28 September 2019
Vol. 11
India’s Premier Film Trade Magazine
Spies Route
As Bard Of Blood hits Netflix, the team behind the series tell us more about the making of the espionage drama Page 08
Emraan Hashmi & Ribhu Dasgupta, Director
Page 12
Jaideep Ahlawat, Kirti Kulhari, Sobhita Dhulipala & Viineet Kumar
Page 14
Gaurav Verma, Red Chillies Entertainment & Monica Shergill, Netflix
Issue 04
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Volume 11 • Issue 04 • 28 September 2019 EDITOR Vajir Singh vajir@boxofficeindia.co.in ASSOCIATE EDITOR Shikha Saroj Gupta
The Bard Of Blood, the book has a certain authenticity and an entertainment quotient at the same time. It does break away from a lot of stereotypes in this geo-political scenario but what really struck me about the book is that the world there is authentic and real. When we adapted it into a mini-series, that authenticity was retained.
shikha@boxofficeindia.co.in 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
Siddharth Roy Kapur If we can work very closely with places that our movies enjoy going and shooting and have traditionally shown we have a large bulk of our foreign shoots happening; if we can sign treaties with those places which incentivise our producers to go there, it would be great service to the entire production fraternity.
Bhavi Gathani bhavi@boxofficeindia.co.in Video Content Head Anita Britto
Monica Shergill
anita@boxofficeindia.co.in SENIOR DESIGNER Rohit Patil rohit@boxofficeindia.co.in PHOTOGRAPHERS Yogen Shah
We have, in India particularly, 1.3 billion people with such varied and diverse tastes. We are looking at this huge and diverse audience. So, what Netflix slate is attempting to do or what we are attempting to do through our shows, series and films, is to cater to everyone in the widest manner possible.
Rohit Patil Mahendra Kumar Gajbhare
Ad Sales & SUBSCRIPTIONS Alekhika Tripathy
Gaurav Verma
Tel: 91-99 67589847 alekhika@selectmedia.in subscriptions@boxofficeindia.co.in Vaibhav Adivarekar vaibhav@boxofficeindia.co.in Mob: 91-9769396866
We want to tell Indian stories and I think that’s what Netflix is also looking at. Every possible thing should be as rooted as possible and if the story is good then it will have traction. Now we are in a world where everyone reads subtitles. So content is now language agnostic.
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28 September 2019 Box Office India
Shah Rukh Khan is such a genuine person and whatever he says, he does so from the bottom of his heart. As a filmmaker, you want producers like him who can back your vision. It was lovely having him as a producer and working with him. We generally don’t get producers like him in India.
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QUOTE UNQUOTE
Emraan Hashmi
India’s Premier Film Trade Magazine
Next ATTRACTION
October 2019 - December 2020 Oct 02, 2019
WAR
Oct 11, 2019 The Sky Is Pink Loot Case Oct 18, 2019 Laal Kaptaan Jacqueline I Am Coming Pa Se Pyaar Fa Se Faraar Yaaram Ghost Junction Varanasi Oct 25, 2019
Housefull 4
Diwali 2019
Saand Ki Aankh
Made In China
Nov 01, 2019
Bypass Road
Nov 08, 2019
Marjaavaan
war
Marjaavaan
Dabangg 3
made in china
saand ki aankh
Bhoot: Part 1 - The Haunted Ship
Shikara Nov 14, 2019
Jhalki
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
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 -
The Haunted Ship Summer 2020 Brahmastra Anurag Kashyap- Taapsee Pannu’s next
Shakuntala Devi
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
July 31, 2020
Shamshera
Bhool Bhulaiyaa 2
Aug 14, 2020
Bhuj: The Pride Of
India
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
Shubh Mangal Zyada
Saavdhan
Satyameva Jayate 2
Diwali 2020
Dhaakad
Prithviraj Christmas 2020 Ranbir Kapoor-Ajay
Krrish 4
Mar 20, 2020
Angrezi Medium
Lal Singh Chaddha
Mar 27, 2020
Sooryavanshi
Bachchan Pandey
04
the sky is pink
Box Office India
28 September 2019
Oct 2, 2019 Gumnaami (Ben) Mitin Mashi (Ben) Password (Ben) Satyanweshi Byomkesh (Ben) Sye Raa Narasimha Reddy (Tel) Pujo, 2019 Kakababur Protyaborton (Ben) Shororipu 2: Jotugrihu (Ben) 100 Percent Kadhal Oct 4, 2019 (Tam) Adhyaratri (Mal) Asuran (Tam) SangaThamizhan (Tam) Dusshera 2019 Raju Gari Gadhi 3 (Tel) Oct 11, 2019 Aappa Ani Bappa (Mar) Man Udhaan Vara (Mar) Sataracha Salman (Mar) Oct 18, 2019 Dandam (Mar) Romcom (Mar) 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 Copy (Mar) Ghye Double (Mar) Khari Biscuit (Mar) Phangrun (Mar) Nov 8, 2019 Adithya Varma (Tam) Moothon (Mal) Stand Up (Mal) Vikun Tak (Mar) Nov 15, 2019 Fatteshikast (Mar) Underworld (Mal) Nov 21, 2019 Mamangam (Mal) Nov 29, 2019 Basta (Mar) Girlz (Mar) Dec 6, 2019 Aruna (Mar) K Sera Sera (Mar) Vicky Velingkar (Mar) Dec 13, 2019 Kesari (Mar) Mee Maratha (Mar) Dec 20, 2019 Hero (Tam) Christmas 2019 Big Brother (Mal) Hobu Chandra Raja Gobu Chandra Mantri (Ben) My Santa (Mal)
gumnaami (ben)
mitin mashi (ben)
password (ben)
sye raa narasimha reddy (tel)
satyanweshi byomkesh (ben)
sangathamizhan (tam)
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)
Dhurala (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 (Tam)
Summer 2020 Rang De (Tel) May 1, 2020
Jaago Mohan Pyare
(Mar) Jul 30, 2020
RRR (Tel, Tam, Mal)
asuran (tam)
Mar: Marathi, Mal: Malayalam, Ben: Bengali, Tam: Tamil, Tel: Telugu, Kan: Kannada
28 September 2019
Box Office India
05
Desi ATTRACTION
october 2019 - july 2020
TRADE TRAC
Netizens Predict Lifetime Collections Twitter Poll
21%
WAR 6%
66%
Instagram Poll
7%
29%
WAR
160 cr –170 cr
160 cr –170 cr
170 cr – 180 cr
170 cr – 180 cr
180 cr – 200 cr
180 cr – 200 cr
Above 200 cr
Above 200 cr
29%
21%
21%
20% The Sky Is Pink 50 cr – 65 cr 65 cr – 75 cr 75 cr – 85 cr
33% 9%
27%
The Sky Is Pink 50 cr – 65 cr
63%
65 cr – 75 cr
8% 10%
30%
75 cr – 85 cr Above 85 cr
Above 85 cr
All figures in crores (rupees)
Dynamic Trade Estimate of Box Office Exhibitors
250
Distributors
250
Bookies
200 225
150
175
100 50
60 40
0 WAR - October 2, 2019
06
50
The Sky Is Pink - October 11, 2019
Box Office India 28 September 2019
TRADE GUP
Seal The Deal? L
ast week, we told you that Kiara Advani has her kitty full with some big banner films. The pretty actress has reportedly been signed by Ronnie Screwvala’s RSVP banner for a film. We have an interesting update about the project. We hear that the makers are also in talks with Aditya Seal for the project. If it happens, then this film will mark the second collaboration between Advani and Seal. Apart from this film, the duo is all set to star in Indoo Ki Jawani. While details on the RSVP project is still kept under wraps, watch this space for more information on the film.
Meanwhile… S ometime back, we told you that Bhushan Kumar’s T-Series has come aboard to produce Indoo Ki Jawani with Emmay Entertainment. It is already known that the film will see Kiara Advani playing the titular character of Indoo, a feisty girl whose left and right swipes with a dating app results in some hilarious chaos. And now we have another interesting scoop on the film. A little birdie tells us that the coming-of-age film will be about what happens over one night. The first schedule of the film is all set to roll out in October in Ghaziabad. Though this is quite a challenge on the part of the makers, it will be interesting to see what hilarity will unfold in one night.
AK On A Roll
E
mmay Entertainment has a slew of films as part of their upcoming lineup. Apart from their many collaborations in the near future, which includes their next release, Marjaavaan, they have another project with an A-list actor. According to sources, they have approached Arjun Kapoor for one of their projects. Reportedly, Kapoor has given his nod to the film. It is not known if Nikkhil Advani will direct the film or not. Other details about the film are still being kept under wraps.
Superhero On Track
H
rithik Roshan starrer Krrish is one of the most popular franchises in Bollywood. According to many, it is India’s answer to the West’s superhero film franchises. The fourth instalment of Krrish was about to go on floors this year. But a source revealed to us that the shoot for the film has been pushed due to Rakesh Roshan’s health. Now that the filmmaker is recovering, the film will start rolling next year in all probability. The rest of the cast is yet to be announced and Krrish 4 will hit the screens in Christmas 2020. Let us wait and watch what the Roshans bring to the table this time!
For more trade news please log on to www.boxofficeindia.co.in
28 September 2019
Box Office India
07
INTERVIEW
Spies Route rd Of Blood, Emraan Lead actor of Netflix Original series Ba in conversation with Hashmi and director Ribhu Dasgupta of espionage, the Titas Chowdhury on creating a world and the joy of working duality in the protagonist’s character with Shah Rukh Khan
08
Box Office India
28 September 2019
We recently watched Bard Of Blood and it smells of gore and gunpowder. Emraan Hashmi (EH): Wow! That’s a nice way of putting it. There’s a lot of gore and gunpowder but there’s more of gunpowder in the show.
authenticity was retained. We are showing spies and antagonists in the show with their vulnerabilities and not just with their strengths. There is a conflict-ridden state and there are these agents who are dealing with the ghosts of their own past.
Emraan, it’s quite serendipitous that you launched Bilal Siddiqi’s The Bard Of Blood about four years ago. Was there any discussion about a screen adaptation of the book back then? EH: No. But there was a journalist in the press conference back then who asked me about it. That year there were a lot of book-to-film adaptations. She asked, ‘What if The Bard Of Blood was adapted into a film?’ This was back in 2015. I said to her, ‘Yeah, I would love to do it.’ Four years post that, the book got adapted not for a film, but for a Netflix Original series, which is even better. I say better because we are not truncating or editing out a lot of things that are there in the book. We have a seven-part series which is almost five hours long. A lot of things have been added to the series to enhance it which makes it even better and now we can take it to 190 countries and 150 million subscribers. The world audience can watch it, it is just not limited to our subcontinent. When I read the book back then, I felt that it had the scope of going that far and wide. So I am very happy with this.
The book humanises these agents and spies. EH: Yes! It is about the human story more than just action. It keeps viewers at the edge of the seat. You don’t know what is going to happen next. The book had a nail-biting finish. But it is even more nail-biting in the series. The book was great but here, you have to engage and hook the audience in every episode. Every episode ending has to be like a great interval point in a film so that you can bring your viewers back. This is very important and they have done it so effectively with every episode in the season.
