Box Office India - 21st September 2019

21 September 2019

Vol. 11

Issue 03

India’s Premier Film Trade Magazine

L ucky Stroke

The Zoya Factor lead pair Sonam Kapoor and Dulquer Salmaan on starring in the film adaptation of the 2008 bestseller and the eternal battle between luck and hard work PAge 10 >>

21 September 2019

Vol. 11

Issue 03

India’s Premier Film Trade Magazine

Every Moment Counts As Pal Pal Dil Ke Paas hits theatres, lead pair Karan Deol and Sahher Bambba talk about the anxiousness and excitement on making their big Bollywood debut

PAge 14 >>

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Delivery PAge 16 >>

Srishti Arya, Director for International Original Film – India, Netflix, talks about the golden age of entertainment across the globe thanks to the digital wave

Volume 11 • Issue 03 • 21 September 2019 EDITOR Vajir Singh vajir@boxofficeindia.co.in ASSOCIATE EDITOR Shikha Saroj Gupta shikha@boxofficeindia.co.in

Sonam K Ahuja I needed something that would be a clutter-breaker for me. I know the audience is used to me doing films which are completely hatke. But The Zoya Factor was more for me. I wanted to work with my friends but I did not want to cheat the audience from what they expect from me.

Sub-Editor and Senior Correspondent Padma Iyer padma@boxofficeindia.co.in Senior CORRESPONDENT Bhakti Mehta bhakti@boxofficeindia.co.in Editorial Assistants Titas Chowdhury titas@boxofficeindia.co.in Bhavi Gathani bhavi@boxofficeindia.co.in

Dulquer Salmaan You obviously have to be at the right place at the right time to get the right movies and the right offers. You choosing to do certain things or making certain choices is something which is up to you.

Video Content Head Anita Britto anita@boxofficeindia.co.in SENIOR DESIGNER Rohit Patil rohit@boxofficeindia.co.in

Karan Deol

PHOTOGRAPHERS Yogen Shah Rohit Patil Mahendra Kumar Gajbhare

Ad Sales & SUBSCRIPTIONS Alekhika Tripathy Tel: 91-99 67589847 alekhika@selectmedia.in

You need to look at every day as if it is a new one. One day you might be at the top and the next you will be down and then up again.

The topsy-turvy rollercoaster is what the industry is about. I have learnt that every day is a new day and you should take criticism with a pinch of salt and always be ready to move on.

subscriptions@boxofficeindia.co.in Vaibhav Adivarekar vaibhav@boxofficeindia.co.in Mob: 91-9769396866 EDITORIAL & ADVERTISING OFFICE 303, Morya Classic, Off New Link Road, Andheri West, Mumbai 400 053 Tel.: +91 22 42129129 Fax: + 91 22 26730111 Email: info@boxofficeindia.co.in 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.

Sahher Bambba I was very fortunate to have gotten the opportunity with Pal Pal Dil Ke Paas because I could not have asked for a better debut, a better co-actor or a better director to work with. And even though I am overly critical about my performance, I feel that somewhere there is a sense of satisfaction.

REG: MAHENG/2009/56446

21 September 2019 Box Office India

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QUOTE UNQUOTE

India’s Premier Film Trade Magazine

GOLD REVIEWS

The Zoya Factor Banners: Fox Star Studios, Ad-Labs Films Producers: Fox Star Studios, Aarrti

Shetty, Pooja Shetty Director: Abhishek Sharma Cast: Sonam K Ahuja, Dulquer

Salmaan, Angad Bedi, Sanjay Kapoor, Sikander Kher, Koel Puri, Manurishi Chaddha Writers: Pradhuman Singh (Screenplay and dialogue), Neha Rakesh Sharma (Dialogue), Anuja Chauhan (Additional screenplay) Music: Shankar-Ehsaan-Loy

T

he fairy tales that all of us have heard in our childhood are usually about a charming, good-looking and successful man falling for the girlnext-door, a la Cinderella. While we have seen a few versions of this before in films, director Abhishek Sharma tries to give it a cool and cult twist by adding the cricket element in The Zoya Factor starring Dulquer Salmaan and Sonam K Ahuja.

Adapted from the book of the same name penned by Anuja Chauhan, the film ticks all the boxes of being a textbook rom-com but barring the baritone of its lead actor, it lacks the depth.

The story starts decades back when India won its first cricket World Cup on June 25, 1983 and on the same day, a girl named Zoya Solanki was born. From that point on there is belief that she is some kind of a lucky charm for anyone playing cricket. All grown up now, Zoya comes in contact with the Indian cricket team. She already crushes on the goodlooking team captain, Nikhil Khoda and when she lands on location, her curls and crackers charm the skipper too.

As romance kindles between the two, the team, which is on a losing streak, finds out about Zoya’s special powers and offers her to be their mascot. This annoys Nikhil who is a non-believer in the luck factor. As Zoya becomes revered all around the country as the Goddess of Cricket, she experiences the ugly side of it, which hampers her relationship with Nikhil. Will the lovebirds patch up? Is the myth about the lucky charm true? How does Zoya get out the mess that she created? All these questions form the crux of the story.

It is a well-known fact that to concise

a 500 page book into a two hour film is a tough job. A heavy amount of trimming needs to be done but one has to make sure that those trimmings smoothen the storytelling whilst not leaving any gaping holes in the narrative.

Unfortunately, there are some scenes in the film that fall in the latter category.

The biggest USP of the film is the love story of the protagonists.

Their love story feels a little too rushed to be true. The moments between Nikhil and Zoya with them transpiring from colleagues to lovers happens much too quickly, hampering the believability of the script.

The dialogue of the film is written well. There are some funny punches peppered in the film, majorly in the first half. Since cricket is an underlying theme in the film, the scenes of the World Cup matches has typical Hindi commentary and kudos to the writer as well as the speakers for adding several hilarious moments with lines like, ‘Khoda aaj ghoda jaisa bhag raha hai’ and ‘Jitne time mein inhone yeh run banaye utne time toh poore khandaan ka Aadhar card ban jata.’

Inspired by the inner-voice over in the book, Sharma has tried his hand at the much elusive filmmaking technique of breaking the fourth wall by making Zoya talking directly to the audience. It is difficult to get this right so full marks to the director for the attempt but the execution fails to hit the right note.

What is interesting is that for people who have not read the book, the story still connects especially where cricket is concerned. The personalities of the players in the Indian team are loosely based on the real Men in Blue during the 2011 World Cup. That recognition helps the makers but the over-dramatisation and animated portrayal of the same doesn’t.

No complaints with the editing of the film. The transition from one scene to the other where the protagonist is talking to the audience is smooth. A special mention to the animation in the opening credits, which gives a fun start to the film.

The music of the film is melodious.

The Lucky charm song is well-placed in the beginning. The other tracks fit nicely enough and flow with the story. The romantic numbers Maheroo and Kaash prove to be visually appealing.

Abhishek Sharma has tried to hit the ball out of the park with a new sporty twist in the classic love tale but his luck did not factor in as the ball seemed to have dropped just a few inches away from the boundary line.

Performance-wise, Dulquer Salmaan seems to be picked out of a Mills and Boon novel and put right into the middle of The Zoya Factor. The actor has a charming screen presence and with equal amounts of charisma and intensity in his role, he just seems to be in his comfort zone. Sonam K Ahuja’s Zoya exudes quirkiness and goofy behavior, which perfectly complements Nikhil’s grounded attitude. The chemistry between the actors is tangible and sweet. Angad Bedi plays the antagonist well. Sikander Kher is adorable as the irritating but loving brother. Sanjay Kapoor is good.

Manurishi Chaddha is average. Koel Puri is okay. The other actors that form the members of the cricket team are decent. A special mention for Anil Kapoor’s crazy but memorable cameo as he plays a pirate. And of course, Shah Rukh Khan’s voiceover is amazing.

Verdict: Feel-good film.

Rating: **1/2

Karo Dil Ki

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Box Office India

21 September 2019

Prassthanam Banners: Sanjay S Dutt Productions Producer: Maanayata Dutt Director: Deva Katta Cast: Sanjay Dutt, Manisha Koirala,

Jackie Shroff, Chunky Panday, Ali Fazal, Satyajeet Dubey, Chahatt Khanna, Amyra Dastur Writers: Deva Katta (Story, Screenplay), Farhad Samji (Adapted Screenplay, dialogue) Music: Ankit Tiwari, Farhad Samji, Vikram Montrose

P

olitical family drama is not a much sought after genre in Hindi cinema today. If we had to recollect films made in this category, we may have to go back a decade or more to movies like Sarkar and Raajneeti.

This does not mean that the subject is dated and maybe that is why the makers of Prassthanam decided to remake a 10-year-old South film of the same genre.

Baldev Pratap Singh is a formidable political figure. By his side is his son Aayush, who not only looks up to his father but also follows his footsteps.

Then there is Vivaan, the younger son who feels that he is the rightful heir to his father’s political throne. While Aayush works hard to protect his father’s power and clout, Vivaan with his antics manages to land Baldev in trouble often.

Baldev’s wife Saroj tries to maintain the peace in the household, but she has to still make amends with her daughter Palak who wants nothing to do with the family. The only person Palak has any relationship with is Aayush. The reasons for the conflict between Palak and her mother lies in the past, a past that set the foundation for the strong relationship between Baldev and Aayush as well as Vivaan’s strained relations with his parents and his jealousy towards his brother.

Amidst all this family drama, there is a power struggle also in play; the main character in it being Bajwa Khatri. He is a businessman who has set his eyes on a mining contract, which Baldev has managed to put a stay on. But when there is a lot to gain and lose, such power struggle results in bloodshed. And as luck would have it, Khatri gets the chance to influence Baldev and use his

money and power to force him to play the politics that he wants. The resulting circumstances pit brother against brother, friend against friend, father against son and husband against wife.

Baldev is forced to make difficult choices. Is his close friend Badshah’s loyalty above his political ambition? Is his love for Vivaan stronger than Aayush’s devotion? Is his desire to win an election greater than Saroj’s sacrifice and pain?

As the horrors of the past manifest in the present, Prassthanam takes us on a roller coaster ride of emotions and conflict.

The film is the remake of the 2010 Telugu film Prasthanam, which was written and directed by Deva Katta.

Katta has written and helmed the Hindi film as well with adapted screenplay and dialogues by Farhad Samji. The film stays true to the original in terms of the plot except that this story is set in Uttar Pradesh. Given how important politics plays in that part of the country, Lucknow seems like the perfect setting.

The story is definitely engaging, but the screenplay drags at places. The dialogue is too filmy and stale in current time. At some places they even elicit laughter, not sure if that was the intention. There are also a few cinematic liberties taken that stick out like a sore thumb. The film is set in Lucknow, but the fact that there is a chase sequence shot in Haji Ali and an important fight scene on railway tracks that clearly indicate it is Mumbai, should have been avoided. The power of the story lies in its characters and some of the characters are not as fleshed out as

the others. Therefore the relationship between the characters and motives behind their actions leave a lot to be desired. The film has a runtime of 141 minutes which therefore becomes tedious, especially when there are songs infused into the narrative, bearing no consequence to the story. If the songs were avoided, Prassthanam could have been a much tighter and grittier film.

We see sparks of vintage Sanjay Dutt in the performance and he is brilliant especially in the dramatic scenes. It is heartening to watch him just as we have known him over the years- a powerful, controlled and commanding actor. Manisha Koirala as Saroj and Jackie Shroff as Badshah are important characters but their roles could have been better written. Both are terrific actors and it would have been worthwhile if there were meatier scenes for them. Given what they were offered, they are good as usual. Chunky Panday as Bajwa Khatri plays his part well. He has indeed discovered the baddie in him and we hope that he explores more roles with a mean streak. Ali Fazal as Aayush is a treat to watch. He plays his character with all heart. He has one of the strongest written parts and he makes full use of it. In the emotional scenes, he excels. Satyajeet Dubey as Vivaan does a good job for the most part, but he does get over the top sometimes. Chahatt Khanna as Palak is okay. Amyra Dastur as Shivi has nothing much to do.

Verdict: A Treat For Sanjay Dutt Fans!

Rating: **1/2

Karo Dil Ki

21 September 2019

Box Office India

05

GOLD REVIEWS

Pal Pal Dil Ke Paas Banners: Sunny Super Sounds, Zee

Studios, Vijayta Films Producers: Zee Studios, Sunny

Sounds Pvt Ltd Director: Sunny Deol Cast: Karan Deol, Sahher Bambba,

Aakash Ahuja, Kamini Khanna, Simone Singh, Sachin Khedekar, Meghna Malik Writers: Jasvinder Singh Bhat, Ravi Shankar (Story, Screenplay & Dialogues) Music: Sachet-Parampara, Rishi Rich, Tanishk Bagchi

A

simple and shy boy. A rich and arrogant girl. They meet.

Their personalities clash.

But eventually sparks fly. Enters the unscrupulous villain. Gory fights follow.

