30,00,000
60,00,000
4,00,00,000
MYS
1,28,00,000
1,70,00,000
1,80,00,000
82,00,000
78,00,000
1,00,00,000
1,30,00,000
8,75,00,000
WB
35,00,000
45,00,000
55,00,000
25,00,000
23,00,000
25,00,000
35,00,000
2,50,00,000
B&J
10,00,000
13,00,000
15,00,000
7,00,000
7,00,000
7,00,000
10,00,000
70,00,000
ASM
5,00,000
6,00,000
7,00,000
4,00,000
4,00,000
4,00,000
5,00,000
35,00,000
ORI
10,00,000
13,00,000
14,00,000
6,00,000
6,00,000
6,00,000
10,00,000
65,00,000
TNK
1,25,00,000
1,60,00,000
2,00,00,000
92,00,000
87,00,000
92,00,000
1,30,00,000
9,00,00,000
Total
9,87,00,000
13,45,00,000
16,08,00,000
7,43,00,000
7,04,00,000
7,68,00,000
10,46,00,000
72,91,00,000
DISCLAIMER: Box Office Information/Figures/Collections contained in this magazine are compiled from a number of sources, including our own research. While every effort is made to ensure completeness and authenticity
of data/figures/information, Box Office India makes no Representation about the accuracy and reliability of the data. Box Office India, Select Publishing Company, Select Media Holdings Private Limited or their affiliates
shall not be liable for any damages whatsoever arising from use of the information contained in the magazine or the website.
42
Box Office India
16 April 2016
Post Regn. No: MCN/293/2015-2017 Published every Saturday. Posted on every Saturday/Monday at Azad Nagar, Mumbai - 400053.
REG: MAHENG/2009/56446