Ribhu, I am sure you have read the book. As a filmmaker, what did you absorb from the book as part of your homework? Ribhu Dasgupta (RD): The book was written a few years back. The exercise of adapting it into a series started a year and a half back or maybe a little over that. When you adapt a novel to a series or a film, you have to go through an exercise. Mayank Tewari led the writer’s room along with Bilal and they did a great job. A lot of additions and subtractions were done all for the good, to fit the format because we wanted to make a seven-episode series. To achieve that, a few changes were required only to make it more enticing and exciting. The best part is that we spent a lot of time doing that because series writing is key when you are making a format like this. The whole process was organic and it required a lot of time. By giving that much of time, we did justice to it. The book has a lot of material but when we actually went to shoot, we had all the groundwork ready.
I think that is the most challenging part of making a series because there needs to be a cliffhanger at the end of every episode. RD: Yeah, absolutely. A cliffhanger is important because that will bring the audience back for the next episode. Series writing is a different ball game. Hence, you need a lot of time and it is great that we actually invested that time before we began filming. Emraan, you play Kabir Anand, an expelled spy who is now a school teacher teaching Shakespeare. That is quite a wide arc. Was it a challenging part to play? EH: First of all, I was a terrible Shakespeare student in school. So that made my character slightly tougher. (Chuckles) I didn’t really love Shakespeare in school; it was something that I had to do and so I did it and passed decently. Coming to Kabir’s character in the book and the mini-series, the duality of it had me sold. It is like a dream come true for any actor to play a spy who is also a Shakespeare teacher. What a mixed bag! They are like two opposite ends of the spectrum.
So hence the title ‘Bard Of Blood’! EH: Yes! You find Kabir at a time in his life when he is dealing with these problems and he is an average Joe at the same time. He comes from a middle-class home, drives his middle-class car and teaches Shakespeare. At one point, you think that he is dangerous, he is a killer, he is a spy, he is a hostage rescue specialist and he is a legend in the agency. You may wonder how all of this fits in? You discover him by peeling away his layers when you go on a mission with him. The guy in the first frame vis-à-vis the last are like two different people and two alternative lives. But he had to catch on to this because he lost his job on the battlefield because he was wronged in his last assignment. But he goes back to redeem himself. Ribhu, you have recreated Baluchistan and its provinces, Quetta and Kech in parts of Rajasthan. Can you take us briefly through the recce process? RD: We have recreated some bits in Rajasthan, but most bits have been recreated in Leh and Ladakh. Like I told you, we had spent a lot of time during the pre-production. When the writing process was on, we all wanted to find the right locations. Recreating Baluchistan, Pakistan or Afghanistan is not easy. Since we wanted to make a show of international scale and standard, we had to find the same terrain. So we did a lot of recce and location-scouting. Finally the terrain in Leh and Ladakh appealed to us and we settled with that. We went there in mid-October to shoot but it is a dangerous time. Even the locals vacate the area. But we had to shoot because that is how the schedule was. When you watch the series, you will see that those locations are unexplored and untouched. The idea was to create Baluchistan and Afghanistan to their closest reality with the help of the production designer, the cinematographer and the costume designer. I was lucky to have a great team with me with a wonderful set of
Emraan, do you want to add something from the perspective of an actor? EH: The book has a certain authenticity and an entertainment quotient at the same time. It does break away from a lot of stereotypes in this geo-political scenario but what really struck me about the book is that the world there is authentic and real. When we adapted it into a mini-series, that
28 September 2019
Box Office India
09
INTERVIEW
It is about the human story more than just action. It keeps viewers at the edge of the seat. You don’t know what is going to happen next. The book had a nailbiting finish. But it is even more nail-biting in the series – Emraan Hashmi
actors. It was tough but we are very happy with the end result. How was it having Shah Rukh Khan backing you as producer? RD: The best part about him is that he gave us a lot of time during the writing process. After filming when we came back and put the edit together, he spent some quality time with us. He spent four to five hours over each episode after I edited them during the post-production. He diligently came with note pads. He saw the episodes, jotted down points and discussed them with us. The best thing about Mr Khan is that with so much of experience behind him, he never imposes his decisions on anyone. He always says, ‘This is what I think. But you have lived the show more than anyone else and so the final call is yours.’ He is such a genuine person and whatever he says, he does so from the bottom of his heart. So you end up understanding his perspective and cues. As a filmmaker, you want producers like him who can back your vision. It was lovely having him as a producer and working with him. We generally don’t get producers like him in India.
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EH: My interaction with him did not happen during the shoot because he was busy shooting for his film at that point of time. I know that he was really involved during the writing process. The reason why one of the characters was added to the show was because of him. He added the track of Jannat (Kirti Kulhari) in the series and it was not there in the book. He said that when my character goes back to Baluchistan, it will be interesting to have a romantic link. During the edit stage, we went to show him the first four episodes which were in rough edit and these things generally happen at night because he works at night. I, on the other hand, am a morning person; I generally doze off at 11:30 pm. The conversation that happened that night and just the way he was, kept me up till 5 o’clock in the morning. We were sitting and chatting in his house. I was blown away by his memory. He watches an episode and he remembers the sequence of events, what you were wearing and what dialogues you have said. He is so sharp. When we were watching the episodes and if I felt like a beat was not going right in a particular scene, he actually spelt it out
and explained the reason behind it. That gave us valuable information on how we can tweak it and it was at a stage where we required to tweak it as we were a long way from home. Tell us about the promotional video that you did with him. EH: The small skit of about four minutes that I did with him is a memory that I will cherish for the rest of my life. (Laughs) I had to put a bag on Shah Rukh Khan’s face. I was feeling so bad and guilty! I have grown up watching his films. He has had a huge impact on me as an actor and a person. I have seen him since I was in school. It was not like a slow burn with Bard Of Blood where I knew that I share a script with him and I knew that I would shoot with him after a definite period of time. After two days into the shoot, I was told that I have to shoot a sequence with Shah Rukh Khan. I was sitting across a table and I was getting interrogated by him. One part of me was telling me that this is wrong as I was calling him a dhakkan and a dabba. I thought I was going to hell for this. (Laughs) But the other part of me was saying that I will be professional. And a part of my brain wanted to take his autograph. (Smiles)
Box Office India
28 September 2019
TRADE QUIZ
THE SONAM FACTOR Viveck Vaswani
1 3
4
In which film has Sonam Kapoor worked with Amitabh Bachchan and Abhishek Bachchan?
5
6
Sonam Kapoor did a film with Ayushmann Khurrana. What was her name in that film?
For which film has Sonam Kapoor won a National Award? In which category did she win it?
In which film starring Sonam Kapoor did Jim Sarbh make his debut?
Sonam Kapoor assisted Sanjay Leela Bhansali on which film?
7 What is the title of the music video that Sonam Kapoor did with Hrithik Roshan?
8
Name Sonam’s cousin brother who acted in a film called Raag Desh.
Who played Pandit Jawaharlal Nehru in Bhaag Milkha Bhaag, Sonam’s first 100 cr starrer?
Dalip Tahil Mohit Marwah. He is her aunt’s son
8.
Answers
9.
9
2
In which film has Sonam Kapoor worked with Vidya Balan?
7. Dheere Dheere 6. The film was Neerja and it was a National Award special mention 5. The film was Bewakoofiyan and her character was called Mayera Sehgal 4. Black 3. Rakyesh Om Prakash Mehra’s Delhi 6 2. Neerja 1. Anees Bazmee’s Thank You 28 September 2019
Box Office India
11
INTERVIEW
Agents Of Change Co-stars of Bard Of Blood, Jaideep Ahlawat, Kirti Kulhari, Sobhita Dhulipala, and Viineet Kumar talk to Titas Chowdhury about preparing for their characters, the book that the show is based on and the backing of Netflix and Red Chillies for the series Titas Chowdhury (TC): Bard Of Blood started streaming this week. What was your headspace leading up to that? Kirti Kulhari (KK): Well, there were promotions. And we are tired now. Jaideep Ahlawat (JA): They were going on and on and on. KK: Now the show has come out and we just want everyone to go and watch it. TC: We watched a few episodes and the one thing we can say is that it is difficult to press the pause button while watching the show. KK: That’s so nice to hear. TC: How did you all grasp the body language, the diction and other aspects because it must have been a huge task considering all of you play spies? JA: Bas kabhi ghamand nahi kiya. (Everyone laughs)
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KK: Aaj bhi nahi karte. But it felt like the language just came out like that due to the cold weather there. (Laughs) Something emerged in that cold weather of Ladakh, that I am sure of. JA: Viineet mukkabaaz maar ke nikal gayi. And then everything was fine, we just grasped all body language. (Smiles) Viineet Kumar (VK): The thing is that the character of Veer that I play, he is a survivor who is in Afghanistan. And he has to do that while keeping his identity hidden. For that survival, it was very important for him to learn the language that was used there. His introduction is also in that same scenario itself. Plus, there are a lot of languages spoken in India and Veer actually hails from Punjab and that is why when he talks to his own people, that Punjabi-ness comes out in his voice. To get that right, there were diction teachers for us. That is the kind
of preparation that all actors do and I have also done the same. Then there was training for everything else that we did. Our characters are commandos and spies, so we all trained for it with guns. It is the kind of preparation that everyone has to do especially when we, actors, have chosen to do something different, something out of our comfort zone. Sobhita Dhulipala (SD): Yes, there is a physical aspect of the character that I play. And because we are RAW agents, we have obviously been through a bunch of training modules in the course of us being hired for the show and the prep that went with it. So, there was not really a chance where we could get our body language wrong. There was a lot of difference in the way you would react. If there was one person coming in versus if there were two or three, whether you are opening a door from the left or the right,
Box Office India
28 September 2019
we had to have these things in mind already. And it was done so because if there was a situation where we had to improvise on set, we know how to do that. We cannot just go about it in an amateur way because otherwise it would just be a disservice to the protocol. We had the physical training, the action training and like it was previously mentioned, how to use a gun and all of that. I actually really enjoyed it. TC: I remember that the last time we met, you said it was a lot of fun because you got to use machine guns. SD: (Smiles) Yes, there was a rusted AK-47. TC: Jaideep, you play a Pakistani spy in the film. When you play a character like that, how challenging is it to keep your personal biases aside? JA: It is not a very difficult job to do. It is like when children play the game of chor-sipahi. They know that ghar pe jaake toh dono ko hi laat padni hai. One person is the chor and the other is the sipahi. And then some time later there will be a role reversal. The show doesn’t have one person essaying the same role. There are a lot of developments. You only have to understand that basic difference. And we already have the material that the writer has written for us, we have those reference points, so one can just concentrate on that. And it is not like one doesn’t know about Pakistan or ISI. We keep hearing about them, about things happening every other day, we read it in the papers. We already know about these things. One just has to channelise it when playing such characters. And as far as the secret service agents go, they are all the same because they all have to do their jobs. When they are out of the country on missions, they have to just finish their given tasks. That is something that is common for all whether it is Veer or Kabir (Emraan Hashmi) or the others. TC: Have you all read the book? SD: No, I wasn’t allowed to. KK: Book? What book? (Smiles) JA: I think Viineet is the only one who has read it. TC: Have you read it, Viineet? KK: Yes! He’s the biggest padhaaku on set. He keeps reading all the time. When we would tell him to come eat food, he would say that he was studying. If we would tell him to come to the gym, he would say the same thing. (Everybody laughs) VK: It is not that only I have read it but lots of people have. Everybody is learned here. But the others were banned from reading it.