The simple and shy boy suddenly turns violent and brawny. Hero beats villain and emerges victorious. Boy and girl reunite. A happy ending. This must be reminding you of the scores of Hindi films you grew up watching. Sunny Deol’s Pal Pal Dil Ke Paas, whose title is drawn from the evergreen love ballad in Blackmail featuring Dharmendra and Raakhee, is no different. The film takes you on a ride where you keep wondering if the plot screams classic or cliché as you journey through the highs and lows that the narrative offers.

Pal Pal Dil Ke Paas is the love story of two completely opposite individuals, Karan Sehgal and Saher Sethi. We are taken back in time and introduced to Karan, a young boy whose parents die in an avalanche in a bid to see a snow leopard. Karan grows up to become an entrepreneur who organises camps and treks in the pristine snow-covered mountains of Manali. In one such camp called Camp Ujhi Dhaar, he meets Saher, a rich brat from Delhi who is a video blogger and critic who reviews trips and tour packages. It takes them a while to break the ice and eventually they are seen having the time of their lives doing rappelling, river crossing and canyoning. But our rose-tinted glasses are tainted when Saher’s ex-boyfriend is thrown into the mix. Thereafter everything that can go wrong in their lives does.

Brownie points to cinematographers

Himman Dhamija and Ragul Dharuman for capturing the snow-capped altitudes of Manali, the crystal clear turbulent waters, the lush green valleys and marvelous penitentes. They are such visual delights! They will nudge you to a world away from the rut of everyday life and will perfectly satiate the wanderlust in you. The recce team also deserves a special mention for discovering such gorgeous locales.

The story and screenplay by Jasvinder Singh Bhat and Ravi Shankar lack novelty and brings nothing new to the table. The emotionally intense scenes fail to tug at the heartstrings. A pinch of freshness in the writing could have lifted the film several notches high.

The treatment adds quite an appeal to the otherwise run-of-the-mill plotline as the film is high on aesthetic value.

Music is ironically not a strong link in Pal Pal Dil Ke Paas. There is barely any song that will stay with you. Ho jaa awara and Dil uda patanga, however, manage to engage you because they are in tandem with the essence of the situation that the characters are in. And anyway, what is a Bollywood love story without a song? The track Aadha bhi zyaada that introduces us to Karan’s character is an add-on and could have been done away with. But yes, there’s a rendition of Pal pal dil ke paas from Blackmail in the film but there’s nothing like old wine.

The VFX is uninspiring. The shabby superimposition of a snow leopard in a snow-covered hilly region is a major

loophole. The film is 153 minutes long but it manages to keep you to your seats.

While the first half is all rainbows and unicorns, it is the second one where things start getting a little serious or so they thought. The writing and editing may be extremely predictable but it the earnestness with which the film is made that prevents you from getting restless.

You can give Pal Pal Dil Ke Paas a shot! We can assure you that you will not regret it. Give it some time and it will settle. It has romance, action, drama and everything else that defines quintessential Bollywood films. And who wouldn’t want to get a glimpse into the beautiful Manali up and close and see our one of favourite action star, Sunny paaji’s son, fighting it out against a group of bad boys!

Performance-wise, Karan Deol as Karan seems a little uncomfortable in the beginning. He is not convincing in the scenes involving subtle emotions and romance. Towards the end of the second half when he is seen indulging in hand combats and taking down a group of goons, he shines. Legacy speaks and how! Sahher Bambba as Saher understands the pulse of her character and has good screen presence. She plays her part diligently.

Their chemistry is decent. Aakash Ahuja as Viren is average. Kamini Khanna, Simone Singh and Sachin Khedekar are good. Meghna Malik does a great job.

Verdict: Worth a dekho!

Stars: **1/2

Karo Dil Ki

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Box Office India

21 September 2019

Next ATTRACTION

september 2019 - December 2020 Sep 27, 2019

Main Zaroor Aaunga

Jhalki

Little Baby

Oct 02, 2019

WAR

Oct 11, 2019 The Sky Is Pink

Koi Jaane Naa

Loot Case Oct 18, 2019 Jacqueline I Am Coming

Pa Se Pyaar Fa Se Faraar Yaaram Ghost Diwali 2019

Housefull 4

Saand Ki Aankh

Made In China

Nov 01, 2019

Bypass Road

Nov 08, 2019

Marjaavaan

made in china

sooryavanshi

dil bechara

jawaani jaaneman

Shikara Nov 15, 2019

Bala

Nov 22, 2019

Pagalpanti

Nov 29, 2019

Dil Bechara

Jawaani Jaaneman

Dec 06, 2019

Pati Patni Aur Woh

Panipat Aadhaar Dec 20, 2019

Dabangg 3

Dec 27, 2019

Good Newwz

Jan 10, 2020

Tanhaji - The Unsung

Warrior Chhapaak Jan 17, 2020

Jai Mummy Di

Jan 24, 2020

Street Dancer 3D

Panga

war

Mar 27, 2020

Sooryavanshi

April 10, 2020 ‘83

Jan 31, 2020

Turram Khan

April 17, 2020 RoohiAfza

Feb 14, 2020

Malang

April 24, 2020 Gulabo Sitabo

Aaj Kal Feb 21, 2020 Chehre

Anurag Basu’s yet untitled

Bhoot: Part 1 -

May 01, 2020 Coolie No. 1 May 22, 2020 Laxmmi Bomb Mid 2020 June 12, 2020 June 19, 2020 July 10, 2020

1911 Khaali Peeli Mumbai Saga Sadak 2

The Haunted Ship Summer 2020 Brahmastra

Anurag Kashyap- Taapsee Pannu’s next

July 31, 2020

Shamshera

Bhool Bhulaiyaa 2

Aug 14, 2020

Bhuj: The Pride Of

India

Shakuntala Devi

biopic

Oct 02, 2020

Sardar Udham Singh

Shiddat

Tiger Shroff’s Rambo

Nikamma Mar 06, 2020 Thappad

Baaghi 3 Mar 13, 2020 Gunjan Saxena: Kargil Girl

remake

Devgn’s yet untitled

Krrish 4

Laal Singh Chadha

Bachchan Pandey

Shubh Mangal Zyada

Saavdhan Mar 20, 2020

21 September 2019

Angrezi Medium

Box Office India

saand ki aankh

Diwali 2020

Dhaakad

Prithviraj Christmas 2020 Ranbir Kapoor-Ajay

the sky is pink

07

Desi ATTRACTION

september 2019 - july 2020 Sept 27, 2019 Ganagandharvan (Mal)

Geetha (Kan)

Manoharam (Mal)

Namma Veetu Pillai (Tam) Oct 2, 2019 Gumnaami (Ben)

Mitin Mashi (Ben)

Password (Ben)

Satyanweshi

Byomkesh (Ben)

Sye Raa Narasimha

Reddy (Tel) Kakababur Pujo, 2019 Protyaborton (Ben)

Shororipu 2: Jotugrihu (Ben) Oct 4, 2019 100 Percent Kadhal (Tam)

Adhyaratri (Mal)

Asuran (Tam)

Romcom (Mar)

SangaThamizhan (Tam) Dusshera 2019 Raju Gari Gadhi 3 (Tel) Oct 11, 2019 Aappa Ani Bappa (Mar)

Dandam (Mar)

Man Udhaan Vara (Mar)

Sataracha Salman (Mar) Oct 18, 2019 Valiyaperunaal (Mal) Oct 24, 2019 Hirkani (Mar)

Triple Seat (Mar) Oct 25, 2019 Maniyarayile Asokan (Mal) Diwali 2019 Bigil (Tam)

Kaithi (Tam)

Petromax (Tam) Belashuru (Ben) Oct 2019

Jyotika-Karthi’s untitled film (Tam)

Seeru (Tam) Nov 1, 2019 Dhurala (Mar)

Ghye Double (Mar)

Phangrun (Mar) Nov 8, 2019 Adithya Varma (Tam)

Moothon (Mal)

Stand Up (Mal)

Vikun Tak (Mar) Nov 15, 2019 Fatteshikast (Mar)

Girlz (Mar)

Underworld (Mal) Nov 21, 2019 Mamangam (Mal) Nov 29, 2019 Aatpadi Nights (Mar)

Basta (Mar) Dec 6, 2019 Aruna (Mar)

Mee Maratha (Mar) Dec 13, 2019 Kesari (Mar) Dec 20, 2019 Hero (Tam) Christmas 2019 Big Brother (Mal)

Hobu Chandra Raja Gobu Chandra Mantri

Ganagandharvan (mal)

geetha (kan)

namma veetu pillai (tam)

bigil (tam)

moothon (mal)

raju gari gadhi 3 (tel)

(Ben)

My Santa (Mal)

Sanjhbati (Ben)

Shylock (Mal)

Trance (Mal) Dec 2019 Khaki (Tam)

Monsoon Football (Mar)

Professor Shonku O El

Dorado (Ben) Jan 3, 2020 De Dhakka 2 (Mar) Sankranti 2020 Darbar (Tam)

Sarileru Neekevvaru (Tel) Jan 23, 2020 Dwitiyo Purush (Ben) Jan 24, 2020 Vijeta (Mar) Jan 2020 Ala Vaikuntapuramlo (Tel)

Sreekaram (Tel) Feb 14, 2020 TimePass 3 (Mar) April 2020 Vikram 58 Summer 2020 Rang De (Tel) May 1, 2020 Jaago Mohan Pyare (Mar) Jul 30, 2020 RRR (Tel, Tam, Mal)

vijeta (mar)

Mar: Marathi, Mal: Malayalam, Ben: Bengali, Tam: Tamil, Tel: Telugu, Kan: Kannada

08

Box Office India

21 September 2019

TRADE GUP

On A Signing Spree

A

fter being the leading lady of the highest earner this year, Kabir Singh, actress Kiara Advani seems to be on a career high right now. The actress has signed many interesting films like Dharma Productions’ Good Newwz which comes out in December, Sher Shah with Sidharth Malhotra, Indoo Ki Jawani with Emmay Entertainment, Laxmmi Bomb opposite Akshay Kumar and the Netflix Original film Guilty among others.

While the young actress tackles this already full roster, we hear that she has added one more film from a big production house to her kitty. Sources reveal that Advani has been signed by Ronnie Screwvala’s RSVP banner for an upcoming project. Word is that the concept is quite unique and will have an up and coming actor starring opposite her.

With that and the latest speculation of her being cast opposite Kartik Aaryan in Bhool Bhulaiyaa 2, we wonder how the young star will maneuver through her choc-a-bloc work schedule.

Seven On Seven

R

emakes have always been a favoured genre for filmmakers in Bollywood and speculations about bringing back a classic film like Satte Pe Satta have been rife. From what we hear, Farah Khan will be directing the film along with the backing of Rohit Shetty. Names like Hrithik Roshan, Deepika Padukone, Katrina Kaif and a few others have been tossed in the air for the lead characters, originally played by Amitabh Bachchan and Hema Malini.

We all know that apart from the leads, the film needs a strong supporting cast of the six brothers and their love interests. Sources have informed us that Khan is already on the look-out and has in fact approached Aayush Sharma to play one of the brothers in the film. Sharma, who made his debut last year with LoveYatri and is currently working on his next, Kwatha, has yet to green light the project.

But we have to say, in this day and age, the dream of getting so many actors together in one film is a big one and we will have to wait and watch how Farah Khan comes through with it.

A Musical Pause

I

t has been some time since we are hearing about the news on Aashiqui 3. It has been six years since the last instalment hit the ball out of the park with Aditya Roy Kapur and Shraddha Kapoor and bolstered their careers.

There were rumours about Alia Bhatt and Sidharth Malhotra being part of the third instalment in the series but from what we hear, the film has been put on the backburner for now.

We hear that the makers believe that both the Aashiqui films had actors who did not come with much baggage when they starred in the respective films and that is what they want for their third instalment also. Word is that the makers are looking out for the perfect fresh faces for the film and just might revive it then.

Looks like we will have to make do with the unforgettable melodies of the last two films while we await for an official announcement.

Guess Who?

T

here are times when filmmakers aim to achieve much more than they can possibly reach. Take this upcoming film for example. It was announced not too long back with a credible actor but then went through some casting turbulence with the lead actress. After that got sorted, the film, already delayed, finally went on floors at an outdoor location. But then, as the team kept shooting at this location, they ran out of the moolah they were allotted. Now, with no new monies coming in, the team had no finances to pay the on location bills. Things got interesting when the people who were owed the money put the entire team of the film, including the lead actors, on a lock down. They have now taken the belongings of the team from their rooms and kept it hostage till they get their payment cleared. Even more interesting is the fact that our lead actor managed to somehow sneak away from all this drama. Last heard, the makers are struggling to get the payment done before any of this news gets out but they should have known that stuff like this can’t be kept under wraps for too long.

For more trade news please log on to www.boxofficeindia.co.in

21 September 2019

Box Office India

09

INTERVIEW

Lucky

Stroke!

As The Zoya Factor releases, lead pair Sonam Kapoor Ahuja and Dulquer Salmaan talk to Bhakti Mehta on starring in the film adaptation of the bestseller by Anuja Chauhan, luck versus hard work and the energy they must put out in each role they enact Bhakti Mehta (BM): The Zoya Factor is about Zoya who is the lucky charm for the Indian cricket team. You both, as actors, have had successful careers.

How far do you think has luck played a role in your individual journeys?

Dulquer Salmaan (DS): You obviously have to be at the right place at the right time to get the right movies and the right offers. You choosing to do certain things or making certain choices is something which is up to you. Movies having a good release and facing no major competition is luck. I, however, don’t know how to plan these things according to luck. I think it is something that we can only

10

discuss in hindsight.

Sonam Kapoor Ahuja (SKA): I agree with Dulquer on that. I think there’s a bit of serendipity when it comes to anything in your life, be it love, work or even films. As he said, you need to be at the right place at the right time and things happen when they are meant to happen. But at the same time, you need to work towards your goals and if your intentions are right and you are honest about what you are doing, you work hard enough. Things work out if there is a combination of right intentions, hard work and luck.

BM: But you do believe in fate.

SKA: Yes, I do believe in fate. There is a reason we are born where we are born, we come from certain circumstances, we look a certain way, we have certain energy and we have a certain aptitude. There are prodigies who can play the violin at the age of four. I am sure they had to work hard eventually but they had a natural inclination towards it.

BM: Have you both read the book?

SKA: Yes! DS: I read it after I heard the script.

SKA: I read it in 2009.

BM: As actors, what did you absorb

Box Office India

21 September 2019

from the book and what did you plan on leaving out?

DS: I prefer to see it how my director saw it because I have to read it like a film. I felt like maybe in the book, the references were a little older, dating back to 2006 or 2007 or the time when she (Anuja Chauhan) was an advertising executive. Now the cricketers look or dress or are styled a certain way. We have tried to be more current in the film. Those references were in their minds when they were styling me. Generally the discussions that Abhishek (Sharma) and I had were about the character, what he is like, the fact that he is self-made, comes from a humble background, is very principled and hard-working and how he worked his way up. I went with all of that. Everybody has different images in their head when they read a book. I don’t know if I can match all that but I went more with the vision of the director.

SKA: I had read it before and I read it again. I love books and it is very easy for me to read them again and again. When I read the script, I saw that there is a lot of stuff that is not there in the film. As a fan of the book, I was like ‘Oh, this not there and that is not happening!’ Abhishek told me that this is a two-hour long film and I should not expect everything to be in it. But what is great is that Anuja has given her aashirwaad to the film and she was there with us through and through. There are a few things that I incorporated in my character. One is that she is a little overweight. In the film, I was 10 kilograms overweight than what I am right now. None of these people can tell that because they think that I look the same all the time.

DS: How would I know the difference

because Sonam never gains weight on her face.

SKA: That is such a guy thing to say.

He said to me, ‘You look the same!’

(Everyone laughs) DS: Do women like it when you say that you have gained weight? So I hesitatingly asked her if she gained a bit of weight. But honestly, I didn’t think that she gained any weight on her face or arms or legs. So I couldn’t really tell. It’s not like Zoya wore really fitted clothes and so there was no way that I could tell.

SKA: And then I permed my hair because Zoya has curly hair. He called me jhaadu. The relationship with Zorawar (Sikandar Kher) is still relevant. Her crush on Nikhil Khoda is also very apparent. She is an advertising executive who is going through a bad time in her work life. All these things make her who she is.

BM: Were there any differences in your perception when you read the book for the first time vis-à-vis reading it again after hearing the script?

SKA: There is a lot of voiceover in her books. Anuja uses the tool of an inner monologue a lot, be it The Zoya Factor or Battle For Bittora. I was wondering how we will incorporate that in the film. I had a conversation with Abhishek because this device was not there in the script initially. I told him that we can use a piece to camera and we can break the fourth wall and speak to the camera.

DS: So that you could directly talk to the audience.

SKA: Yes, basically that! I told him that we can try breaking out of the scene. It is definitely hard for your co-stars because in the middle of an interaction with them, they freeze and I start talking to the camera. It is also super hard for you as an actor.

BM: It must be like a button that you need to switch on and switch off constantly.

SKA: Yes, absolutely! But it was an exciting tool for me to use and I used the inner monologue through it, which was fun.

Dulquer would feel that the day was wasted.

SKA: Again, true!

DS: (Smiles) I think I am used to doing a lot in a day especially when I am on shoot. I am actually quite lazy when I am not shooting. (Chuckles) But on a film set I feel like if you are just sitting around a lot, it can get quite draining.

It is nice to be on your feet and keep doing something because that energy kind of translates on celluloid. When we were there, we were trying to get a lot done in a day and the budgets are smaller. So say if you have permission to shoot in a building, it will be that expensive and therefore, you have to finish it in a certain number of days. I am used to that.

I remember when I was shooting for Solo, we had a small budget and it was in two languages and most days I was shooting for 18 to 20 hours.

Coming from that to here, when we do not do many scenes in a day, it feels like, ‘What have we done today?

One scene? That’s it!’ (Laughs) It is different for me and I have to get used to that.

SKA: I remember Dulquer was telling this to me that there was this one scene which he was reading and it was like two pages long, so he said that this will take me two days!

DS: (Cuts in) Yes! I was like, guys is this the scene? I can do this before breakfast! (Laughs) But yes, it was also a scene which had a big setup so I guess that is where the difference is too.

BM: Sonam, you have always tried to break the norm with films like Raanjhanaa, Neerja and even Veere Di Wedding. Where does The Zoya Factor fit in your filmography?

SKA: Well, if I had to do a commercial

BM: Dulquer, we recently spoke to Aarrti and Pooja Shetty and they told us that you were so disciplined on set that unless you are exhausted after working for hours you do not feel satisfied…

SKA: (Cuts in) That’s absolutely true.

That’s so right. I thought he was being weird.

(Everybody laughs) BM: And if it was a light day then

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INTERVIEW film, this is the kind of film I would want to. It is quite quirky, which appealed to me. And Dulquer is known to pick films which are strong on content, so he would not choose something that is not content-driven.

The same goes for me. And I wanted to do something fun, very easybreezy. I did not want to get in another intense film like Neerja or Pad Man. Those are my last four-five films. I needed something that would be a clutter-breaker for me. I know the audience is used to me doing films which are completely hatke. But this was more for me. I wanted to work with my friends and I wanted to have fun. But, at the same time, I did not want to cheat the audience from what they expect from me and the kind of cinema they expect from me. But I needed this film for myself.

BM: Since you have that conviction, it will translate onscreen too.

SKA: Yeah! I hope so. Honestly, this film is for girls. You see beautiful looking boys (looks at Dulquer) and then you see a girl whom they kind of..

DS: (Cuts in) They connect with.

SKA: Yes, they connect. It is basically a representation of this girl who is like a huge mess; she is very simple and has a simple family life. She has a crush on the captain of the Indian cricket team. She sees him on television and feels that he is so cute.

She has a job and her boyfriend is not nice. All these things are something that girls are going through right now, especially the urban girls all over India. I just felt like it was fun with a fairytale ending.

DS: Also, it was kind of a satire which is something that I don’t think you have done before. So that could have been a new genre for you to have explored in this film.

SKA: Yeah, maybe. (Smiles)

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BM: Both of you are active on social media..

SKA: Dulquer is not active!

DS: Yes, I am not so active.

BM: But your hashtags are insanely popular.

SKA: Really? What are your hashtags?

DS: So this means that you have never seen my Instagram page. (Laughs) SKA: I have! I look at the pictures that are there with the baby and all.

DS: I like to have fun with my hashtags. But you didn’t finish your question!

BM: My question is, since you are popular names on social media, how does it help bolster your promotions?

SKA: But firstly, Dulquer, why have you not created any hashtags for us?

DS: (Laughs) I don’t know. I was not thinking about it. And it’s not like I am some hashtag inventor. I just like to have my fun with it. I usually just make fun of myself. But you know it’s a nice way to get through to people because firstly, everybody is on social media. A huge percentage of people and anybody with a phone is on social media. Being on that and being active there, saying to people, ‘Hey this movie is coming out!’ is a great thing.

We also have the vlogs that we do as a promotional thing plus the photos that we put up from the interviews, I think it really activates everybody. They are getting curious and we are clearly having fun in the vlogs. They might think that, ‘Oh, these guys are having good fun. Maybe they will be more fun onscreen.’ So I think it helps. It brings a lot of good luck.

BM: An actor recently told me about feeling a sense of takeaway from every character they have played.

What would be your takeaway from this?

SKA: Yes, I guess there is always a

takeaway from each character that you play. You always learn something.

Sir Ian McKellen had recently come to India and he had given a really cool talk where he spoke about how each character that he plays is like going through a sieve. And if there is something going through a sieve, there will always be a little bit that is left behind. In that way each character that I have played, and I can speak for myself here, has left a slight impact on me, some sort of lesson whether it is the film or a specific character or the people that I work with.

DS: I think, yes it happens for sure but it is mostly during the course of that film and then you move on to the next project. I have definitely learnt something or the other from each character. Like I had cricket coaching in this film, which I did as a kid. In my 30s I was getting coached but it was amusing to see younger kids playing cricket in the adjacent pitch and they were playing a hundred times better than I was. Then there were the girls from the Indian women’s cricket team who were just knocking it out of the park and I was like, ‘Wow!’.

SKA: Why were you surprised? Girls are better at everything. (Smiles) DS: I know that but what I am saying is that the girls were so much younger than me and I am just useless. (Laughs) And I was watching one of the girls and I was like, ‘Wow, I cannot even do 10 per cent of that.’ So what I meant is that there is always something you learn, you imbibe or if you are shooting in a new location, you discover something new. And then there are days when you are doing something heavy or dark or intense when it is really difficult for you and you are putting a piece of yourself out there.

When I was shooting for Solo, there was a scene where my wife is pregnant and she dies during delivery. And in reality, my wife was nearing the delivery date of our baby at the same time. So when I was emoting, it really was a part of me. I was being me. I don’t think I needed any glycerin or anything to break down. I would go sit in the vanity in the few hours between scenes being setup and I was just out of it, just zoning out. I remember Bejoy (Nambiar) coming to me and saying that he didn’t realise how close to real life this was for me. It was extremely hard.

But it is amazing when you sort of tap into these emotions that are in you. It is like you are giving up a part of yourself onscreen. And there is also always a takeaway. But I feel like you can look back at all your movies and you can remember what they were but you keep moving forward.

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INTERVIEW

Go Girl!

Amyra Dastur is visibly excited about her latest release, Prassthanam. In conversation with Titas Chowdhury, she talks about the joy of working with stalwarts like Sanjay Dutt, Jackie Shroff and Manisha Koirala, being part of a hard-core commercial film and her upcoming projects In an interview a while ago, you had said that it is tough being an outsider and you had to undergo 30 film auditions before you finally landed Issaq. Almost 10 films later, does all the hard work seem worth it?

It definitely does. It has reached a point where after every new film, I can see a change in people’s attitude towards me. People open up to me more now.

They are calling me in for more auditions and more brand endorsements. It’s a beautiful process because at the end of day, I am somebody who came from the outside. Things are getting better and better. All the struggle and hard work seems worth it. I feel good about it.

(Smiles) What is the benchmark of success for you?

The benchmark of success for me is to be constantly working and that’s exactly what’s happening. At the end of the day, I need to be constantly working and as long as the quality of work is good, I’m happy.

Let us talk about JudgeMentall Hai Kya… Wasn’t it a trippy film?

It was! What drew you to the film and how did you think you would stand out?

The first thing that I heard about the film was that Kangana (Ranaut) ma’am was doing it. I love her. I’ve said this in my interviews before that she’s somebody whom I’ve always been inspired by and whose career graph is something I want to achieve. I auditioned and then I met Prakash (Kovelamudi), our director. He narrated the entire story to me and I fell in love with the idea. In India, we don’t talk about mental illness and we look at it as taboo; we don’t respect people suffering from any mental disorder. These are the kinds of films that I want to do through which we can open the eyes of our society in a certain way. Ultimately

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when you watch the film, you realise that it’s not the person who is suffering who is bad but the people who judge him or her.

You’ve done films irrespective of whether you were the female lead or the parallel lead. How important is screen time for you?

I think that the whole concept of star culture is going down. It’s about scripts, characters and making an impact.

You can create an impact by playing a character. A film like JudgeMentall Hai Kya had a Rajkummar and a Kangana, but people came up to me and told me that I was also good in it. That’s something that makes a big difference.

To be noticed next to two power-packed, amazing performers is a matter of pride.

As long as a part is good and impactful, it doesn’t matter if it’s a second lead or the main lead.

The poster of Prassthanam featuring you introduced you as the truth-seeker. How did your character fit into the narrative?

My character’s name is Shivi. She’s an NRI studying in a university in America.

She has come to India to do a lot of research and write a thesis about politics in India. During the process, she comes across a family. Ali’s (Fazal) family is an important part of the political fabric in Lucknow. Shivi meets him. We’ve got Sanju baba (Sanjay Dutt) playing his father and Jackie (Shroff) sir playing his right hand man. When she sees this world that she hasn’t seen before, she realises that there’s a lot of shady business and corruption going on and eventually she sees people dying around her. She’s trying to find out why the situation is so bad and who’s behind all the killing and the violence. To her, India is her life and it’s beautiful. I’m really excited about the film.