28 September 2019
Box Office India
SD: But I was banned from reading it. KK: And we just came to know why. TC: Why so? SD: I was told that it was because the script was an evolved version of the book. KK: And I did not read it because my character, Jannat, is not there in the book. JA: The reason that I did not read it was because I thought kyun padhna hai bina baat ke faltu ki baatein? (Laughs) What I mean is that when you have the script in hand, that is what you have to follow. Book brings in subplots. There is no Jannat in the book. Now since the kind of chemistry Jannat has with Shehzad, since they live together, how will we be able to build that relationship if I follow the book? I anyway have to come back to the script. That will be extra work and I will get confused between two subplots. For example, if you are supposed to play a short portion of Ramayana… KK: Then why to read the whole Ramayana? (Laughs) JA: No, I am just saying that if you have to do one particular portion of Ramayana, then you will concentrate on that portion only na. You know the whole story anyway. But finally you are going to talk about just that portion and remember only those dialogues. It is not necessary that you will have to start from Dashrath. There is no need to do donkey’s labour. Always opt for smart work. VK: Every actor has his own way. We are aware of thousands of things but as actors we should know what to use and when. It’s not necessary that if I am dealing with certain things, I won’t bother to know about other things. When I was preparing for Mukkabaaz, I got to know about a lot of other angles from some other sports person. If I would not have gone to that field, I would not be aware of that area. Same happened with GOLD when I interacted with other hockey players. I wanted to tell a story of a sportsman, a boxer who does not have any control over himself. He gives his father a piece of his mind and he even beats his coach. But there are also a lot of things which are happening with other sportsmen, which I got to know when I interacted with them. What I feel is, one should be open to everything and take whatever they can. Later it is the director’s call what to include. A script anyway gives you the line. TC: Yes there was the script, but when you read the book, what all things did you absorb? VK: See, the script has come out of a book. Even though you read a book, until and unless you don’t go on the set, you stay detached. It is possible that from
a book I am getting to know few things from Shehzad or Kabir’s point of view. My character, Veer, stays in Afghanistan. He is able to survive there because he is familiar with the surroundings. So I wanted to know what is happening in every character’s life. Because somewhere isko ye pata hoga that in what situation my family is surviving. I am dealing in Afghanistan, so my character must know these things. It’s a different thing how many scenes do I have with Jannat. But a person who is an undercover agent in a country, then whatever he already knows about that country will be useful to him; otherwise it’s a different thing what lines am I given. My knowledge will help me prepare myself. TC: You guys shot a lot on outdoor locations. Parts of Rajasthan were recreated as Baluchistan. Was the shooting for outdoor locations challenging? KK: We started with Ladakh, which was the first schedule and the toughest schedule, because in October the temperatures go anywhere between 0 to -10 or -12 degree Celsius. The weather conditions were quite tough; plus the fact that there was lack of oxygen at that altitude. It was physically more challenging for the whole crew. Especially, when actors have to be in front of the camera, you can’t just warm up yourself. You have to run and act, and they have a lot of action sequences, so Ladakh was super tough. It’s amazing that no one had fallen sick or no one was injured. Then for few days we shot in Mumbai and later we went to Rajasthan. The weather was very hot there. See, you can’t avoid the weather conditions. It is definitely going to affect you. We have to do what we are supposed to no matter what. I always give examples about how amazing it is to see the undying spirit of whole unit no matter what happens; everyone is doing their job passionately just for that one shot, to make it better. That spirit, that energy, is something that helps us to go through every situation. TC: When you have two big names like Red Chillies Entertainment and Netflix backing you, how reassuring is that? KK: Personally, I feel it is very reassuring because Netflix is an international platform and it has really proven itself over the years. There is of course Red Chillies that comes with its own reputation. You also want your work to reach maximum people and when big names like these are backing you, there is an assurance that your project will see the light of the day in the right way. SD: We agree with her.
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INTERVIEW
Bloody Tale With Netflix’s Bard Of Blood launched on the streaming platform this week, producer of the show, Gaurav Verma, CRO, Red Chillies Entertainment, and Monica Shergill, Director, International Originals, Netflix, talk to Bhakti Mehta about the book-to-screen adaptation, writing digital series being an entirely different ballgame from films and the collaborative process between the two organisations How did the journey of Bard Of Blood start? When did Bilal Siddiqi’s book come in to the picture? Gaurav Verma (GV): Bilal’s book came out in 2015 and at that time, series in India were not so prevalent and if I am not mistaken, Netflix came to India in 2017. At that time it gave creators a window where they could probably tell stories other than films. The Internet gives you an opportunity where you can probably do much more with stories. That’s how we wanted to tell our story and Bilal works with us in Red Chillies in
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various capacities. That’s how everything happened at home, we kept it in the family. When did Netflix come into the picture and what was the potential in the story that you all saw? Monica Shergill (MS): That’s not a fair question for me to answer. I just joined two months ago. GV: I’ll answer that. Our relationship started with Netflix on the licensing side and that has been growing from then continuously. Then we wanted to do
something in collaboration with Netflix, in fact Netflix came up with this idea and we also wanted to do something. Also, Netflix was probably the only choice that we had. MS: Also, what I can just add to that is that when the book was pitched, Shah Rukh (Khan) and Reed (Hastings) announced it together so there was a lot of excitement around the book and the material they presented. From then on, it’s been a very wonderful journey creating this show with them. When you see it, you will realise what a labour of love it is.
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It is very important to find the right kind of collaboration with these kinds of series, especially since this is the first that Red Chillies is doing. How did you all ideate to get it done in the episodic format? GV: We have learnt a lot about the series. As I said earlier, it’s a pretty new thing. As an industry we are still learning how to script series, basically where all the seven or eight or nine episodes are released for audience at the same time to maintain the right hook. We are still learning this. For us, Netflix played a crucial part in terms of making talent available to us. We had Ethan (Reiff) and Cyrus (Voris), who created Sleeper Cell and Kung Fu Panda, coming in and working in the writer’s room and helping us understand the basics of writing. See, everyone understands that part but it was just to see it in terms of how it works from a series point of view. For us, it works really well with Netflix because they can collaborate and they have been at it for such a long period of time. They have access to such great talent. It works both ways. We understand the Indian market and they understand how this business works. For us it’s been like going back to school and learning from Netflix. How was the collaboration on the casting front? GV: When you work with a partner, it’s not about who has a say or who doesn’t have a say. You are trying to collaborate and work on ideas which work for both parties. Of course there is a casting process, which I think Netflix has defined, yes, everyone has to go through the casting. But at the same time we all understand the characters really well. The fun part of writing a series is that here you can establish the character more than you can in films. So while you are writing also, based on what people have done in past or based on the potential that they have, sometimes you can surprise people. It’s an exhaustive kind of process but both partners have an equal say on this one. It’s more of an absolute collaboration. You had said that Nexflix looks into Indian as well as foreign sensibilities. A show with an Indian sensibility, how do you pitch it to the global audience? MS: Actually, a series particularly is such an immersive world that you create that the more authentic it is to the country where the story originates from or the world that characters are in, more light it is to travel across the world. That story in its milieu, in its space, closely mirrors the taste and smell and feel of where it belongs. For example, Money Heist,
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which is titled La Casa De Papel in Spanish, has moved like that. Kingdom From Korea is another example of the same. Those stories are so authentically from their own world. Same goes for Bard Of Blood. It is so authentic to an Indian Intelligence Agency, the spy space, how it works and it is true to its DNA. GV: I would like to correct myself, not Indian sensibilities but Indian storytelling. We want to tell Indian stories and I think that’s what they are also looking at. Every possible thing should be as rooted as possible and if the story is good then it will have traction. Now we are in a world where everyone reads subtitles. So content is now language agnostic. MS: And also particularly for Bard because it’s a spy thriller, an action packed genre and we know how films of this genre are watched by audiences across. So in that sense, by its very nature and its genre, it has more global appeal as a subject. Speaking of global appeal, first of all congratulations on the International Emmy nominations. How far does it help to get the right push in India and also, what about the international acknowledgement? MS: The Netflix audience has loved those shows and they have watched them so there will be a matter of pride more than validation. We are making world class content and it is getting noticed. So pride is a more powerful emotion for us. Is there any basic criterion that you have while choosing a project for Netflix Original? MS: Actually, criterion is a slightly limiting word, I feel. We have, in India particularly, 1.3 billion people with such varied and diverse tastes. We see that every 500 miles ahead that we go, there is a change in our cuisine, our culture, our language and our films. Basically, our TV, cinema tastes, everything changes. We are looking at this huge and diverse audience. So, what Netflix slate is attempting to do or what we are attempting to do through our shows, series and films, is to cater to everyone in the widest manner possible. And does RCE have any elements they look into especially when they are selecting stories for the digital space? GV: I think the idea is to tell good stories. It doesn’t matter if it is long format or short format. If you have a story and if you see that you can hold the interest of the audience in a longer format then you go for that. If you think that a certain
story needs to be told in a shorter format then you opt for that. It is defined by stories. Also, I want to add something to the question on the Emmys. I think for creators, what matters more is the reach than the validation. On a theatrical point of view, Mr Khan (Shah Rukh Khan) is probably one of the widest followed stars in the world. But with a movie, at best we can go to 70 countries. After that I have to paddle the film all across through this festival and that festival. In this case, with Netflix, I have an access to about 190 odd countries. If my film, my series has any value then consumers will watch it. What else do you want? You want reach and you want the viewers to see it, nothing else. I also think we are language agnostic now. We are also country agnostic. Most of the foreign language series, we don’t even know where they originate from unless someone goes online and starts doing research on it. Like the show Spy which has come on Netflix, I don’t know where it is from, I just saw it. For me, if it is good then I will watch it. It is likewise for the stories that we will tell too. With the other two collaborations you have, Class Of ’83 and Betaal, do you feel that there is liberation of sorts for content creators in this space as you have not tapped these genres earlier? GV: Firstly, we are on an expansion drive where we want to create more and more content. Genre is a limiting word so we will go with stories again. If you are chasing a story, it will fit into a particular bracket at some point of time. How the story is, what it wants to say will also find a bucket. But we are not necessarily chasing the bucket. We are quite open to everything. If you like a good story, just go ahead and tell it. Then you figure things out, talk to your partners if they like it or not. But most of the times they are kind enough to like it so we end up working together. (Laughs).