We recently spoke to Ali and he told us that Prassthanam has the feel of old

masala films.

This is my first proper commercial, massy film with all the drama and masala in the right place.

Did you have to change your approach while shooting for this one?

This film is taking all the elements a notch higher. All of us have performed the way that we perform in any other film. None of us has done any overthe-top, loud acting. The same goes for baba, Jackie sir and Manisha (Koirala) ma’am. They have chosen real actors in the sense that Manishaji is not a loud actor; she’s a brilliant subtle actor.

Every character comes with their share of subtleties; it’s just that the story and the situations that these characters face are loud. Like any masala Bollywood movie, we have a romantic song, an item number, a Sufi gaana… That’s what the film is all about.

Tell us about working with Sanjay Dutt.

He looks intimidating but he isn’t.

He isn’t intimidating at all. I’m sure you’ve heard that he is one of the nicest and most honest people you’ll ever meet.

Even if you don’t want to hear the honest things, he’ll just say it. Even Jackie sir is so sweet. He speaks to everyone in the same way. Everyone is his bhidu.

(Laughs) It was amazing working with them. I would keep staring at Manisha ma’am on the set because she’s just so beautiful and her skin glows. She’s a one-take actress. We would be so happy when she would come on set.

We would go, ‘Chalo, we will all go home early because ma’am is going to finish everything in one take.’

What is next for you?

There is Made In China. I’m excited as well as nervous about the film. I’ve got a couple of brands and there is this really big project that we’re going to announce soon.

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INTERVIEW

Every Moment Counts As their very first film, Pal Pal Dil Ke Paas hits theatres, visibly excited actors, Karan Deol and Sahher Bambba talk to Titas Chowdhury about the anxiousness of getting their film out, the taskmaster that director Sunny Deol is and where they want their career to go hereon Titas Chowdhury (TC): When your first film hits the theatres, do all those days of apprehensions and nervousness feel worth it?

Karan Deol (KD): It really does.

Sahher Bambba (SB): Absolutely! After giving two years of our lives and putting in so much effort, and not only by us but the entire crew, it is a great feeling to see that everybody can watch the film now, including our families and friends.

KD: This past week I was just remaining calm until I could see what the outcome was. I was a little uptight about it. So much so, that I even planned to keep my phone off till Friday evening but that didn’t happen.

TC: But the nervousness is understandable.

KD: Along with that there is also anxiousness.

SB: Yeah. Anxiousness and excitement are also part of it because you keep meeting people and hearing good things. So it is good to see such a positive response.

KD: It feels great to see the work and effort that you have put into something

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and when you get that love back, it all feels completely worth it at the end of the day.

TC: Take us back to what you were feeling when you gave the first shot of Pal Pal Dil Ke Paas?

KD: Wow, going back to the first shot.

It was not the best day for me because I had to drive a pick-up truck till a certain mark and I was not getting the shot right. Then I started crying and almost broke down because I thought that maybe I am not cut out for this.

But luckily, after that, the next day was better.

SB: Even I broke down in the beginning.

I am actually playing a Delhi-based blogger in the film and in reality, I am from Shimla. And there was a shot where I had to run. Inherently my lungs are used to running and walking long distances and I was not getting breathless, which was the requirement for the scene; I had to be shown as a Delhi girl who was out of breath after she ran a little. We did not manage to get that shot throughout the morning and when we took a break for lunch, I

called my mother and started crying. It was not easy at all.

TC: What went through your mind when you watched yourself on the big screen for the first time?

KD: It was a dream but what happens is that when you live with a project for so long, when you work on it for so long and then you see it, you lose perspective. You are not the best person to judge. During the dubbing sessions, you see yourself so much and you are voicing the dialogues again and again. It was nice to ourselves up there but it also clouds your judgment. I do not think we will be the best people to judge the film. As actors, you always criticse yourself when you see your own performance. You lose perspective. But I was happy with the whole outcome of the film.

SB: Yes. It was very overwhelming to experience this.

KD: Agreed. When we were watching the film, I felt that each shot had a memory attached to it because there was a story behind it. We shot at different locations, so each location had

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a memory to it. You keep remembering that on this day, at this place, this had happened or that had happened. You form an emotional attachment to each shot.

TC: At the trailer launch, you said that it took you both some time to break the ice.

SB: Yes, around a month or so. But that was because inherently both of us are really similar as people. We both are really reserved. We do not speak unless we are spoken to. And it was not like we did not speak at all but it took us time to form the bond of friendship.

KD: If you put two strangers together and then say talk, it doesn’t happen that organically.

SB: That is what you go through with every friend you make. The process of becoming friends is always gradual.

TC: With just entering the industry and as you said, being reserved people, how are you both dealing with the paparazzi culture?

SB: Actually, to be very honest, I am thoroughly enjoying it. I think as actors, we thrive on love and appreciation and when we get that, you feel blessed.

KD: Yes, as we said before, everything just comes together and it feels worth it, truly blessed.

TC: Sahher, this must be a huge turnaround for you. How did you go from being a Shimla girl to landing this big project for your debut?

SB: (Laughs) When I was in Shimla, I lived a very protected life. It was just about going to school and then back home. In the middle, there was some tuition but not much else. The extra-curricular factor was missing.

And in school itself, I had decided that it is important for me to get out of this place and do something for myself because honestly, there weren’t many opportunities back then. So, I had decided to come to Bombay for my college so that I can get into acting because that was my ultimate goal. Luckily, my parents were really supportive. But then when I came here, that is when the actual struggle began because I didn’t know whom to meet and what to do about it. So I started giving random auditions here and there.

Fortunately, within eight months into college, the auditions of Pal Pal Dil Ke Paas started happening. When I got a call for the audition, I went. After a couple of rounds of auditions, I got a call that I have been chosen for the film.

I remember it was somewhere around February 2017, when I was chosen for Pal Pal Dil Ke Paas.

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TC: Karan, you come from a prestigious film family. You have seen the highs and the lows of both your father and grandfather. Did that prepare you for what is in store?

KD: When you see a career that has been spanned over a lifetime, it prepares you a lot. The high points and the low points have been there and the lows have actually prepared me for the industry. You understand the industry better. When you are at a low point, that is when you need to push yourself as an actor because your mind can be your first enemy.

Once you get into that negative cycle, it is not good for you. You need to look at every day as if it is a new one. One day you might be at the top and the next you will be down and then up again. The topsy-turvy rollercoaster is what this space is about. I have learnt that every day is a new day and whatever happened in the past is fine, you should take criticism with a pinch of salt and always be ready to move on.

TC: And how was your father, Sunny Deol as a director? Is he a hard taskmaster?

(Everybody laughs) SB: He is a hard taskmaster but I have to say he is the sweetest person I have ever met till date. He is so kind. I feel there is a dearth of such good human beings today. He is one person who gives me faith in humanity because he is such a nice and giving person. But on set, yes he was a taskmaster and he was always very focused to get the shots right and he would not settle for anything less.

KD: Yes, he needed to be a taskmaster because he is also the director of the film. Once you come on the big screen. you cannot change your performance. It is out there for the world to see and he knows that. It was important for him to get everything right from the scratch rather than wait for it. He understood us to the point where he knew where to poke us to get the performance he wanted. At that moment, it was quite frustrating but now, looking back at the whole thing, I feel that he knew what he was doing and he helped us to really grow as actors.

TC: You share a rather sweet bond with your grandfather (Dharmendra). Do you have any film memories with him?

KD: I came into the world when more of my dad’s films were releasing. I was not around when my dada’s films were regularly hitting the theatres. Film memories are more with my dad than

my dada but I have different childhood memories with him. Whenever I used to go to meet him, he knew I was fond of Halls candy, so he would always have a handfull of that in his pocket. Whenever we used to play cards or video games with my friends, he used to be in the room sometimes, so I had a different kind of bond with him.

TC: How nervous is your family?

KD: My dada saw the film and he was really proud of me. Then I started crying and he told me that he sees me doing greater things here on. His stamp of approval is the ultimate thing for me, so when he said these things I was really happy about it.

TC: How important it is to get the first film right because it is almost like a litmus test for the rest of your career?

SB: Absolutely! I think, for me, I was very fortunate to have gotten this opportunity because honestly, I could not have asked for a better debut, a better co-actor or a better director to work with because Sunny sir, like Karan said, he really has extracted the best out of us. And even though I am overly critical about my performance, I feel that somewhere there is a sense of satisfaction. I am very happy with the product.

TC: And it must have been fun doing adventure sports in the film.

SB: Yes, it was very interesting but tough.

KD: Yes, it was very tough and physically taxing.

TC: Surely it was scary too.

SB: Oh yes, it definitely was.

KD: But after you do it, the fear goes away. Initially it was scary but then it gave us a sense of accomplishment because if it wasn’t for the film, I do not think that I would ever done such crazy stunts in my life. (Laughs) This movie made me experience a lot in life, which I would not have otherwise.

TC: Is there any strategy or game-plan regarding your career?

SB: For me, I am somebody who cannot plan things much ahead. I am instinctive when it comes to taking decisions, so I am just taking each day as it comes.

KD: I just hope to be accepted and to be offered different type of work.

For my next film, I would like to do something different because it is important for an actor to be on his toes and think outside his comfort zone.

That is the only moment where you will actually grow and your own identity will start coming across.

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WEB SIDE STORY

Home

Delivery Right in the midst of the boom that the digital space is experiencing right now, Srishti Arya, Director for International Original Film – India, Netflix, talks to Bhakti Mehta about the golden age of entertainment, what elements are prioritised while selecting projects and collaborating with Indian production houses. Excerpts:

From actor to producer, how did you get here? How was the journey?

Actually, as an actor it was very unusual because I was always a producer, and even before that there was just one film and that was more to do with luck. At that point, the funny thing is that it was made directly to come on a satellite channel. I guess it was always my destiny to work on a streaming platform.

Netflix is an opportunity that I got very lucky with, it came my way. People keep talking about streaming being the future but I think it is the present.

It’s here, it is now and it is real. It was an opportunity that I simply could not pass off. I love content, I love making movies and here I get to do so many at the same time. I am living my dream.

(Smiles) What is your process of narrowing down projects because surely you must be getting bombarded left, right and centre?

We are very lucky when it comes to India because we have such a rich storytelling history. We are essentially storytellers.

Even our epics and old stories are told to us in such a cinematic manner. That is something which is so inherent in us that we don’t even think of how easily it comes to us. That’s definitely a huge advantage for us in India because we are also a cinema-loving culture. We love watching films. It is everybody’s favourite pastime. We have a film for every mood

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and every occasion- films that you watch with your family, films that you watch by yourself or with your friends. Now these steaming services provide us with the opportunity to watch at will. That has been due to the amazing evolvement of science, data or technology and it’s a boon for any cinema buff. The beauty about Netflix is that we are not judgmental about a viewer’s taste. We want to have something for everybody.

Today you might want to watch something very serious, tomorrow you may want to watch a rom-com. When we are looking at films, we are just looking at a great story told passionately. In an ideal universe, what we really want to be is the first choice, we want to be the home for all talent. If anybody has a story to tell, they should feel empowered to come to Netflix and know that the best possible version of their story will come out. We look for passion, for creative-driven material, how to make it in the best way possible and what format it should be given. If it is something you want to tell for many hours, you can do it as a series; if you want to tell it for many hours and many times, you can show it as a film.

We are not restricting anyone by saying that in a feature film you have to have songs, you don’t have to have songs, you need to be serious, you need to be 90 minutes or you need to be two and a half hours. So it’s an amazing opportunity for filmmakers as well as for all sorts of talents. It’s a golden time for writers and

their empowerment reflects on other talents as well and I think that is the greatest success that we can provide.

Everybody has been saying that the spotlight on writers is more pronounced now because of the digital wave we all are experiencing in our day-to-day lives. How important was it to get them at the forefront?

I just spoke about what is most important for the story that we need to tell. If it is a story that needs charisma and existing star power, we are happy to do it. If we are getting stories, which are breaking out and need new faces because you have moments where you should not have any baggage or any preconceived notion, we are empowered to do that too. There are a lot of advantages of not having to do it at an appointment level. So that’s definitely there for us- that we can tell the story in the best possible way that we are supposed to. But for writers what’s been really important to us was to give them the confidence because there is a lot of unlearning that had to happen. Also, we too feel as Netflix that it is our responsibility to give them a voice. It takes time to be able to find each other. We are very new and we started our film initiative only about three years ago and in India we started even later with Lust Stories. Initially we took off with Lust Stories last year and now going forward we have been very

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fortunate with the trust that our creators have given us by bringing their material to us. They are so open and they are so happy to share things. They don’t feel restricted that we can’t show this on a family platform or we can’t show this because we need more popular faces and stuff like that. Now they can just come and tell their stories. That empowerment has been the driving force, I think.

How big a role does the audience perspective and trends play in choosing the content that you want to show?

There is no formal analysis that we do. If at all we use our data, it’s only to know what is underserved. There might be some things that are not getting captured enough outside which we want to get an opportunity to show people. No two people are the same and when we are talking about this material, we are not restricted to saying, ‘Oh this is a city film and we need to show this only in those 10 cinema halls.’ In our universe we are talking to somebody or the other, so of course, we are mindful of how we want to pitch a project and we know that some people will like it more than others. The opportunity that we get because of Netflix is that if you have likelihood to like something it will come up to you and you will get the chance to see it sitting at home. We are finding more and more that our audience is so open to different kinds of material because they are getting it served right at their homes.

You collaborate with the US team for various projects. What is the association like?

The collaboration is such that we have complete freedom to take all our decisions from here. They trust the local experts and they are very respectful. The kind of investments that we are making in India is indicative of how important this market is to Netflix globally. At the same time, they are more like the place that we can lean on when we need anything. They have experience that we can learn from and at the same time, we are meant to bring in the nuances of the market. So it’s quite a collaborative process. As a company, we all are very transparent and we all have visibility into what everybody is doing. If anybody in the US wants to check anything in India, it is all virtual. There are no secret projects. At the same time if we want to see or study anything like how something like this is received in other parts of the world, we have access to all the information. I would say that it’s

21 September 2019

Box Office India

a wealth of information for us to use how we think best.

In US we have also seen Netflix backed films getting a theatrical release. Is that the future for Indian originals also?

The thing is that of all the hundreds of films that we put out there, there are certain films that would lean into doing something like that. We look at every film as the opportunity arises. As of now there is no particular plan but there is no aversion to it either. What we primarily do and pride ourselves on is to give you the opportunity to see it where and when you want. That will always be a priority. It is about the best ways to get the story out to the right audience.

Kiara Advani in Guilty

You entered the digital space just before the boom in India. What kind of conviction did you have in the digital space that prompted you to shift focus from feature films to this?

I just liked it yaar.

Seems like you saw the future.

(Laughs) No yaar, nobody can see the future. All you can do is do your best. I think it’s the exposure that it gives you.

When one was the creator, the idea was that more and more people get to see it. The advantage that one has is the empathy and the understanding about what goes into actually doing it, what it means to the creator and hopefully one is bringing that clarity to the job now.

What are your thoughts on web censorship?

I am sure you have read about it that there has been a certain self-regulation that we do. We believe in telling the story from the creator’s point of view.

At the end of the day, whatever we do is to stay true to the creative vision of the person who is making it. We are a responsible platform and we would like to make sure that nothing we do is going to be hurtful to anybody. I think we have managed to do a decent job of it.

We know about Ghost Stories and Mrs Serial Killer. What else is there in the pipeline?

There is Guilty. There is a lot more in the pipeline. We are greatly empowered by the US. We have a whole volume and we have announced 22 films so far out of which nine are on the service currently. The rest of them are all coming down the pipeline. You may have heard about Serious Men with Nawazuddin Siddiqui, which is really exciting. It is being directed by Sudhir Mishra and is based on Manu Joseph’s book. We have announced Ballet Boys,Maska with Manisha (Koirala) and Prit Kamani, Bulbul which is produced by Clean Slate Films, Kaali Kuhi which is a film that is really close to our hearts and Freedom with Dibakar (Banerjee). We have got House Arrest coming down the pipeline soon, we have Upstarts coming from the house of Raja Krishna Menon, we are working on Cobalt Blue which is in development right now. So we are trying to cover all the genres to make sure that there is something for everyone and there is something for every mood. Because honestly, one person doesn’t like or do only one thing.

What can you tell us about Bobby Deol’s Class Of ‘83 ?

Class Of ‘83 is a film. It is going to be our first cop film. That’s going to be super fun to watch as well.

You have and are collaborating with many production houses such as Dharma Productions and RSVP. You had Ashi Dua for Lust Stories too.

We have Ashi Dua and RSVP on Ghost Stories as well. It’s a bunch that came together. Our idea is that they have given us something that has been so laughed at by our viewers that we just want more of the same. The idea is to always empower the filmmaker. It’s got nothing to do with wanting to take over. That’s the beauty of the format. We can try different things. There is no set formula. It finds an audience yaar.

For films we have to think about a thousand things before starting a project but here if you find something interesting, you just go for it.

17

Viveck Vaswani

1 3

Shakti Kapoor’s real name is Sunil Sikanderlal Kapoor. True or false?

Answers

4

In which film of Shakti Kapoor was this dialogue ‘Nandu sabka bandhu’?

5 6

7

2

Name the films in which Shakti Kapoor played crime master Gogo/ Nandu/ Batuknath.

Shakti Kapoor acted in a film with a costar called Phonsok.

Name the film and the director.

‘Main ek nanha sa chhota sa pyara sa bachcha hoon’ is a dialogue from which film?

In which film of Shakti Kapoor film was this dialogue, ‘Aaaooo Lalita’?

Shakti Kapoor acted in Sanjay Dutt’s debut film Rocky. True or false?

8

In Satte Pe Satta, Shakti Kapoor and Amitabh Bachchan played brothers. Name the actors who played the other five brothers.

10

9 Shakti Kapoor’s first mega hit was Qurbani. What was his name in the film?

A film starring Naseeruddin Shah and Mithun Chakraborty also starred Shakti Kapoor and his wife.

Name the film and the director.

10. Dev Anand’s Swami Dada 9. Vikram 8. Kanwaljeet Singh, Sachin, Paintal, Sudhir and Vicky Sahu 7. Chaalbaaz 6. The film was Khel Khilari Ka and the director was Arjun Hingorani 5. True 4. True 3. Raja Babu 2. Tohfa 1. Andaz Apna Apna, Raja Babu and Chaalbaaz

TRADE QUIZ

CRIME MASTER GOGO…!

18

Box Office India 21 September 2019

SOUND BOX

Festive Fervour Last year, same time, the song Kamariya from the Jaccky Bhagnani starrer Mitron became a chartbuster. The actor-producer is back with another festive song, Choodiyan under his music label Jjust Music. Bhagnani and the singers of the track, Dev Negi and Asees Kaur talk to Bhavi Gathani about the feel of the song, the growing market for independent music and more Choodiyan has a similar feel to Kamariya, which became a hit last year…

Jackky Bhagnani (JB): Kamariya was one of the most popular tracks last year and we all were very humbled with the response. So, I just thought that every year I could be that guy who comes out with a track which becomes popular during Navratri, Diwali and wedding season. We are hoping that people also like Choodiyan as much as they loved Kamariya or Chogada last year.

Asees Kaur (AK): Actually it’s a very good feeling. Navratri is not very far away and this is the perfect time to release Choodiyan. I can already imagine people dancing to this track.

I just saw the comments on the video, and the way people already love the song, I feel really humbled.

Dev Negi (DN): I am so excited that I am getting a garba song every year. Last year I had Rang tari and this year I have Choodiyan.

Jackky, in the video you are performing with an international dancer Dytto.

Were you nervous at all?

JB: I was nervous. Dytto is an outstanding dancer. We don’t need to say how good she is. It was very difficult for me to keep up with her. I tried my level best. She used to come and ask what she has to do and after watching the step just one time she used to directly perform it. When Mudassar Khan used to show me steps, I was like yeh to tum bahot hi nacha rahe ho. I hadn’t danced for a long time. So it took me around a week to learn the choreography.

Actors have production houses to back

21 September 2019

Box Office India

them. With a label like Jjust Music, do you think new talents have more scope as far as music is concerned?

AK: As you said that actors have production houses, I think this is a very good initiative and Jackky is doing a great job. First of all to search a new talent, then putting trust in them and then releasing their song, this needs courage. People prefer to put money on already popular artistes so that they will get better returns. The kind of scope this new label is providing is amazing.

Also, the way they are producing the videos, we can’t say it is anything less than a film song. It is at par with film music, be it production value or aesthetics, everything is as grand as a film song.

JB: We have two Js in our logo of Jjust Music. When I told them they thought that one J is because of my name. It’s not like that. The ideology behind Jjust Music is that we only want to talk about music so ‘just music’ and the other J is because we would like to give full justice to every person involved in music. This makes Jjust Music. There will be no injustice in Jjust Music. (Laughs) Jackky, you had said that launching the label was a long process for you. What went into it?

JB: Yes, it’s been 18-20 months since we are planning this. We had to sit down and make a whole business plan because this is a complete startup for me and good or bad, this is my baby. I can proudly say that for this, the only thing I took from my dad is his blessings. I had to make a reverse roadmap in the sense that, okay… this is the kind of revenue that will come in the first year and we have to make

these many good quality videos. We explored different ideas of what all we can incorporate in our music videos.

Jjust Music is a startup but since I have worked as an actor and our production house has backed many films, it works as a strength for us to make better music videos and up the game of nonfilm songs.

How do you all look at the market for independent music right now?

JB: I think it is growing big time because now-a-days films do not have as many songs as they used to have earlier. This is the reason there is an open market for non-film music today because as Indians we all are fond of music. It’s a great time for Dev and Asees where they can flourish and they can do more good work fearlessly and add their nuances in the song.

AK: Even I think it’s a very good time for non-film music. There are also other companies like Jjust Music who all are doing a great job on independent music and they give a lot of respect to the artistes. That is the key factor which attracts me to work more for non-film music. In a film, more importance is given to actors, director, producers but in independent music, singers and composers get their due credit. They also get the face value because they are also part of the video. They get maximum recognition thereby bolstering their fan base.

DN: I sing for films but when I have a concept in mind and I want to experiment, I get the freedom to do so with independent music. This doesn’t happen in films where you are already given a situation and you have to only play around it.

19

LIGHTS CAMERA ACTION

Thappad B

The Sky Is Pink T

he VFX of The Sky Is Pink is ongoing at Pixel D Studios. Starring Priyanka Chopra Jonas, Farhan Akhtar, Zaira Wasim and Rohit Saraf, the film is directed by Shonali Bose and produced by Ronnie Screwvala’s RSVP and Siddharth Roy Kapur’s Roy Kapur Films in association with Purple Pebble Pictures and SK Global. The film is all set to release on October 11.

Shubh Mangal Zyada Saavdhan A

yushmann Khurrana has jetted off to Varanasi to begin the shoot of his upcoming film Shubh Mangal Zyada Saavdhan. The film also stars Jitendra Kumar, Gajrao Rao, Neena Gupta, Maanvi Gagroo, Pankhuri Awasthy, Manurishi Chaddha, Sunita Rajwar and Neeraj Singh. Directed by Hitesh Kewalya, the film is produced by Bhushan Kumar’s T-Series and Aanand L Rai’s Colour Yellow Productions. The film is slated to release on March 13, 2020.

Khaali Peeli

hushan Kumar’s T-Series has come on board for Anubhav Sinha’s upcoming film Thappad. The filmmakers have joined hands for a long-term association. The film stars Taapsee Pannu and Pawail Gulati in lead roles. It will also be produced by Sinha’s Benaras Mediaworks. The film will release on March 6, 2020.

Malang A

mruta Khanvilkar has joined the cast of Mohit suri’s Malang. The film stars Aditya Roy Kapur, Disha Patani, Anil Kapoor and Kunal Kemmu. Produced by Bhushan Kumar, Krishan Kumar, Luv Ranjan, Ankur Garg and Jay Shewakramani under the banners of The T-Series, Luv Films and Northern Lights Entertainment, the film is slated to release on February 14, 2020.

Comedy Ka Tadka T

he final schedule of Ribhu Dasgupta’s The Girl On The Train was wrapped in London. The film stars Parineeti Chopra, Aditi Rao Hydari, Avinash Tiwary and Kirti Kulhari. The remake of Dream Works Pictures Hollywood film of the same name is produced by Reliance Entertainment and Amblin Entertainment.

he majority of the shooting of Comedy Ka Tadka was wrapped this week and only two songs remain to be shot for which the prep is ongoing. The film is currently in the editing process at Gaurang Productions.

Produced by Sanjay Y Suntakar, it is made under the SSS Films International - 333 banner and directed by Anees Barudwale.

The film features Dev Sharma, Anupriya Laxmi Katoch, Nishant Tanwar, Aarti Gupta, Kunal Singh Rajput, Harshita Kashyap with Mukesh Khanna, Zarina Wahab, Priyanshu Chatterji, Arjumman Mughal, Tiku Talsania, Rakesh Bedi, Asrani, Vrajesh Hirjee, Gauri Wankhede and Himani Shivpuri in pivotal roles.

Sadak 2

The Big Bull

A

A

I

shaan Khatter and Ananya Panday are shooting for their upcoming Maqbool Khan directorial Khaali Peeli in Mumbai. The film will also see Jaideep Ahlawat playing a pivotal role. Made under the banners of Offside Entertainment, AAZ Films and Zee Studios, the film is produced by Zee Studios, Ali Abbas Zafar and Himanshu Kishan Mehra and will release on June 12, 2020.