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in news
A New Journey Producers Guild of India President, Siddharth Roy Kapur and CEO, Kulmeet Makkar talk to Padma Iyer about the MOU signed with the State of New Jersey, the importance of such agreements and more
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he State of New Jersey, Choose New Jersey, New Jersey Motion Picture and Television Commission and the Producers Guild of India signed a memorandum of understanding (MOU) to further enhance their mutual relationship and facilitate the shooting of Indian films in New Jersey. New Jersey Governor Phil Murphy signed the MOU on behalf of New Jersey in order to bolster New Jersey’s film industry, which received a boost through the Governor’s Film Tax Credit Program. New Jersey offers one of the most attractive incentive programs in the country for television and filmmakers including a 2 per cent diversity tax credit bonus. The MOU focuses on idea sharing as well as best practices on film production and promotion. It will also assist the Producers Guild of India (PGI) with the production of films and other cinematic content including location scouting and support for Bollywood film production in New Jersey. Talking about this MOU, Siddharth Roy Kapur, President of the Producers Guild of India, said, “What this MOU does is that one it makes it much more efficient for producers of film and television to shoot in New Jersey. There is a significant incentive being given to anything that we spend there; 30 per cent plus. 30 per cent is the base level and it will go up based on certain criteria. I think that makes it very efficient because the key thing for producers when we go abroad to shoot is the cost. And I think they have made New Jersey much more attractive for us as a destination, given how open they have been with the incentive structure. Secondly what they have assured us is the ease of shooting there. It will be very significant, a single window clearance, complete support from the local authorities and those are the things that you really look forward to when you shoot anywhere, including our own country.” When asked if it was possible to emulate the model of signing individual MOUs with different American states for the Indian states, Kapur said, “We can absolutely do that. It is a federal system that powers each state to have its own incentives. We do that for films in India as well. We have states like Uttarakhand and Jharkhand offering some
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excellent incentives and they can extend that to people form the West as well and from other countries.” Talking about extending such MOUs to more countries, he said, “If we can work very closely with places that our movies enjoy going and shooting and are traditionally where we have a large bulk of our foreign shoots happening; if we can sign treaties with those places which incentivise our producers to go there, make it more efficient to go there, make it more cheaper to go there, it would be great service to the entire production fraternity.” Kulmeet Makkar, the CEO of the Producers Guild of India, also spoke at length about signing the MOUs. He said, “The main aim is to build relationships. We realised that over the years, our members struggle to find the right contacts as to whom to work with. So it is important to have a structured arrangement where they know whom to reach out to, how to reach out, so that they are guided properly and we negotiate on behalf of the industry in terms of incentives so that they are simplified and our producers get the same, which will help them cover the cost of travel, hospitality, shoot etc. This one of many MOUs that has been signed and the results have been fantastic.”
Many countries have film commissions, film bodies which have extensive websites that provide detailed information to filmmakers wanted to shoot in those countries. This is something that is not yet a practice in India. When asked about this, Makkar said, “Yes, it is a challenge. But there is a new initiative called the film facilitation office. That website is operation and is linked to our website as well. It was earlier for foreign productions alone, but now it has been expanded to Indian productions as well. Their challenge has been to integrate it to the national side. It is happening. But before it happens, each state is working on a film policy. We have finalised film policies for 11 states so far.” Makkar also spoke about what the industry expects from the government. “Last two years have been great as far as box office is concerned. I am hoping 2019 is better. Important thing is that the value of the industry, direct and indirect needs, be understood by the agencies and the government. We are not looking for financial support; we are looking for facilitations. We want to make shooting in Maharashtra easier. We are looking for a single window online permission. We are looking for a dedicated nodal officer who handholds a producer through the entire process. We want a central office in every state,” he said. He also reiterated the steps the industry needs to take. He said, “The Government of India recognises and honours the film friendly state. So if as an industry we too can recognise the same or have an event to give such states a platform it would help.”
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INTERVIEW
“Sridevi had a huge influence on me” Four More Shots Please and Made In Heaven actor Amrita Puri talks to Bhavi Gathani about her acting journey, legendary actor Sridevi’s influence on her life, her web shows and more It’s been nine years since you made your debut with Aisha. You said that you had struggled a lot for getting the kind of work you wanted to do. If you look back today, how would you define your journey? Aisha happened fairly easily for me because you hear how people have struggled for 10 years but yet they haven’t been recognised. With Aisha I really got lucky because it was a very meaty role. I am remembered for it even today. People come up to me and say that they remember me the most for my role in Aisha. I had just been auditioning about two years and doing advertisements when Aisha happened. I wouldn’t just say that I struggled when I started as it just fell in my lap. But post that, yes it got difficult for me to get the kind of work I enjoyed doing because this business is so erratic and it depends a lot on luck. What kind of things you actually wish to do? Are there any specific roles or genre that you are looking for? There is nothing specific like, oh I want to do this or this is what I want to do next. I just look out for good content. It doesn’t matter what the platform is. I should be working with a good team, it should be something that I enjoy doing and that I feel proud to be a part of; it doesn’t matter whether it is web or television or films. I don’t have any such sort of preconceived notion. I am just going with what appeals to me. I am not setting an intention about anything but having said that I would love to explore comedy. Post Aisha I realised that it was one of my strengths. So, I would love to do an out and out comedy or something on those lines in a web series; something quirky and funny. What inspired you to get into acting? It is definitely plays that inspired me to get into acting because I enjoyed being on stage and I enjoyed the adulation
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and enjoyed performing. But I have to say that it was Sridevi who had a huge influence on me. I used to watch her films whether it is Chandni or Lamhe or any other film as she has done so many. I saw Chandni so many times as it was my favourite and apart from that I also loved Chaalbaaz. I used to stand in front of the mirror and dance to her songs. For example, for Mr India songs, I would wear chiffon saree and dance in front of the mirror. At that time I was just around seven years old. I have always been fairly dramatic. Recently, you were part of JudgeMentall Hai Kya. When you are working in thrillers like this, how difficult it is to connect to the character and the situation the character is going through? The thing is Raj (Rajkummar Rao) and Kangana (Ranaut) were playing very eccentric characters. I didn’t have any trouble connecting to my character because it was the only sane one. The only one who had a normalcy to her, who an ordinary person could connect with. I didn’t struggle with connecting to my character. I think that question would be more suitable for Raj and Kangana as they had to play these whacked out characters. How was your experience working with Rajkummar as this was the second time you shared screen with him post Kai Po Che!? It was really lovely. He is one of my favourite co-actors. It is a pleasure to work with him and because I have known him from Kai Po Che! which was six years ago, when he started his career. We have a rapport that goes way back. We are not in touch regularly but whenever we do meet, it just feels like no time has gone by. Tell us something about the short film Suno. What made you do it? It topic is about consent. That is very
relevant right now with the whole #MeToo movement that happened. There is a lot of awareness about consent and there is a need for people to address this. That is what made me want to do it. It is important after the whole #MeToo movement that things don’t just die down and everyone forgets about it. It is important to keep that conversation going. If we shift to the digital space, you have been part of two popular web shows Four More Shots Please and Made In Heaven. How important have they been in your acting career? It just happened that Four More Shots Please released earlier this year and Made In Heaven released just two months post that. It’s great because even though they were not central characters, I got a lot of appreciation from viewers, from people in the industry. People messaged me saying that, ‘We saw you in Made In Heaven and you were really good.’ I found it to be really encouraging that it doesn’t matter how big or small your role is, the impact that you have on screen and to the story is more important. It is what you bring to the table.
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@BOI
Ties That Bind Actors Sanjay Suri, Tannishtha Chatterjee and director Brahmanand S Siingh talk to Manisha Karki about their upcoming film Jhalki, how it sets out to evoke several emotions in the audience and working with children How did the story of Jhalki come about? Brahmanand S Siingh (BSS): We were aware of this human trafficking and child labour scenario and a lot of work that Mr Kailash Satyarthi was doing and that’s when we thought that a film on this subject will go a long way to propagate awareness and help to address the cause. So that was when Prakash Jha and I wrote this story together. Then there were several ups and downs before we finally made the film. We shot it at the most authentic places where several corporate factories exist. Sanjay Suri and Tannishtha Chatterjee feature in the film but it is essentially the story of a 9-year-old girl’s search for her 7-yearold brother against the backdrop of human trafficking and child labour. What was it about the story that caught your attention? BSS: I would say any story that touches people makes a lot of things change and creates awareness. If you know how to tell a story and if you are a filmmaker, you have a huge medium at your disposal. So that was probably the trail. I have done another film and I have made documentaries before this. This is the first feature film but it was just a coincidence that it happened now. It could have happened earlier. (Laughs) I see it as an opportunity to tell a story to create awareness, manifest some change and impact society. Tannishtha Chatterjee (TC): The script caught my attention. I wanted to be part of the film because I like Brahmanand›s work and for all the people associated
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with the film. What can you tell us about your characters? TC: I play a journalist in the film and she is instrumental. She facilitates things for Jhalki who is the protagonist, a 9-year old girl. You know her journey is of her search of her brother, so my character helps her search for him and then she also exposes the people who are behind this nexus. My character has a very strong presence. It’s a key character because it makes the journey of the protagonist easier. Sanjay Suri (SS): My character comes at a point where this young girl who is looking for her brother who is a victim of child trafficking and child labour. I play the DC of my area and he has the power, so this girl comes to him seeking help. This character is shown as extremely busy and cynical about things but due to the workload and the world he lives in, he doesn’t really connect with human emotions immediately. But at the same time, he means well. So yes, he has shades of grey. How did you auditon the kids? BSS: We required a certain language in the film- an amalgamation of BihariBhojpuri. So we tried to send our casting director into that zone where we have someone who has the ability to speak the language naturally, so that we could concentrate on the acting. But if we got someone with good acting quality, then we would concentrate on the language delivery. So here we shortlisted over
100 or 150 kids in the first round. Then we went on and on and then finally zeroed in on the one who got selected to play Jhalki. She was discovered in a park, from an NGO. We discovered that she has the fire, the poise and she has the ability to sustain. These were the factors that we were looking for in our Jhalki and that’s how she got selected. She has done a wonderful job. Tannishtha and Sanjay, working with kids can prove to be quite a task, how difficult was it for you? TC: I think the kids are so delightful, they are so natural and their innocence and their raw energy give so much to adults. I feel we learn from them because they are also unpredictable. (Laughs) Since Brahmanand comes from documentary background, he has captured the moments so well. When the boy recognises his sister is just a moment, but his expression is captured so effectively and it is so real that your heart goes out to him. SS: The more time you spend in this profession, the more you can second guess your reactions. But with kids you can’t; they can bring something so fresh that you have to be very observant, very alert to go with the flow and that enhances a scene. They pick up very fast and they bring their own moments but of course, you need a patient director. When you make a film with a strong message, how do you connect to the sensibility of the audience? BSS: You have to have a good story and that connects with people. If you tell a story well it always connects whether you are telling it to your child at bedtime or you are telling it through a film. But how you are telling that story is always a dilemma; what works, what does not work is based on several factors. When you work at this scale, it should connect so that the film becomes a film about awareness, inspiration, courage and power. So I think it works at various levels. This is not an indulgent art film; it is simple enough for anybody to understand.
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Actors Priyanshu Chatterjee and Gulnaz Siganporia talk to Manisha Karki about their film Little Baby, the effect of technology on youth and playing family What was it about the story of Little Baby that prompted you to sign the film? Priyanshu Chatterjee (PC): I have never done a film like this. It was a challenging role, a beautiful story of a father-daughter relationship. It talks about the youth, it talks about today’s time and how technology is influencing kids. I liked the whole story so I did it. Gulnaz Siganporia (GS): During my audition process I was given these few scenes where I realised that this was a story of a father and daughter. It’s the story of a new generation, and somewhere I feel since I am very close to my father, it felt like my story. And that is what prompted me to take on this film. Gulnaz this is your first film. How was the experience? GS: It was challenging. If there is a scene where my character is shouting at her father, I had to think why is she doing so? What would I do in that same situation with my dad? How would I react to my parents while they are talking to me or when they punish me? How was it working with each other? PC: It was a great bond. I call her often and ask her how she is doing. I enquire if she is going for an event, or where she is. And she too shares what
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is happening with her. It was a great working relationship. GS: The comfort level was there throughout the film and by the end of it we became like real father and daughter, actually friends even. PC: We were together for 22 days with the whole team while shooting. One schedule was at a beautiful resort in Dehradun. So it was far away from the city and we got to spend time together even after shooting hours. GS: We shared our experiences, we used to talk and that is how our bond was built. Priyanshu, you have played the role of teenager’s father for the first time. How did you approach your character? PC: Yeah! I have done it for the first time. She is a 20 year old girl. In my family I have my nieces and nephews who are of a similar age group. I look at them and I look at Gulnaz and they are always on their phones and that’s very funny. Their whole life is locked inside their phones. So it’s very interesting for me and fun to watch them. I remember watching two people on a bike. The guy sitting behind was holding the handle while the guy in the front was checking messages. It was the most hilarious thing I had ever seen. In the film we look at the impact of technology on the youth and its pros and cons.