The Girl On The Train T

lia Bhatt, Pooja Bhatt and Aditya Roy Kapur are shooting for Mahesh Bhatt’s directorial Sadak 2 in Mumbai. The film also stars Sanjay Dutt in a pivotal role along with Priyanka Bose, Akshay Anand, Jisshu Sengupta, Gulshan Grover and Makarand Deshpande. The film is produced by Vishesh Films and Fox Star Studios and will hit screens on July 10, 2020.

20

bhishek Bachchan has started shooting for his next film, The Big Bull, directed by Kookie Gulati. The film is produced by Ajay Devgn under the banner of Ajay Devgn Ffilms.

Box Office India

21 September 2019

Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

WEEKs COLLECTIONs Theatres 1

18,42,00,000

441

total collections 18,42,00,000

1

3,19,00,000

290

3,19,00,000

2

10,72,00,000

435

28,22,00,000

East punjab Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

CI

Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

Nizam-AP

Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

WEEKs COLLECTIONs Theatres 1

9,26,00,000

285

total collections 9,26,00,000

1

74,00,000

125

74,00,000

2

4,02,00,000

150

11,18,00,000

WEEKs COLLECTIONs Theatres 1

3,20,00,000

140

total collections 3,20,00,000

1

18,00,000

40

18,00,000

2

1,60,00,000

60

4,37,00,000

WEEKs COLLECTIONs Theatres 1

2,67,00,000

148

total collections 2,67,00,000

1

60,00,000

70

60,00,000

2

2,12,00,000

80

6,42,00,000

WEST BENGAL Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

assam

Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

WEEKs COLLECTIONs Theatres 1

2,99,00,000

214

total collections 2,99,00,000

1

46,00,000

45

46,00,000

2

1,46,00,000

65

4,36,00,000

WEEKs COLLECTIONs Theatres 1

64,00,000

80

total collections 64,00,000

1

3,50,000

5

3,50,000

2

46,00,000

47

1,16,00,000

Delhi - UP

Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

CP

Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

Rajasthan Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

mysore

Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

WEEKs COLLECTIONs Theatres 1

20,70,00,000

321

total collections 20,70,00,000

1

2,12,00,000

132

2,12,00,000

2

9,17,00,000

175

25,62,00,000

WEEKs COLLECTIONs Theatres 1

3,28,00,000

214

total collections 3,28,00,000

1

27,00,000

50

27,00,000

2

1,87,00,000

120

4,97,00,000

WEEKs COLLECTIONs Theatres 1

4,10,00,000

134

total collections 4,10,00,000

1

27,00,000

48

27,00,000

2

1,94,00,000

65

5,42,00,000

WEEKs COLLECTIONs Theatres 1

3,77,00,000

76

total collections 3,77,00,000

1

71,00,000

40

71,00,000

2

2,65,00,000

60

6,75,00,000

bihar & jharkhand Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

orissa

Film (Distributor) Dream Girl (Pen Marudhar Entertainment) Section 375 (Panorama Studios) Chhichhore (Fox Star Studios)

WEEKs COLLECTIONs Theatres 1

1,55,00,000

100

total collections 1,55,00,000

1

20,00,000

15

20,00,000

2

97,00,000

45

2,75,00,000

WEEKs COLLECTIONs Theatres 1

1,04,00,000

65

total collections 1,04,00,000

1

10,50,000

10

10,50,000

2

55,00,000

30

1,73,00,000

TNK Film (Distributor)

WEEKs COLLECTIONs Theatres

total collections

Dream Girl (Pen Marudhar Entertainment)

1

58,00,000

60

58,00,000

Section 375 (Panorama Studios)

1

9,00,000

38

9,00,000

Chhichhore (Fox Star Studios)

2

1,12,00,000

30

2,16,00,000

21 September 2019

Box Office India

at your fingertips.

Log on to www.boxofficeindia.co.in

21

BOX OFFICE COLLECTION

MUMBAI

BOX OFFICE COLLECTION

Week

Nett last Week

Shobha Kapoor, Ekta Kapoor

1

72,20,00,000

2278

72,20,00,000

Section 375

Kumar Mangat Pathak, Abhishek Pathak, SCIPL

1

8,97,00,000

908

8,97,00,000

Pehlwaan (Hindi)

Swapna Krishna

1

49,53,140

422

49,53,140

College Ke Din Char

Mukesh K Shah

1

10,000

1

10,000

Chhichhore

Sajid Nadiadwala

2

38,51,00,000

1362

1,04,97,00,000

IT Chapter Two*

Barbara Muschietti, Dan Lin, Roy Lee

2

1,50,00,000

700

12,37,00,000

Saaho (Hindi)

Vamsi-Pramod

3

3,26,00,000

800

1,37,34,00,000

The Angry Birds Movie 2*

John Cohen

4

5,00,000

15

6,70,00,000

Mission Mangal

Cape of Good Films, R Balki, Fox Star Studios

5

1,65,00,000

346

1,91,30,00,000

Batla House

Bhushan Kumar, Krishan Kumar, Divya Khosla Kumar, John Abraham, Monisha Advani, Nikkhil Advani, Madhu Bhojwani, Sandeep Leyzell

5

3,08,968

32

87,08,44,841

Fast & Furious: Hobbs & Shaw*

Dwayne Johnson, Jason Statham, Chris Morgan, Hiram Garcia

7

5,00,000

15

69,92,00,000

JudgeMentall Hai Kya

Shobha Kapoor, Ekta Kapoor, Shaailesh R Singh

8

4,537

1

33,18,97,108

Arjun Patiala

Bhushan Kumar, Krishan Kumar, Dinesh Vijan, Sandeep Leyzell

8

4,317

1

5,97,35,342

The Lion King*

Don Hahn

9

5,00,000

5

1,50,12,00,000

Super 30

Reliance Entertainment, Nadiadwala Grandson Entertainment, Phantom Films

9

50,232

4

1,46,84,70,474

Film

Producer

Dream Girl

Theatres

Total Nett

*Including all formats and dubbed versions

PVR CINEMAX

From September 13 To September 19, 2019

444 screens 693

NO

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

8923 3025 859 5604 828 635

967717 141831 8527 609159 47002 34771

17,94,19,055 2,49,26,634 12,27,975 10,35,77,723 65,03,383 55,18,519

21,19,80,121 2,94,53,379 14,36,955 12,25,84,629 76,21,534 67,39,528

21,19,80,121 2,94,53,379 14,36,955 32,50,28,510 26,70,08,361 52,26,87,921

1 1 1 2 3 5

INOX

From September 13 To September 19, 2019

574 screens

NO

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

8187 2366 588 4937 855 563

774492 84779 6769 489269 48083 26703

12,62,77,908 1,39,96,475 8,54,677 7,68,95,214 62,25,013 40,43,502

15,31,48,583 1,70,84,814 10,59,249 9,38,46,171 77,77,982 51,58,956

15,31,48,583 1,70,84,814 10,59,249 24,25,46,276 24,92,88,447 44,11,98,316

1 1 1 2 3 5

From September 13 To September 19, 2019

405 screens

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

22

(Collection from 139 stations)

SHOWS

CARNIVAL CINEMAS NO

(Collection from 149 stations)

SHOWS

(Collection from 154 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

5204 1225 495 3287 608 223

424894 38177 5490 284780 27153 11979

6,24,01,896 50,72,313 6,35,543 4,03,53,813 32,63,083 15,07,485

7,61,92,590 62,40,945 7,83,069 4,93,54,500 41,03,458 17,86,190

7,61,92,590 62,40,945 7,83,069 12,97,16,269 15,20,80,941 21,11,03,355

1 1 1 2 3 5

Box Office India

21 September 2019

From September 13 To September 19, 2019

Cinepolis 311 screens

NO

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

3964 1133 289 2408 334 233

427412 47914 3604 250291 21649 12658

7,57,56,003 80,80,574 5,83,733 4,10,35,114 32,78,642 20,40,744

8,92,19,278 95,11,908 6,86,432 4,83,04,969 38,58,124 23,56,209

8,92,19,278 95,11,908 6,86,432 13,60,07,197 12,66,78,036 20,50,21,864

1 1 1 2 3 5

From September 13 To September 19, 2019

SRS CINEMAS 62 screens

NO

(Collection from 56 stations)

fILMS

SHOWS

AUDIENCE

NETT

GROSS

(Collection from 22 stations)

GROSS TOTAL

WEEK

1

DREAM GIRL

902

82780

1,12,63,040

1,35,57,766

1,35,57,766

1

2

SECTION 375

204

4835

6,12,318

7,40,446

7,40,446

1

3

PEHLWAAN (HINDI)

122

641

78,185

93,930

93,930

1

4

CHHICHHORE

598

49898

67,11,150

80,55,731

2,23,13,588

2

5

SAAHO (HINDI)

126

5365

6,30,801

7,63,313

2,91,10,482

3

From September 13 To September 19, 2019

WAVE INC. 35 screens

NO

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

633 202 112 420 73 49

92167 7502 1344 47291 5298 2205

1,53,90,719 12,15,202 2,01,479 76,77,425 8,10,554 3,65,513

1,88,23,380 14,93,305 2,48,855 94,01,695 9,91,680 4,49,395

1,88,23,380 14,93,305 2,48,855 2,51,46,540 3,34,93,015 3,74,90,905

1 1 1 2 3 5

From September 13 To September 19, 2019

Mukta a2 44 screens

NO

fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

792 308 97 481 27

51291 8166 604 37414 753

64,86,084 9,81,486 64,082 47,01,019 94,999

-

64,86,084 9,81,486 64,082 1,24,87,821 1,39,14,401

1 1 1 2 3

From September 13 To September 19, 2019

30 screens

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

417 154 69 319 91 96

44625 6589 942 37144 3398 7205

64,76,417 8,96,427 1,18,758 54,65,989 3,77,375 9,67,786

80,23,659 11,15,080 1,48,420 67,59,735 4,68,832 11,14,257

80,23,659 11,15,080 1,48,420 1,56,72,158 1,53,75,199 1,89,80,061

1 1 1 2 3 5

From September 13 To September 19, 2019

57 screens

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

21 September 2019

Box Office India

(Collection from 10 stations)

SHOWS

MOVIE TIME NO

(Collection from 17 stations)

SHOWS

City pride NO

(Collection from 10 stations)

SHOWS

(Collectionfrom from189 stations) (Collection

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

1122 325 135 671 78 36

77428 7256 1239 44845 3032 1595

1,06,39,440 9,68,044 1,58,626 60,88,151 3,98,896 1,97,224

1,29,09,614 11,82,524 1,88,542 74,08,873 4,86,074 2,28,864

1,29,09,614 11,82,524 1,88,542 2,03,43,605 2,31,12,175 3,01,97,147

1 1 1 2 3 5

23

BOX OFFICE COLLECTION

miraj

From September 13 To September 19, 2019

99 screens

NO

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

1852 452 209 1114 90 36

163191 9886 1553 94212 2440 990

1,92,23,353 11,71,563 1,64,019 1,08,92,913 2,53,544 94,832

2,34,71,380 14,55,401 2,07,978 1,33,46,014 3,19,710 1,26,474

2,34,71,380 14,55,401 2,07,978 3,67,63,992 4,52,46,100 5,82,26,855

1 1 1 2 3 5

RAJHANS

From September 13 To September 19, 2019

28 screens

NO

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

544 88 3 439 133 2

34815 2097 43 40798 6175 242

39,27,195 2,24,443 4,117 43,96,224 5,90,171 10,473

52,75,346 3,05,030 5,880 60,62,854 8,45,730 17,780

52,75,346 3,05,030 5,880 1,26,27,233 2,32,42,026 2,32,76,730

1 1 1 2 3 5

From September 13 To September 19, 2019

18 screens

fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

AUDIENCE

NETT

GROSS

GROSS TOTAL

151 21 62 92 7

5459 107 112 3007 226

7,22,615 12,299 13,439 3,84,289 33,669

8,50,315 14,400 15,785 4,52,460 39,730

8,50,315 14,400 15,785 5,93,910 -

1

WEEK 1 1 1 2 3

From September 13 To September 19, 2019

56 screens

fILMS

(Collection from 5 stations)

SHOWS

gold Cinema NO

(Collection from 9 stations)

SHOWS

Q Cinema NO

(Collection from 36 stations)

(Collection from 31 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

DREAM GIRL

820

46637

62,15,034

75,61,074

75,61,074

2

SECTION 375

109

3253

3,87,844

4,92,612

4,92,612

1

3

PEHLWAAN (HINDI)

36

449

57,893

72,220

72,220

1

1

4

CHHICHHORE

369

21323

28,50,545

34,97,880

1,16,90,932

2

5

SAAHO (HINDI)

32

1139

1,37,786

1,76,940

2,13,94,382

3

priya entertainments

From September 13 To September 19, 2019

11 screens

NO

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

AUDIENCE

NETT

GROSS

GROSS TOTAL

143 56 21 70 21 5

9434 1453 159 4527 774 29

10,82,753 1,65,174 17,928 5,00,345 83,193 2,584

13,23,005 2,00,891 22,010 6,13,932 1,01,280 3,170

13,23,005 2,00,891 22,010 21,61,382 31,86,168 38,41,758

E-square fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE MISSION MANGAL

24

WEEK 1 1 1 2 3 5

From September 13 To September 19, 2019

47 screens

NO

(Collection from 9 stations)

SHOWS

(Collection from 16 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

462 162 14 272 28

27076 4022 235 19829 1566

28,08,127 4,23,957 21,040 21,26,439 1,57,629

34,89,513 5,24,305 25,244 26,66,798 1,89,270

34,89,513 5,24,305 25,244 71,47,301 84,12,486

Box Office India

WEEK 1 1 1 2 5

21 September 2019

Cinemas

NO

fILMS

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

From September 13 To September 19, 2019

maxus cinema 19 screens

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

249 56 34 180 43 21

20318 1613 490 13226 1258 527

31,36,931 2,59,352 62,031 19,99,242 1,96,104 1,01,469

39,14,348 3,22,507 78,048 24,96,028 2,45,279 1,16,078

39,14,348 3,22,507 78,048 63,20,510 80,83,288 1,47,52,449

1 1 1 2 3 5

suncity

From September 13 To September 19, 2019

14 screens

NO

fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

AUDIENCE

NETT

GROSS

GROSS TOTAL

86 4 9 43 7

9401 182 194 3299 376

12,06,845 26,659 23,671 4,10,657 49,634

14,24,016 31,457 27,930 4,84,574 58,567

14,24,016 31,457 27,930 22,13,147 59,36,661

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

SHOWS

AUDIENCE

NETT

GROSS

84 21 21 56 14

8649 653 367 5978 1054

13,08,707 1,07,881 50,536 9,21,650 1,53,849

15,40,435 1,27,170 59,225 10,84,895 1,80,135

26 screens

fILMS

1 2 3 4

DREAM GIRL SECTION 375 CHHICHHORE MISSION MANGAL

1 2 3 4 5

DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI) MISSION MANGAL

GROSS

GROSS TOTAL

232 36 134 16

7118 556 4932 489

9,02,342 94,876 6,08,673 63,009

11,46,938 1,21,872 7,73,382 79,238

11,46,938 1,21,872 16,15,294 39,72,187

1 2 3 4

DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI)

21 September 2019

Box Office India

1 1 1 2 3

WEEK 1 1 2 5

From September 13 To September 19, 2019

(Collection from 5 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

279 64 166 56 26

13356 1598 10840 2179 1098

16,64,634 1,94,057 12,61,090 2,41,413 1,31,634

22,59,899 2,68,240 17,05,835 3,37,840 1,82,780

22,59,899 2,68,240 43,71,307 79,48,738 1,03,90,867

1 1 2 3 5

From September 13 To September 19, 2019

9 screens

fILMS

WEEK

(Collection from 11 stations)

NETT

wide angle NO

GROSS TOTAL 15,40,435 1,27,170 59,225 38,68,380 81,03,170

AUDIENCE

19 screens

fILMS

(Collection from 3 stations)

SHOWS

CITY GOLD NO

1 1 1 2 3

From September 13 To September 19, 2019

k sera sera NO

WEEK

From September 13 To September 19, 2019

6 screens

fILMS

(Collection from 6 stations)

SHOWS

IP CINEMAS NO

(Collection from 4 stations)

(Collection from 2 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

42 13 35 7

1666 262 2316 307

2,28,035 32,677 3,09,330 43,067

2,70,070 38,820 3,65,600 51,025

2,70,070 38,820 7,68,315 20,11,066

WEEK 1 1 2 3

25

BOX OFFICE COLLECTION

star world

From September 13 To September 19, 2019

16 screens

NO

fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

13726 901 441 6285 537

18,47,831 1,21,484 50,854 8,21,827 66,030

-

18,47,831 1,21,484 50,854 25,45,207 61,61,298

M2K CINEMAS fILMS

1 2 3 4

DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI)

AUDIENCE

NETT

GROSS

GROSS TOTAL

91 42 63 7

20331 1900 9046 440

36,41,378 3,26,239 15,65,346 76,849

42,93,868 3,84,275 18,45,849 90,571

42,93,868 3,84,275 54,06,409 -

1 2 3 4

DREAM GIRL CHHICHHORE SAAHO (HINDI) MISSION MANGAL

1 2 3 4

DREAM GIRL CHHICHHORE SAAHO (HINDI) MISSION MANGAL

NETT

GROSS

GROSS TOTAL

35 35 14 6

1717 2483 480 182

1,73,105 2,49,666 39,239 14,132

2,24,220 3,23,180 49,860 17,102

2,24,220 7,11,560 10,34,670 12,15,563

1 2 3

DREAM GIRL SECTION 375 SAAHO (HINDI)

AUDIENCE

NETT

GROSS

GROSS TOTAL

151 146 46 20

5991 7746 2407 594

4,94,336 6,25,128 1,84,446 48,374

7,24,000 9,18,380 2,73,360 71,240

7,24,000 19,08,311 26,30,507 39,67,708

1 2 3 4 5 6

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI) MISSION MANGAL

AUDIENCE

NETT

GROSS

GROSS TOTAL

75 14 7

15680 707 331

21,16,305 90,605 41,970

24,95,075 1,06,630 49,525

24,95,075 1,06,630 27,02,410

1 2 3 4

DREAM GIRL PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

26

1 1 3

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

53 24 5 14 7 7

2439 716 73 996 516 264

3,84,640 84,946 8,661 1,20,029 61,218 31,321

4,78,310 1,07,400 10,950 1,51,600 77,400 39,600

4,78,310 1,07,400 10,950 8,14,020 21,10,370 14,77,000

WEEK 1 1 1 2 3 5

From September 13 To September 19, 2019

14 screens fILMS

WEEK

From September 13 To September 19, 2019

REDROCKS NO

1 2 3 5

(Collection from 2 stations)

SHOWS

7 screens

fILMS

WEEK

From September 13 To September 19, 2019

SSR RUPASI NO

1 2 3 5

(Collection from 1 stations)

SHOWS

4 screens

fILMS

WEEK

From September 13 To September 19, 2019

piccadily square NO

(Collection from 1 stations)

AUDIENCE

7 screens fILMS

1 1 2 3

SHOWS

cinemarc NO

WEEK

From September 13 To September 19, 2019

3 screens

fILMS

1 1 1 2 3

(Collection from 2 stations)

SHOWS

FORTUNE CINEPLEX NO

WEEK

From September 13 To September 19, 2019

5 screens

NO

(Collection from 5 stations)

(Collection from 6 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

168 18 42 14

6733 220 1284 153

8,05,771 26,059 1,59,407 14,449

9,50,810 30,750 1,88,100 17,050

9,50,810 30,750 5,78,300 24,86,220

Box Office India

WEEK 1 1 2 3

21 September 2019

Vinay

From September 13 To September 19, 2019

3 screens

NO

fILMS

1 2 3 4

DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

42 21 26 7

1158 315 935 240

1,27,463 32,900 94,900 20,801

1,53,040 39,658 1,13,940 25,055

1,53,040 39,658 3,01,327 13,10,753

London Paris fILMS

1 2 3

DREAM GIRL SECTION 375 CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

28 21 21

1286 359 960

2,42,428 61,691 1,70,321

2,92,422 74,630 2,05,974

2,92,422 74,630 6,21,874

fILMS DREAM GIRL

AUDIENCE

NETT

GROSS

GROSS TOTAL

28

13523

17,84,457

20,81,830

20,81,830

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

16,34,773 51,342 5,408 6,01,147 12,975

-

16,34,773 51,342 5,408 24,68,065 29,78,619

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

Rolling OMReels NO

fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

7,87,001 71,295 23,312 4,41,451 1,51,062

-

7,87,001 71,295 23,312 12,80,024 27,94,336

Rolling Reels

1 2 3 4

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE

21 September 2019

Box Office India

WEEK 1 1 1 2 3

From September 13 To September 19, 2019

3 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

7,08,158 22,611 3,695 4,33,718 23,390

-

7,08,158 22,611 3,695 10,23,032 15,68,611

WEEK 1 1 1 2 3

From September 13 To September 19, 2019

2 screens

fILMS

1 1 1 2 3

(Collection from 1 stations)

SHOWS

mOVIE lOUNGE NO

WEEK

From September 13 To September 19, 2019

2 screens

fILMS

1

(Collection from 1 stations)

SHOWS

bmg Cinema NO

WEEK

From September 13 To September 19, 2019

3 screens

fILMS

1 1 2

(Collection from 1 stations)

SHOWS

sarv NO

WEEK

From September 13 To September 19, 2019

1 screens

1

1 1 2 3

(Collection from 1 station)

SHOWS

Raj Mandir NO

WEEK

From September 13 To September 19, 2019

2 screens

NO

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

-

-

3,44,858 54,851 1,356 1,51,661

-

(Collection from 1 stations)

GROSS TOTAL 3,44,858 54,851 1,356 4,67,975

WEEK 1 1 1 2

27

BOX OFFICE COLLECTION

M4U OM NO

fILMS

1 2 3 4

DREAM GIRL PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

M4U

From September 13 To September 19, 2019

2 screens

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

1,83,194 11,088 57,587 83,863

-

1,83,194 11,088 -

MAXX fILMS

1 2 3 4

DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI)

1 1 2 3

(Collection from 2 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

4,33,113 9,912 2,25,439 19,440

-

4,33,113 9,912 8,20,776 10,09,041

ELITE fILMS

WEEK 1 1 2 3

From September 13 To September 19, 2019

3 screens

NO

WEEK

From September 13 To September 19, 2019

5 screens NO

(Collection from 1 stations)

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

1

DREAM GIRL

-

-

9,47,960

-

9,47,960

1

2

SECTION 375

-

-

75,302

-

75,302

1

3

PEHLWAAN (HINDI)

-

-

14,068

-

14,068

1

4

CHHICHHORE

-

-

5,19,841

-

13,16,330

2

movie world

From September 13 To September 19, 2019

8 screens

NO

fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

1,97,251 13,625 3,303 92,840 10,174

-

1,97,251 13,625 3,303 -

3 screens

fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

28

(Collection from 1 stations)

AUDIENCE

NETT

GROSS

GROSS TOTAL

35 17 1 28 10

681 291 23 894 312

73,293 34,376 2,344 95,391 32,029

1,02,740 47,690 3,310 1,34,230 45310

1,02,740 47,690 3,310 2,89,620 -

WEEK 1 1 1 2 3

From September 13 To September 19, 2019

5 screens

fILMS

1 1 1 2 3

SHOWS

cosmoplex NO

WEEK

From September 13 To September 19, 2019

cine park NO

(Collection from 3 stations)

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

70 14 28 28 21

1262 302 207 2005 2669

1,88,863 39,872 31,681 2,81,333 3,91,851

2,54,410 54,600 42,560 3,82,100 529050

2,54,410 54,600 42,560 7,63,890 -

Box Office India

WEEK 1 1 1 2 3

21 September 2019

From September 13 To September 19, 2019

Seven Sky Multiplex 4 screens NO

fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

om NO

fILMS

1 2 3

DREAM GIRL PEHLWAAN (HINDI) CHHICHHORE

OM Ragini NO

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

35 21 9 19 21

1160 120 139 1403 875

1,99,068 24,025 24,089 2,35,487 1,49,385

2,63,858 31,350 31,900 3,12,950 198108

2,63,858 31,350 31,900 6,82,164 -

om

WEEK 1 1 1 2 3

From September 13 To September 19, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

31 13 18

833 84 609

1,13,381 10,150 91,118

-

1,13,381 10,150 1,88,885

Ragini

WEEK 1 1 2

From September 13 To September 19, 2019

2 screens

fILMS

(Collection from 1 stations)

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

1

DREAM GIRL

23

1326

1,26,987

1,83,000

1,83,000

1

2

PEHLWAAN (HINDI)

28

37

3,291

4,810

4,810

1

3

CHHICHHORE

19

1103

1,07,043

1,53,890

3,75,670

2

OM NO

From September 13 To September 19, 2019

Maharaja 2 screens

fILMS

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

1

DREAM GIRL

28

-

27,187

-

27,187

1

2

PEHLWAAN (HINDI)

28

-

3,241

-

3,241

1

VELVET OM NO

fILMS

1 2

CHHICHHORE SAAHO (HINDI)

OM NO

fILMS

1 2 3 4 5

DREAM GIRL SECTION 375 PEHLWAAN (HINDI) CHHICHHORE SAAHO (HINDI)

From September 13 To September 19, 2019

VELVET

2 screens

AUDIENCE

NETT

GROSS

GROSS TOTAL

23 21

-

24,828 25,514

-

71,103 -

13 screens

fILMS DREAM GIRL

21 September 2019

Box Office India

2 3

(Collection from 8 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

213 21 17 113 33

7347 244 182 4252 1011

7,32,449 28,760 17,769 4,36,847 90,187

8,85,618 34,820 21,570 5,30,290 1,08,810

8,85,618 34,820 21,570 16,67,952 50,57,918

WEEK 1 1 1 2 3

From September 13 To September 19, 2019

4 screens

1

WEEK

From September 13 To September 19, 2019

svf

OPERA NO

(Collection from 1 stations)