What do you want the audience to take away from this film? PC: I think the audience will get to take away a lot of things from this film, not only in terms of entertainment but also getting to know what is happening with families around. So some places you will laugh, you will get emotional and I think it’s a nice contemporary family drama with a little twist to it, which is very interesting, but we can’t reveal it now. GS: The audience will feel that it’s their story and they will relate to it. Your film deals with the effect of technology on young people. How important is the digital platform for actors today? PC: It massive. There is so much content that is been created. We as actors also get a change as we get to work on different stuff because of which our reach increases. GS: As far as I remember there was a time when I use to watch TV but now I don’t look at TV at all. All the time we are just on the net. What are you looking forward to after this film? PC: Coldd Lassi Aur Chicken Masala released on Alt Balaji and Zee5 recently. After Little Baby there is IPS Arjun Singh Batch 2000 which will release on October 18.
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INTERVIEW
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Frozen Forever
DISNEY’S MEGA-HIT RETURNS FOR A SECOND SHOT AT WORLDWIDE SUCCESS BY REBECCA PAHLE
There are a lot of questions the kids of the world—and their parents and their babysitters and childless adults who just like a good animated movie— have about Disney’s Frozen II, hitting theaters in North America on November 22. Will it replicate the charm and resonant message of the original? Has snow queen Elsa truly come to terms with her ice powers? Are we ever going to find out what happened to Anna and Elsa’s parents, who mysteriously disappeared when the sisters were young? And, above all: Will there be another “Let It Go”–style earworm?
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t the Frozen II press day, held in Los Angeles in early September, the movie’s team was understandably close-lipped about many of the specifics. Still, there were hints to be found. Frozen II sees Anna, Elsa, Kristoff, reindeer Sven, and walking, talking snowman Olaf take to an enchanted forest to—just maaaybe—discover the source of Elsa’s ice powers. Along the way, they’ll meet several new characters, one of whom (voiced by Sterling K. Brown) will possibly provide insight into the childhood of Anna and Elsa’s father. Another newcomer to the franchise, “Westworld” star Evan Rachel Wood, voices Anna and Elsa’s mother in a flashback. Co-director Jennifer Lee played that role in the first film, delivering Queen Iduna’s only line—“She’s ice cold”—with … let’s just say, reasonable competence. Jokes Lee about not being recast: “It’s the first time I’d ever been fired.” As for the “Let It Go” question: Frozen II sees the return of the Frozen songwriting duo of Kristen Anderson-Lopez and Robert Lopez. And one of the musical numbers shown at the press day—Idina Menzel as Elsa belting out “Into the Unknown,” a classic Disney “I want” number—was stuck in my head for a few days. So … make your own guesses, but prepare to add another song to your karaoke repertoire just to be safe. (Another note for the musical hounds among Boxoffice Pro’s readership—Frozen’s filmmakers, despite casting Broadway
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BFFS FOR LIFE The friendship between a reindeer and a talking snowman. What could be better?
star Jonathan Groff as Kristoff, didn’t actually have him sing. This time around, Lee assures, he’ll get to show off his pipes.) Explains Frozen II producer Peter Del Vecho—whose other credits with Disney include The Princess and the Frog, Winnie the Pooh, and the first Frozen—Disney “never makes sequels unless the filmmakers have a story to tell and a desire to tell it.” Frozen may have made over a billion dollars at the worldwide box office—one of only nine animated films to do so—but the existence of a sequel depended on Lee and co-director Chris Buck wanting another spin on the ice. “The funny thing is, when we finished Frozen, we were like, ‘We’re done!’” recalls Lee. Then came the 2015 short film Frozen Fever, which played in theaters alongside Disney’s live-action Cinderella remake. And all of a sudden, Lee and Buck found that they couldn’t quite “let it go” after all. Watching the animation dailies for Frozen Fever, Buck recalls, “was the first time we saw our characters moving again. It probably had been at least eight months or so. Almost a year. Just seeing them again, it was like seeing old friends. So we went, ‘Oh my gosh, I love these characters.’ We were also starting to think about what would be next for our characters. What would be true to these characters? What would be the next journey?” Buck’s and Lee’s own lives played a role in answering those questions. Both are parents dealing with the inevitability of children growing up, going to college, and
venturing out into the world. “As you grow up, things get thrown your way. Life isn’t as easy as it used to be. The first film wasn’t that easy for any of them!” Buck admits. “But this time, we went back to our kids. We were inspired by that. It’s that time of your life where you go, ‘OK, now what? What is the world going to offer me? What do I have to offer the world?’ The world gets a little more complex. There are a lot more questions for them as they go.” The development of the characters’ emotional maturity can be seen in Frozen II’s color palette, which has graduated from the ice blues and jewel tones of the first film to a more autumnal look. Hints of Anna and Elsa’s evolution can be found in a bit of character theory that the Frozen II team kept coming back to over the course of the press day. Anna (voiced by Kristen Bell), the young, peppy, optimistic girl surrounded by supernatural goings-on, is the archetypal fairy tale heroine. Elsa, on the other hand—whose ice powers are both a gift and an enormous responsibility—is a mythic heroine. “We had just come back from our research trip” to Norway, Iceland, and Finland, Lee recalls. “I happened to be in England and had a book on myths that I’d started reading. And [Chris and I] called each other and said, ‘Oh my gosh. Something’s coming to light.’” Elsa “carries a special power that can also be dangerous for her,” Lee says. “She will always be different.” As Elsa wrestles with her abilities, sister Anna “wants [Elsa] to be everything she deserves to be and wants her
September 28, 2019 BOXOFFICE
NEWS, ANALYSIS AND RESULTS FROM NORTH AMERICA www.boxoffice.com
to be OK and not carry all the burdens of the world on her shoulders.” Frozen and Frozen II are Lee’s first and second films as a director—she wrote Frozen as well—and it’s her sureness about the inner lives of her characters that made jumping into the hot seat relatively seamless. “I want to say, when you were directing, how quickly you picked that up,” Del Vecho tells Lee. “I know you went to school for it, but it was a really natural fit between [Lee and Buck]. It was a good balance.” Explains Lee: “What I was very anxious about—but at least felt secure about—is that Chris, as a veteran in animation, would know how to speak to all the production departments.” (Buck previously contributed Tarzan to the Disney canon, in addition to doing animation and design work on Pocahontas, The Little Mermaid, The Rescuers Down Under, and more.) “He would know how to speak to all the production departments. And I felt concerned. Would I come in and know what to say, to contribute? And I realized, one of the things [anima-
tors] rarely get is the writer in the room. give them room and inspire them. [Chris] And so I could always bring that point of taught me that. I didn’t have to come into view of what’s going on in [the characters’] the room with all the technical knowledge. heads. I never had to tell an Over time, you start to know animator what to do. My what artists can do and how job was to say, ‘Here’s to push.” what the character As Elsa, Anna, is feeling.’ And and their crew we would talk venture out about it so in search of much that answers, Buck if [Chris] notes, “an epic couldn’t be mystery starts in the room I to unfold.” was OK, and All told, it’s vice versa, bea “bigger and cause we stayed more epic” connected.” experience than Picking up the the first film. “We’re MOMMIE DEAREST Evan Rachel Wood joins technical side of things working on sound the Frozen world as Anna and Elsa’s mother “became much more design right now, and (above). intuitive, because you realize you want to feel it,” adds Lee. you’re working with the best in “I want the seat to shake! Being the world at their jobs. And your job is to immersed in the theater experience—cermake sure the vision of the film is clear and tainly we’re aiming for that.”
Top Grossing Films in North America WIDE (1000+ screens)
Weekend of Sept 20–22, 2019 WEEKEND
CHNG.
LOCATIONS
CHNG.
AVG.
(U.S. Dollars)
TOTAL WKS DISTRIBUTOR
1
DOWNTON ABBEY
$31,033,665
—
3,079
—
$10,079
$31,033,665
1
Focus Features
2
AD ASTRA
$19,001,398
—
3,460
—
$5,492
$19,001,398
1
20th Century Fox
3
RAMBO: LAST BLOOD
$18,872,919
—
3,618
—
$5,216
$18,872,919
1
Lionsgate
4
IT CHAPTER TWO
$17,006,478
-57%
4,156
-414
$4,092
$178,927,041
3
Warner Bros.
5
HUSTLERS
$16,806,587
-49%
3,525
289
$4,768
$62,351,800
2
STX Entertainment
6
THE LION KING
$2,677,788
-27%
1,978
-387
$1,354
$537,698,092
10
Walt Disney Pictures
7
GOOD BOYS
$2,590,965
-39%
2,025
-711
$1,279
$77,386,570
6
Universal Pictures
8
ANGEL HAS FALLEN
$2,407,363
-46%
2,505
-571
$961
$64,697,042
5
Lionsgate
9
OVERCOMER
$1,520,607
-44%
1,818
-475
$836
$31,587,810
5
Sony Pictures
10
FAST & FURIOUS PRESENTS: HOBBS & SHAW
$1,456,140
-48%
1,391
-659
$1,047
$170,609,950
8
Universal Pictures
11
THE PEANUT BUTTER FALCON
$1,015,473
-45%
1,128
-362
$900
$16,758,969
7
Roadside Attractions
12
BRITTANY RUNS A MARATHON
$960,542
-35%
1,033
276
$930
$5,258,763
5
Amazon Studios
13
THE GOLDFINCH
$760,014
-72%
2,542
0
$299
$4,540,117
2
Warner Bros.
LIMITED (100—999 screens)
WEEKEND
CHNG.
LOCATIONS
CHNG.
AVG.