SHOWS

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

28

1606

26,852

30,514

30,514

WEEK 1

29

BOX OFFICE COLLECTION

Dream Girl - daywise collection Dream Girl

1st Day

2nd Day

3rd Day

4th Day

5th Day

6th Day

7th Day

1st Week

Mumbai

2,54,00,000

4,74,00,000

5,17,00,000

1,61,00,000

1,60,00,000

1,43,00,000

1,33,00,000

18,42,00,000

Delhi-UP

2,92,00,000

4,37,00,000

4,33,00,000

2,50,00,000

2,50,00,000

2,11,00,000

1,97,00,000

20,70,00,000

East Punjab

1,33,00,000

2,08,00,000

2,32,00,000

97,00,000

94,00,000

85,00,000

77,00,000

9,26,00,000

CP

41,00,000

64,00,000

87,00,000

35,00,000

34,00,000

36,00,000

31,00,000

3,28,00,000

CI

38,00,000

62,00,000

81,00,000

37,00,000

38,00,000

35,00,000

29,00,000

3,20,00,000

Rajasthan

57,00,000

86,00,000

1,10,00,000

42,00,000

41,00,000

40,00,000

34,00,000

4,10,00,000

Nizam

41,00,000

62,00,000

69,00,000

26,00,000

26,00,000

23,00,000

20,00,000

2,67,00,000

Mysore

55,00,000

1,00,00,000

1,00,00,000

34,00,000

34,00,000

24,00,000

30,00,000

3,77,00,000

West Bengal

36,00,000

68,00,000

82,00,000

27,00,000

26,00,000

38,00,000

22,00,000

2,99,00,000

Bihar-Jharkhand

20,00,000

30,00,000

39,00,000

13,00,000

17,00,000

19,00,000

17,00,000

1,55,00,000

Assam

13,00,000

12,00,000

16,00,000

5,00,000

5,00,000

9,00,000

4,00,000

64,00,000

Orissa

15,00,000

24,00,000

30,00,000

10,00,000

10,00,000

8,00,000

7,00,000

1,04,00,000

TNK

10,00,000

15,00,000

14,00,000

6,00,000

5,00,000

4,00,000

4,00,000

58,00,000

Total

10,05,00,000

16,42,00,000

18,10,00,000

7,43,00,000

7,40,00,000

6,75,00,000

6,05,00,000

72,20,00,000

Section 375 - daywise collection Section 375

1st Day

2nd Day

3rd Day

4th Day

5th Day

6th Day

7th Day

1st Week

Mumbai

41,00,000

95,00,000

95,00,000

23,00,000

23,00,000

22,00,000

20,00,000

3,19,00,000

Delhi-UP

30,00,000

60,00,000

62,00,000

15,00,000

15,00,000

15,00,000

15,00,000

2,12,00,000

East Punjab

9,00,000

20,00,000

21,00,000

6,00,000

6,00,000

6,00,000

6,00,000

74,00,000

CP

3,00,000

6,00,000

6,00,000

3,00,000

3,00,000

3,00,000

3,00,000

27,00,000

CI

2,00,000

4,00,000

4,00,000

2,00,000

2,00,000

2,00,000

2,00,000

18,00,000

Rajasthan

3,00,000

6,00,000

6,00,000

3,00,000

3,00,000

3,00,000

3,00,000

27,00,000

Nizam

8,00,000

16,00,000

16,00,000

5,00,000

5,00,000

5,00,000

5,00,000

60,00,000

Mysore

9,00,000

20,00,000

20,00,000

6,00,000

6,00,000

5,00,000

5,00,000

71,00,000

West Bengal

6,00,000

12,00,000

12,00,000

4,00,000

4,00,000

4,00,000

4,00,000

46,00,000

Bihar-Jharkhand

2,00,000

4,00,000

4,00,000

1,00,000

3,00,000

3,00,000

3,00,000

20,00,000

Assam

50,000

50,000

50,000

50,000

50,000

50,000

50,000

3,50,000

Orissa

1,50,000

2,50,000

2,50,000

1,00,000

1,00,000

1,00,000

1,00,000

10,50,000

TNK

1,00,000

3,00,000

3,00,000

50,000

50,000

50,000

50,000

9,00,000

Total

1,16,00,000

2,49,00,000

2,52,00,000

70,00,000

72,00,000

70,00,000

68,00,000

8,97,00,000

30

Box Office India

21 September 2019

Chhichhore

1st Week

8th Day

9th Day

10th Day

11th Day

12th Day

13th Day

14th Day

2nd Week

Grand Total

Mumbai

17,50,00,000

1,54,00,000

2,60,00,000

2,91,00,000

1,00,00,000

1,00,00,000

85,00,000

82,00,000

10,72,00,000

28,22,00,000

Delhi-UP

16,45,00,000

1,30,00,000

2,07,00,000

2,32,00,000

95,00,000

95,00,000

80,00,000

78,00,000

9,17,00,000

25,62,00,000

East Punjab

7,16,00,000

58,00,000

1,01,00,000

1,13,00,000

37,00,000

35,00,000

30,00,000

28,00,000

4,02,00,000

11,18,00,000

CP

3,10,00,000

24,00,000

42,00,000

47,00,000

20,00,000

19,00,000

18,00,000

17,00,000

1,87,00,000

4,97,00,000

CI

2,77,00,000

20,00,000

35,00,000

40,00,000

17,00,000

17,00,000

16,00,000

15,00,000

1,60,00,000

4,37,00,000

Rajasthan

3,48,00,000

25,00,000

43,00,000

48,00,000

21,00,000

20,00,000

19,00,000

18,00,000

1,94,00,000

5,42,00,000

Nizam

4,30,00,000

26,00,000

45,00,000

50,00,000

26,00,000

26,00,000

20,00,000

19,00,000

2,12,00,000

6,42,00,000

Mysore

4,10,00,000

32,00,000

56,00,000

73,00,000

27,00,000

27,00,000

25,00,000

25,00,000

2,65,00,000

6,75,00,000

West Bengal

2,90,00,000

20,00,000

35,00,000

39,00,000

15,00,000

14,00,000

12,00,000

11,00,000

1,46,00,000

4,36,00,000

Bihar-Jharkhand

1,78,00,000

11,00,000

19,00,000

22,00,000

11,00,000

15,00,000

10,00,000

9,00,000

97,00,000

2,75,00,000

Assam

70,00,000

6,00,000

10,00,000

12,00,000

5,00,000

5,00,000

4,00,000

4,00,000

46,00,000

1,16,00,000

Orissa

1,18,00,000

8,00,000

10,00,000

13,00,000

7,00,000

7,00,000

5,00,000

5,00,000

55,00,000

1,73,00,000

TNK

1,04,00,000

14,00,000

24,00,000

28,00,000

14,00,000

12,00,000

10,00,000

10,00,000

1,12,00,000

2,16,00,000

Total

66,46,00,000

5,28,00,000

8,87,00,000

10,08,00,000

3,88,00,000

3,85,00,000

3,34,00,000

3,21,00,000

38,51,00,000

1,04,97,00,000

PUBLIC NOTICE Notice is hereby given to the public in general and film trade in particular that one of Our Client is in the process of acquiring the Hindi language remake rights (“Hindi Remake Rights”) of the Kannada language film titled “KAVALUDAARI” featuring Ananth Nagr, Rishi, Suman Ranganathan, Achyuth Kumar, Roshini Prakash & others and directed by Hemanth Rao and released on 12th April 2019 (hereinafter referred to as the “Original Film”) from the producer of the Original Film.

Our Client has instructed us to state that, upon acquisition of the aforesaid Hindi Remake Rights, Our Client shall have the sole and exclusive right to make / produce, either independently or jointly or indirectly under the banner of any third party, the Hindi language remake film (“Hindi Remake Film”) pursuant to the exercise of the Hindi Remake Rights of the Original Film and shall solely be entitled to exploit such Hindi Remake Film and the derivative works, dubbed and subtitled versions of the Hindi Remake Film in any and all languages of the Territory; on all modes, medium and formats (whether existing now and arising in future) throughout the Universe in perpetuity.

ANY person, firm and/or company having any claim, of whatsoever nature, against or in relation to the said Original Film and/or the said Hindi Remake Rights by way of assignment, pledge, gift, mortgage, charge, sale, litigation, and/or transfer of any kind or in any manner whatsoever are hereby required to make the same known in writing along with documentary proof and evidence of the aforesaid claim at the address mentioned herein below, within 15 (fifteen) days from the date of publication hereof, otherwise the acquisition will be completed without any reference to such claim and the same, if any will be considered as waived for which we shall not be liable or responsible, which may please be noted. Claims without any documentary proof (certified true copies) shall not be entertained. Any claims and/or objection received after the expiry of the stipulated 15 (fifteen) days or claims without documentary proof or evidence shall not be entertained (“Defective Claims”).

All such Defective Claims shall be deemed to be invalid and/or deemed to have been unconditionally renounced/waived by such claimants and Our Client shall not be responsible for any such claims.

Place: Mumbai From: Date: 21st September 2019 Naik Naik & Company 116-B Mittal Tower, B Wing, 11th Floor, Nariman Point, Mumbai 400021 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 LLP. or their affiliates shall not be liable for any damages whatsoever arising from use of the information contained in the magazine or the website.

21 September 2019

Box Office India

31

PUBLIC NOTICE

Chhichhore - daywise collection

COMSCORE Box office Charts

WEEKEND TOP 20 India - PROVISIONAL REPORT Rank Title

Language

Dist

Wk

Polled Locs

Polled Screens

Weekend Gross Rs

Weekend Net Rs

Avg/Loc Gross Rs

Avg/Loc Net Rs

Flash Cume Gross Rs

Flash Cume Net Rs

1

Dream Girl

Hindi

BLJMP

1

256

578

30,11,11,434

26,13,01,841

10,60,252

9,20,077

30,11,40,034

26,13,26,079

2

Chhichhore

Hindi

FOXSTAR

2

434

756

27,51,69,962

23,54,11,535

5,98,196

5,11,764

71,32,72,094

60,75,04,367

3

Gang Leader

Telugu

MYTHRI

1

60

106

3,47,28,435

2,95,54,945

4,82,339

4,10,485

3,47,28,435

2,95,54,945

4

Section 375

Hindi

PNMST

1

210

271

3,44,04,162

3,00,51,152

1,38,169

1,20,687

3,44,73,262

3,01,09,713

5

Pehlwaan

Kannada

ZMP

1

163

188

2,50,64,891

2,56,77,623

86,134

88,239

3,25,63,100

3,20,35,773

6

Saaho

Telugu

UVC

3

161

175

1,58,14,860

1,43,69,449

78,291

71,136

60,23,43,559

52,13,48,440

7

It: Chapter Two

English

WBI

2

159

179

1,47,67,696

1,27,58,645

85,859

74,178

8,90,49,834

7,82,31,669

8

Mission Mangal

Hindi

FOXSTAR

5

155

180

1,43,67,719

1,22,72,440

83,050

70,939

1,23,34,23,586

1,04,25,13,442

9

Ready Or Not

English

FOXSTAR

1

111

135

48,37,672

40,37,300

29,319

24,468

48,37,672

40,37,300

10

Love Action Drama

Malayalam

INDP

2

12

16

36,54,933

31,20,915

2,81,149

2,40,070

1,16,89,012

98,36,866

11

Surkhi Bindi

Punjabi

ZMP

3

21

30

30,10,543

25,73,375

1,36,843

1,16,972

2,35,73,644

2,02,53,746

12

Sivappu Manjal Pachai

Tamil

ABSHKF

2

7

11

27,92,168

22,05,444

3,98,881

3,15,063

60,85,249

48,41,380

13

Kanchanjangha

Assamese

INDP

2

6

7

19,74,675

16,75,334

2,82,096

2,39,333

63,07,304

53,53,373

14

Ittymaani: Made in China

Malayalam

ASHVD

2

7

9

18,88,965

15,47,302

2,09,885

1,71,922

1,01,00,770

84,84,826

15

Comali

Tamil

VELS

5

10

12

18,45,156

14,74,405

1,84,516

1,47,440

3,81,95,974

3,11,97,353

16

The Angry Birds Movie 2

English

SPE

4

22

23

16,90,266

14,38,729

60,367

51,383

6,89,32,276

5,68,06,134

17

Maga Muni

Tamil

STDGRN

2

6

10

16,22,378

12,85,299

2,70,396

2,14,217

63,67,837

51,44,506

18

Girgit

Tulu

INDP

4

3

4

10,96,276

9,32,035

3,65,425

3,10,678

70,55,332

60,00,473

19

The Lion King

English

UTVDIS

9

10

11

7,09,296

5,76,788

44,331

36,049

1,07,98,95,768

90,76,00,640

20

Finals

Malayalam

INDP

2

3

5

6,95,533

5,72,881

2,31,844

1,90,960

15,14,074

12,45,355

1816

2706

74,12,47,020

64,28,37,436

4,30,55,48,816

3,66,34,26,380

Date : 13 - 19 September Note: INOX data is partial.

Data from 28 reporting Cinema Chains & Select Independent Cinemas only.

32

Box Office India

21 September 2019

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