1
DORA AND THE LOST CITY OF GOLD
$1,280,248
-30%
944
-404
$1,356
58,424,677
7
Paramount Pictures
2
SCARY STORIES TO TELL IN THE DARK
$955,498
-44%
932
-562
$1,025
$65,785,234
7
CBS Films / Lionsgate
3
THE ANGRY BIRDS MOVIE 2
$723,715
-39%
730
-454
$991
$40,564,306
6
Sony Pictures
4
ONCE UPON A TIME IN HOLLYWOOD
$650,189
-57%
545
-412
$1,193
$138,163,619
9
Sony Pictures
5
SPIDER-MAN: FAR FROM HOME
$375,753
-43%
407
-303
$923
$389,751,771
12
Sony / Columbia
6
TOY STORY 4
$289,852
-30%
291
-119
$996
$432,752,831
14
Disney
7
OFFICIAL SECRETS
$249,027
-52%
477
146
$522
$1,392,944
4
IFC Films
8
READY OR NOT
$215,188
-77%
301
-794
$715
$28,276,023
5
Fox Searchlight
9
47 METERS DOWN: UNCAGED
$172,500
-59%
246
-291
$701
$21,802,670
6
Entertainment Studios
10
ALADDIN
$129,970
-37%
156
-23
$833
$355,258,912
18
Disney
September 28, 2019 BOXOFFICE
TOTAL WKS DISTRIBUTOR
21
WEB SIDE STORY
Show
Tell And
Rohit Patil (RP): Welcome all of youMaheshji, Sanskruti, Shubhankar. So tell us, what made you be be part of Kaale Dhande? Shubhankar Tawade (ST): Basically it was the concept, the storyline and the element of situational comedy; also how the story unfolds, the characters in the narrative and how relatable they are, that made me select this project. It has been a great experience doing it. RP: And especially with Mahesh ji… ST: Yes, absolutely. I am working for the first time with such a senior actor. And he is such a fun person to work with. RP: And Sanskruti, what about you? Sanskruti Balgude (SB): I love the character that I am playing. When I read her scenes, I realised that I really related to it. I just wanted to experiment and play my character Kimaya… that is her name. And like Shubhankar said, this is a
22
Mahesh Manjrekar, Sanskruti Balgude and Shubhankar Tawade, the actors of ZEE5 Marathi Original Series Kaale Dhande talk to Rohit Patil about the making of the show, the catching up that the regional digital space must do and the relatable factor of the show
sitcom, based on the turn of events that take place in the entire series. It was amazing working with our director Ram (Chandra Gaonkar). And Mahesh sir was also associated with this and that was one of the prime reasons for me to be associated with it. It was fun, the entire process was fun. It is to the point. RP: Mahesh sir, you character looks very interesting. Can you shed some light on it? Mahesh Manjrekar (MM): I play a whacked out underworld don, a nerd who thinks he is a big gangster. Actually after you see the web series you will realise that he is the biggest moron on this side of the equator! But I like playing him because he is not evil as such. Whatever he does, he tries to be the middle man. He tries to sort out differences and during one such instance he realises the whole jhamela that his daughter is involved in. That is
what triggers his madness. He doesn’t try to stop the guy she is involved with, but suggests that the next best thing would be for the boy to marry his daughter. This sets forth a string of hilarious events. There are situations where every youngster worth his salt wants to showcase his conquests. Half the time they are lying, to prove a point that they are macho. They get jacked in the bargain! What works in the story is that the youth will relate to it. I think that youngsters today have it easy, it was very difficult for us. But since I have hung around the naaka where these exploits begin, so I know what they are up to. The comedy works not because there are comic scenes in it but because the situation is comic. And there are times even in the worst situations, something funny comes through. So I think this is a story the youth will accept. I don’t know about the senior audience. But I feel that the youth
Box Office India
28 September 2019
will relate to it. They will realise that there have been times when they have gotten into situations like this and they will laugh at it when being shown the mirror. RP: And what are your characters all about? ST: I play Vicky, Vikrant Sawant. He is like any guy you would see, like a lot of guys around. He gets into a mess, which he thinks is small but it turns out to be bigger and messier. I won’t say that Vicky is a bad guy. He is not. He wants to clear out everything, he wants to solve everything. He wants to come out clean. But the situations keep pulling him into one mess after another. He is what you would call a ‘bechara’. And with Vicky there are his friends, Sam, Khunkhar Raut, Sudarshan, Dhrutra Shinde. They are like the friends we have around us. This is what we experience in our day to day lives. And of course this is what you will see in the series as well. SB: Like I said, I play Kimaya, his girlfriend who is not related to any kaale dhande. She is like every other girlfriend- she cribs, she sulks, she gets angry. The relationship they share is something we see all the time the cons of being in a relationship especially with a boyfriend who is always messing things up. MM: It is not always the case. It is what the girl thinks! (Everyone laughs) ST: Thank you, sir. SB: And also she is always whining and sulking… MM: That is what all girls do! SB: Not always… sometimes boyfriends are irresponsible and that is exactly what you see in this… MM: There are not even stray incidents where she doesn’t sulk or whine… (Everyone laughs) SB: So as I was saying, my whining and sulking is justified. So in Kaale Dhande, there is the hilarious track and there is Kimaya’s track. I don’t have any scenes that are funny, most of them are serious and emotional. Kaale Dhande is about the millennials and how we generally take everything for granted, the impact
28 September 2019
Box Office India
of social media. So it is basically us portraying ourselves. RP: What makes Kaale Dhande different from the other web series that are streaming currently? MM: It is an original piece. I don’t want to compare it with any other web series because you can’t. You can compare two series only when the genre is the same. This is a youth driven story which I think individually stands its ground. It works in a certain space. You don’t try to find meaning to what is happening or if it is giving some gyan. You just sit and enjoy it while it lasts. RP: Is there any specific way that you approach your characters? MM: I don’t approach my characters at all. I am not a method actor, let me be very frank. I come on the sets, I read the lines. I never ever read the lines before coming on sets, so I can never prepare for a role beforehand I have never asked for the script. When I go in the morning, I have the script read out to me. I don’t read it again. It has to be spontaneous. I have to react to situations as if it is happening for the first time. I am not against people who come prepared. But I feel that my spontaneity gets affected when I go prepared so I go with the flow. And once it is cut, I am out of it. I never ever carry a character home. ST: I come from a theatre background. So I am used to script readings, completely different from what he does. But then that is my process. I go through the script again and again. I see the nuances that I can come up with, the mannerisms. In this series particularly I had to use something that he said, that is spontaneity. After going on sets, interacting with the co-stars, he was also coming up with stuff, so there was stuff that I had to add then and there. I had to change things on the spur of the moment. That created some really good moments. And the director Ramchandra was accepting of the same. I remember one scene in particular where I am the only one talking for a very
long time. That was like a two-page scene and he (Ram) told me the points that I needed to cover. He told me to just go and do it. And for me as Vicky, I thought I have seen this, I have done this in my personal life. So I should approach it just like that, I should see myself in there. RP: In the digital space, we have seen Hindi and English language shows setting the bar higher. But regional shows still seem to be lacking. Why do you think that is the case? MM: It is the budgets. Do you think we get the same budgets that Hindi and English series get? There are some things that only money can buy. Content-wise we are no less. The problem is when you need glamour and a larger canvas, you better spend for it. The day we get the budgets, we will be at par if not better than them. RP: We would love to see you direct a web series soon Mahesh sir… MM: I will soon. I am doing one which will be announced. It is a big series, so there will be a big announcement. RP: What are your expectations from the show and the viewers of the show? MM: What should be our expectations other than that it should be the best show. It should be the most hilarious show, people should not die laughing, but fall down from their chairs laughing! People should not try to emulate our cuss words. (Laughs) And if they have to take something from it, then they should realise that kaale dhande karke kuch achcha nahin hoga. ST: This is the thing. And I think people should definitely watch it. It will relate to them. RP: I have seen the trailer and I was in splits. MM: The youth will love it as it speaks their language and it addresses the concerns which they have. It showcases situations that they must have been in several times. They will see it and think… saala main bhi aise hi tha!
23
DESI TADKA
In Search Of The Unknown Bangla director Srijit Mukherji talks to Titas Chowdhury about his upcoming film Gumnaami, the controversy surrounding the film, the film industry being a soft target and working with superstar Prosenjit Chatterjee In a promotional video with Prosenjit Chatterjee, you’ve said that Gumnaami is based on three theories that emerged from the proceedings of the Mukherjee Commission. How did you come across these lesser known facts? This is precisely why I thought I should make a film on this aspect of Netaji’s life. Shyam Benegal had made a detailed film on his life. Ekta Kapoor’s ALTBalaji made Bose with Rajkummar (Rao) on India’s biggest cover up. There are various theories about his disappearance but there hasn’t been any work on screen or popular culture on this; there have been a lot of books and each theory has spawned an enormous amount of literature. But there hasn’t been any film or book or other work that has collated all these theories and tried to put all the theories, questions and counter-questions in one place rather than giving a verdict. Our film attempts to do that by focusing on the historic Mukherjee Commission that worked on all three theories, challenged the existing ones, held discussions and then produced counter-theories and evidence. It is the only commission out of the three commissions – the other being the Shah Nawaz Committee and the Khosla Commission - made on Netaji’s disappearance. The Mukherjee Commission is the most extensive and the intensive one because Justice Mukherjee actually travelled to Taipei, Russia, London and Japan to collect evidence. I thought of basing Gumnaami on this so that we could have a neutral platform on which we could discuss the plane crash theory, the death in Russia theory and the Gumnaami baba theory. You’ve tried to stick to the facts as much as you could. Despite that, you’ve received backlash from Netaji’s family. What is your take on the freedom of creative expression? Do you think the
24
film industry is a soft target? Yes, the film industry is a soft target. There are so many books on the Gumnaami baba theory and the death in Russia theory. There have been orders from the Allahabad and the Calcutta High Courts which connects Gumnaami baba to Netaji. Lalita Bose has talked about that connection. The Mukherjee and the Shah Nawaz Commissions explored the alternative theories on Netaji’s disappearance which includes both the death in Russia and the Gumnaami baba theory. There have been so many newspaper articles on Gumnaami baba and the link between him and Netaji and they have incorporated the Russian angle too. There has been a web series starring a popular actor like Rajkummar who plays Netaji in it. It is based on Anuj Dhar’s India’s Biggest Cover-up. These people who’ve raised concerns have suddenly jumped into action now. I wonder if they were sleeping all these years! These things were in the public domain all this while. The ridiculous part is that these people are waking up now that my film is being released. I would like to tell the juvenile voices that this connection between Gumnaami baba and Netaji is something that my film is not making for the first time. This connection was made by high courts, by government commissions, innumerable television channels, newspaper reports and magazines. None of them were banned for exploring the connection. I’m not giving a judgment in the film that the connection is sacrosanct. You cannot hide your face in the sand like an ostrich and live in denial about the fact that there are alternative theories to Netaji’s disappearance. But yes, whether these theories are correct or not is not known. The Mukherjee Commission said that there is a lack of clinching evidence. That is what I’ve shown in the film. The verdict and what you are saying are important.
You cannot hold me responsible for making that connection because it was made 33 years back when Lalita Bose filed a petition at the Allahabad High Court. In many cases, people have spoken in favour of these connections. I’ve only followed the proceedings of the Mukherjee Commission. If anyone has a problem with the message, they should go and talk to the two high courts or with the Mukherjee Commission. Why shoot the messenger? Will it deter you from taking up subjects like this in the future? Absolutely not! I enjoy challenges. I believe filmmaking goes beyond making love stories and thrillers; it is also about exploring what you consider to be very important questions which are part of your society and history. I don’t know if films can actually make a change or not but they can definitely raise questions and that’s the most important thing. I’ll make films even if they make people uncomfortable. There’s a very popular quote that I read. It says, ‘Art is supposed to comfort the disturbed and disturb the comfortable’. I intend to do that. Gumnaami is your seventh film with Prosenjit Chatterjee. He is a big star in the Bangla film industry. Did his stardom ever come in the way of telling a story? No. On the contrary, his stardom helped me tell a couple of stories better. I wouldn’t make Autograph if he didn’t agree to play Arun Chatterjee. When I wrote that character, I had him in my mind. I try to tap the hardworking actor in him. If you take Gumnaami, it took him two hours to put on the make-up and one-and-a-half hours to take it off. He had to wear the bald cap when the temperature was about 45 degrees. It was tough! This is the kind of commitment and dedication Bumbada brings to the table.
Box Office India
28 September 2019
SOUND BOX
Highvoltage Love Urvashi Rautela and Tony Kakkar talk to Manisha Karki about their latest single Bijli ki taar, the experience of working together and their upcoming projects Bijli ki taar has crossed 22 million views in one week. How is the feeling right now? Tony Kakkar (TK): I’m really happy that the song has received a massive response and we are also trending. The audio is going viral and people are also watching the video ardently. It is getting viral on TikTok it’s a great feeling when something one has worked on does so well as it’s like your baby. And when your baby performs well you get very happy. On a personal note, I have made myself as someone who does not get affected by success or failure. I try to be happy all the time. I get happy when I do good work. Urvashi, how did you come on board for the song? Urvashi Rautela (UR): So, when I heard Bijli ki taar after which a discussion happened where they felt that according to the lyrics I am the best fit for this song. When I heard the song it was catchy and so addictive and my family members also liked it and of course, everyone likes Tony Kakkar. So it is an electrifying song and whether you are a dancer or a non-dancer, this song is for everyone. Especially at parties, clubs or dance competitions, I think this song will roar and it will be played almost everywhere. I am very happy that we have got such an amazing response to this song that in just one day we had crossed more than 11 million views and the song is up there on the charts and is trending worldwide. Bijli ki taar has a lot of specialties here apart from the music which is also amazing; we have introduced different dance forms
28 September 2019
Box Office India
like sneaking, locking and popping in the video because the lyrics of the songs are electrifying and so the steps and choreography is also very electric. Tony, how did you come up with the idea of this track? TK: Usually people get ideas or business ideas but I get hook ideas. In my mind first, the hook of Bijli ki taar came so I develop the whole song around that. Also, I want to tell my viewers that my writing style is very unorthodox. People think it’s weird but then weird things make songs more addictive and make it big. The same thing happened with Coca-cola and Dheere dheere that in every club or party and on every dance floor it was there and I hope the same thing happens with Bijli ki taar as on day one itself it received a great response. So I think it will grow well with the support of Urvashi, she is a huge star and has massive power herself. UR: It is always impossible if two people do not work in the same flow. So T-series, Tony and me are promoting this song and putting it out there for the public. Urvashi, what was your reaction when you heard the title of the song? UR: It is a catchy title, Bijli ki taar, it is unusual but a very nice title. In the song we see you ride a bike. So did you prep for it or did you already know it? UR: It is kind of inspired by my coactor John (Abraham) in Pagalpanti. He had this look in the film Dhoom in which he is riding a bike. In this
video, it is the story of a young boy and a girl, they both meet and there is instant interaction between them and they click and start dancing together and eventually fall in love. So the entry is well directed and he wanted it in a particular style. He wanted a bike racing sequence as part of the story. Tony, you are working with Urvashi for the first time. How was your experience? TK: Amazing! She is electrifying like the song Bijli ki taar. There are few performers like her, you can count them on your fingers. The way she dances in the video is mind-blowing. It is not easy the way she does so many dance forms. So it was an amazing experience. Even while shooting, the place where we shot it was hot but at night the weather was so pleasant. So overall it was very nice. What are your upcoming projects? UR: After Bijli ki taar there is Pagalpanti, which is the first one to come up. It is a universal film so right from a 4 year old kid to an 80 year old person can also watch it. It is a quintessential Anees Bazmee kind of comedy, there is John Abraham, there is Anil Kapoor, so I am working with iconic people in the film. I learned a lot on sets. I have such a strong character in it and I thank my director for giving me such an amazing role. I will be doing a lot of action and dancing as well in the film. TK: I am enjoying this phase where you just put all your energy into one song. I started as a music director but now I am moving into singles. So there are many singles lined up and they will release soon.
25
LIGHTS CAMERA ACTION
The Sky Is Pink
Laal Kaptaan
P
S
riyanka Chopra Jonas is dubbing for her upcoming film, The Sky Is Pink in which she stars opposite Farhan Akhtar. The film also stars Zaira Wasim and Rohit Saraf. Directed by Shonali Bose, it is 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 M
aanvi Gagroo has joined the shooting schedule of Shubh Mangal Zyada Saavdhan in Varanasi. In the film, Gagroo stars alongside Ayushmann Khurrana, Jitendra Kumar, Gajrao Rao, Neena Gupta, Pankhuri Awasthy, Manurishi Chadha, Sunita Rajwar and Neeraj Singh. The T-Series and Colour Yellow Productions venture is produced by Bhushan Kumar and Aanand L Rai and directed by Hitesh Kewalya. It will release on March 13, 2020.
Baaghi 3 A
nkita Lokhande has joined the cast of Baaghi 3. The film is directed by Ahmed Khan and produced by Sajid Nadiadwala’s Nadiadwala Grandson Entertainment and co-produced by Fox Star Studios. Starring Tiger Shroff and Shraddha Kapoor, the film is slated to release on March 6, 2020.
Lal Singh Chaddha T
he team of Lal Singh Chaddha has just finished the recce for the film. The film stars Aamir Khan and Kareena Kapoor Khan in lead roles and is directed by Advait Chandan. Made under the banners of Viacom18 Studios and Aamir Khan Productions, the film will release during Christmas 2020.
Shakuntala Devi S
anya Malhotra has been roped in to play a significant role in the Vidya Balan starrer Shakuntala Devi. The biopic of the famous mathematician is directed by Anu Menon and produced under the banners of Sony Pictures Networks Productions and Vikram Malhotra’s Abundantia Entertainment. It will release in Summer 2020.
26
onakshi Sinha will make a cameo appearance in the Saif Ali Khan starrer Laal Kaptaan. The film is directed by Navdeep Singh and made by Eros International and Aanand L Rai’s banner Colour Yellow Productions. It will release on October 18.
Comali Remake P
roducer Boney Kapoor has acquired the rights of the Tamil hit Comali to remake it in Hindi. The Hindi version will see Arjun Kapoor essaying the lead role. The film will be presented under the banner of Bayview Projects.
Comedy Ka Tadka T
he DI of Comedy Ka Tadka is ongoing 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 Chatterjee, Arjumman Mughal, Tiku Talsania, Rakesh Bedi, Asrani, Vrajesh Hirjee, Gauri Wankhede and Himani Shivpuri in pivotal roles.
Box Office India
28 September 2019
Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
WEEKs COLLECTIONs Theatres 1
1,81,00,000
385
total collections 1,81,00,000
2
9,49,00,000
440
27,91,00,000
3
5,45,00,000
380
33,67,00,000
East punjab Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
CI
Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
Nizam-AP
Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
WEEKs COLLECTIONs Theatres 1
92,00,000
95
total collections 92,00,000
2
4,62,00,000
135
13,88,00,000
3
2,18,00,000
95
13,36,00,000
WEEKs COLLECTIONs Theatres 1
21,00,000
75
total collections 21,00,000
2
1,97,00,000
60
5,17,00,000
3
1,00,00,000
40
5,37,00,000
WEEKs COLLECTIONs Theatres 1
22,00,000
90
total collections 22,00,000
2
95,00,000
88
3,62,00,000
3
1,37,00,000
70
7,79,00,000
WEST BENGAL Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
assam
Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
WEEKs COLLECTIONs Theatres 1
24,00,000
98
total collections 24,00,000
2
1,36,00,000
114
4,35,00,000
3
1,12,00,000
45
5,48,00,000
WEEKs COLLECTIONs Theatres 1
5,75,000
30
total collections 5,75,000
2
21,00,000
40
85,00,000
3
21,00,000
22
1,37,00,000
Delhi - UP
Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
CP
Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
Rajasthan Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
mysore
Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
WEEKs COLLECTIONs Theatres 1
1,98,00,000
159
total collections 1,98,00,000
2
12,09,00,000
150
32,79,00,000
3
5,87,00,000
152
31,49,00,000
WEEKs COLLECTIONs Theatres 1
31,00,000
138
total collections 31,00,000
2
1,88,00,000
114
5,16,00,000
3
1,14,00,000
50
6,11,00,000
WEEKs COLLECTIONs Theatres 1
24,00,000
64
total collections 24,00,000
2
2,48,00,000
54
6,58,00,000
3
1,24,00,000
48
6,66,00,000
WEEKs COLLECTIONs Theatres 1
24,00,000
40
total collections 24,00,000
2
2,08,00,000
40
5,85,00,000
3
1,51,00,000
40
8,26,00,000
bihar & jharkhand Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
orissa
Film (Distributor) Pal Pal Dil Ke Paas (Zee Studios) Dream Girl (Pen Marudhar Entertainment) Chhichhore (Fox Star Studios)
WEEKs COLLECTIONs Theatres 1
16,50,000
73
total collections 16,50,000
2
82,00,000
50
2,37,00,000
3
62,00,000
35
3,37,00,000
WEEKs COLLECTIONs Theatres 1
5,75,000
45
total collections 5,75,000
2
42,00,000
35
1,46,00,000
3
26,00,000
10
1,99,00,000
TNK Film (Distributor)
WEEKs COLLECTIONs Theatres
total collections
Pal Pal Dil Ke Paas (Zee Studios)
1
6,00,000
32
6,00,000
Dream Girl (Pen Marudhar Entertainment)
2
23,00,000
30
81,00,000
Chhichhore (Fox Star Studios)
3
29,00,000
30
2,45,00,000
28 September 2019
Box Office India
at your fingertips. Log on to www.boxofficeindia.co.in
27
BOX OFFICE COLLECTION
MUMBAI
BOX OFFICE COLLECTION
Week
Nett last Week
Zee Studios, Sunny Sounds Pvt Ltd
1
6,51,00,000
1323
6,51,00,000
Prassthanam
Maanayata Dutt
1
4,60,00,000
1560
4,60,00,000
The Zoya Factor
Fox Star Studios, Aarrti Shetty, Pooja Shetty
1
2,70,00,000
650
2,70,00,000
Cypher - Shoonya Se Shikhar Tak
Shree Mangalmurti
1
10,000
1
10,000
Rambo : Last Blood*
Avi Lerner
1
4,54,00,000
980
4,54,00,000
Dream Girl
Shobha Kapoor, Ekta Kapoor
2
38,60,00,000
1350
1,10,80,00,000
Section 375
Kumar Mangat Pathak, Abhishek Pathak, SCIPL
2
1,70,81,264
191
10,67,81,264
Pehlwaan (Hindi)
Swapna Krishna
2
7,42,971
63
56,96,111
Chhichhore
Sajid Nadiadwala
3
22,26,00,000
1017
1,27,23,00,000
IT Chapter Two*
Barbara Muschietti, Dan Lin, Roy Lee
3
25,00,000
150
12,62,00,000
Saaho (Hindi)
Vamsi-Pramod
4
29,24,032
66
1,37,63,24,032
Mission Mangal
Cape of Good Films, R Balki, Fox Star Studios
6
56,31,929
116
1,91,86,31,929
Batla House
Bhushan Kumar, Krishan Kumar, Divya Khosla Kumar, John Abraham, Monisha Advani, Nikkhil Advani, Madhu Bhojwani, Sandeep Leyzell
6
1,39,035
14
87,09,83,876
JudgeMentall Hai Kya
Shobha Kapoor, Ekta Kapoor, Shaailesh R Singh
9
3,856
1
33,19,00,964
Arjun Patiala
Bhushan Kumar, Krishan Kumar, Dinesh Vijan, Sandeep Leyzell
9
3,670
1
5,97,39,012
Film
Producer
Pal Pal Dil Ke Paas
Theatres
Total Nett
*Including all formats and dubbed versions
PVR CINEMAX
From September 20 To September 26, 2019
444 screens 693
NO
fILMS
1 2 3 4 5 6 7 8
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI) MISSION MANGAL
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
2762 1491 2138 5836 479 4741 75 299
87316 54316 51744 574799 30675 405576 3560 12655
1,41,66,459 87,46,401 98,90,246 10,35,96,720 62,99,505 6,97,25,954 5,34,034 21,47,453
1,66,91,632 1,03,33,045 1,18,13,514 12,20,96,920 74,47,833 8,22,41,668 6,27,635 26,19,166
1,66,91,632 1,03,33,045 1,18,13,514 33,40,77,040 3,69,01,212 40,72,70,178 26,76,35,996 52,53,07,087
1 1 1 2 2 3 4 6
INOX
From September 20 To September 26, 2019
574 screens
NO
fILMS
1 2 3 4 5 6 7 8
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI) MISSION MANGAL
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
2449 1688 2121 5551 307 4317 95 126
67383 50226 29307 445754 16946 301759 3710 3939
95,09,090 72,17,800 55,62,524 7,14,04,353 36,32,829 4,82,75,254 4,87,727 5,61,048
1,16,62,804 89,76,501 67,55,278 8,65,36,668 44,26,908 5,89,54,122 6,33,664 7,30,754
1,16,62,804 89,76,501 67,55,278 23,96,85,251 2,15,11,722 30,15,00,397 24,99,22,111 44,19,29,070
1 1 1 2 2 3 4 6
From September 20 To September 26, 2019
405 screens
fILMS
1 2 3 4 5 6 7 8
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI) MISSION MANGAL
28
(Collection from 139 stations)
SHOWS
CARNIVAL CINEMAS NO
(Collection from 149 stations)
SHOWS
(Collection from 154 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
1480 1460 806 3404 158 2579 53 96
37343 33627 9056 255117 9469 173378 1752 5560
45,66,350 41,14,713 12,48,110 3,56,25,121 13,30,857 2,30,70,936 1,95,296 6,65,727
56,34,055 50,49,350 15,26,026 4,34,31,633 16,55,931 2,82,95,014 2,69,410 7,91,990
56,34,055 50,49,350 15,26,026 11,96,24,223 78,96,876 15,80,11,283 15,23,50,351 21,18,95,345
1 1 1 2 2 3 4 6
Box Office India
28 September 2019
Cinepolis
From September 20 To September 26, 2019
311 screens
NO
fILMS
1 2 3 4 5 6 7 8
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI) MISSION MANGAL
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
1149 629 935 2616 219 1919 62 93
44205 21657 17549 248185 14670 152551 2957 3932
73,58,156 34,32,850 31,09,749 4,32,46,652 24,60,138 2,58,99,083 4,48,604 5,56,924
86,54,273 40,38,603 36,69,352 5,09,09,342 28,97,171 3,04,87,620 5,26,553 6,31,392
86,54,273 40,38,603 36,69,352 14,01,28,620 1,24,09,079 16,64,94,817 12,72,04,589 20,56,53,257
1 1 1 2 2 3 4 6
SRS CINEMAS
From September 20 To September 26, 2019
62 screens
NO
fILMS
1
PAL PAL DIL KE PAAS
(Collection from 56 stations)
SHOWS
AUDIENCE
NETT
GROSS
458
12202
15,38,696
18,47,102
(Collection from 22 stations)
GROSS TOTAL
WEEK
18,47,102
1
2
PRASSTHANAM
236
5042
6,14,466
7,42,035
7,42,035
1
3
THE ZOYA FACTOR
254
1420
1,86,989
2,26,130
2,26,130
1
4
DREAM GIRL
596
52148
68,21,028
82,31,781
2,17,89,547
2
5
CHHICHHORE
370
23651
31,97,257
38,59,759
2,61,73,347
3
WAVE INC.
From September 20 To September 26, 2019
35 screens
NO
fILMS
1 2 3 4 5 6
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE MISSION MANGAL
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
280 182 207 434 275 1
14130 7355 2910 57179 21259 187
20,29,744 11,28,833 4,64,984 93,98,670 35,34,507 14,863
24,89,435 13,96,210 5,69,235 1,14,91,470 43,17,865 18,700
24,89,435 13,96,210 5,69,235 3,03,14,850 2,94,64,405 3,75,09,605
1 1 1 2 3 6
Mukta a2
From September 20 To September 26, 2019
44 screens
NO
fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
295 241 190 486 384
5246 4002 1406 29827 24315
5,92,214 4,50,237 1,77,051 34,86,148 28,85,053
-
5,92,214 4,50,237 1,77,051 99,72,233 1,53,72,874
1 1 1 2 3
From September 20 To September 26, 2019
30 screens
fILMS
1 2 3 4 5 6 7 8
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI) MISSION MANGAL
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
110 173 89 333 26 230 7 27
1979 3860 531 34032 1398 21588 226 1778
2,25,152 4,18,413 66,321 47,34,278 2,03,223 29,66,701 35,611 2,59,609
2,83,561 5,22,783 83,860 58,80,301 2,53,180 36,84,506 44,420 2,99,642
2,83,561 5,22,783 83,860 1,39,03,960 13,68,260 1,93,56,664 1,54,19,619 1,92,79,703
1 1 1 2 2 3 4 6
From September 20 To September 26, 2019
57 screens
fILMS
1 2 3 4 5 6 7 8
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI) MISSION MANGAL
28 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)
(Collectionfrom from189 stations) (Collection
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
366 276 204 662 41 406 7 19
8066 6105 2447 39462 1407 23268 271 442
10,01,939 7,61,773 3,60,305 54,09,573 1,74,144 31,94,143 27,909 60,964
12,11,281 9,29,171 4,37,863 65,61,199 2,14,566 38,91,440 35,358 70,021
12,11,281 9,29,171 4,37,863 1,94,70,812 13,97,089 2,42,35,045 2,31,47,533 3,02,67,169
1 1 1 2 2 3 4 6
29
BOX OFFICE COLLECTION
miraj
From September 20 To September 26, 2019
99 screens
NO
fILMS
1 2 3 4 5 6 7 8
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI) MISSION MANGAL
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
479 285 353 1148 14 851 14 17
11997 7023 2318 91373 300 53560 320 608
13,13,989 7,55,845 2,67,436 1,07,31,982 30,980 61,46,948 36,165 42,720
16,29,122 9,54,915 3,28,781 1,30,82,629 40,370 75,35,607 50,210 64,195
16,29,122 9,54,915 3,28,781 3,65,54,009 14,95,771 4,42,99,599 4,52,96,310 5,82,91,050
1 1 1 2 2 3 4 6
RAJHANS
From September 20 To September 26, 2019
28 screens
NO
fILMS
1 2 3 4 5 6
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE SAAHO (HINDI)
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
139 184 48 373 321 28
3163 6799 226 22110 20263 503
2,92,980 6,33,063 24,482 25,74,240 22,43,125 18,392
4,11,481 9,04,010 33,170 34,38,964 30,75,577 33,180
4,11,481 9,04,010 33,170 87,14,310 1,57,02,810 2,32,75,206
1 1 1 2 3 4
From September 20 To September 26, 2019
18 screens
fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
(Collection from 5 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
73 66 21 49 34
1393 1009 6 2772 1089
1,74,292 1,25,493 661 3,81,488 1,41,987
2,04,400 1,47,140 780 4,49,788 1,67,185
2,04,400 1,47,140 780 13,00,103 7,61,095
gold Cinema fILMS
WEEK 1 1 1 2 3
From September 20 To September 26, 2019
56 screens
NO
(Collection from 9 stations)
SHOWS
Q Cinema NO
(Collection from 36 stations)
(Collection from 31 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
1
PAL PAL DIL KE PAAS
175
4513
5,30,653
6,64,020
6,64,020
1
2
PRASSTHANAM
156
3942
4,23,410
5,36,616
5,36,616
1
3
THE ZOYA FACTOR
37
503
78,905
96,160
96,160
1
4
DREAM GIRL
462
24017
32,37,013
39,31,754
1,07,66,984
2
5
CHHICHHORE
191
9523
12,30,840
15,27,686
1,30,68,294
3
priya entertainments
From September 20 To September 26, 2019
11 screens
NO
fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
63 28 63 75 65
960 217 741 3208 2043
1,07,898 24,138 88,710 3,68,963 2,26,758
1,32,540 29,680 1,07,876 4,81,564 2,79,600
1,32,540 29,680 1,07,876 18,04,569 24,40,982
E-square fILMS
1 2 3 4 5 6
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE MISSION MANGAL
30
WEEK 1 1 1 2 3
From September 20 To September 26, 2019
47 screens
NO
(Collection from 9 stations)
(Collection from 16 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
116 171 64 217 204 25
2679 4916 494 12438 11772 1459
2,58,389 4,39,618 49,769 12,54,229 12,34,974 1,49,050
3,12,890 5,30,145 62,010 15,71,640 15,52,860 1,75,030
3,12,890 5,30,145 62,010 50,61,153 87,00,161 85,87,516
Box Office India
WEEK 1 1 1 2 3 6
28 September 2019
Cinemas
NO
fILMS
1 2 3 4 5 6 7 8
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI) MISSION MANGAL
maxus cinema
From September 20 To September 26, 2019
19 screens
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
41 63 33 184 6 164 8 14
1004 2115 601 11347 157 10798 75 427
1,61,488 3,25,753 87,421 17,65,744 29,893 17,03,909 11,951 91,538
2,03,648 4,14,751 1,09,916 22,11,617 36,943 21,37,689 14,925 1,04,101
2,03,648 4,14,751 1,09,916 61,25,965 3,59,450 84,58,199 80,98,213 1,48,56,550
1 1 1 2 2 3 4 6
suncity
From September 20 To September 26, 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
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
SHOWS
AUDIENCE
NETT
GROSS
35 28 28 63 42
1567 1520 108 5566 2805
2,44,181 2,27,677 17,384 8,53,442 4,27,989
2,87,540 2,67,720 20,460 10,04,240 5,04,075
k sera sera fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS THE ZOYA FACTOR DREAM GIRL CHHICHHORE MISSION MANGAL
fILMS PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE SAAHO (HINDI) MISSION MANGAL
GROSS
GROSS TOTAL
48 13 150 124 15
366 78 4398 3473 328
40,956 21,016 5,41,991 4,22,887 38,489
49,724 27,100 6,88,258 5,34,846 48,324
49,724 27,100 18,35,196 21,50,140 40,20,511
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
28 September 2019
Box Office India
1 1 1 2 3
WEEK 1 1 2 3 6
From September 20 To September 26, 2019
(Collection from 5 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
78 97 4 167 159 12 15
1875 2749 38 7916 8517 250 462
1,88,427 3,20,272 4,458 9,17,293 9,64,250 21,934 53,463
2,63,161 4,43,660 6,210 12,64,791 13,31,852 31,710 74,600
2,63,161 4,43,660 6,210 35,24,689 57,03,159 79,80,448 1,04,65,467
1 1 1 2 3 4 6
From September 20 To September 26, 2019
9 screens
fILMS
WEEK
(Collection from 11 stations)
NETT
wide angle NO
GROSS TOTAL 2,87,540 2,67,720 20,460 25,44,675 43,72,455
AUDIENCE
19 screens
1 2 3 4 5 6 7
(Collection from 3 stations)
SHOWS
CITY GOLD NO
1 1 1 2 3
From September 20 To September 26, 2019
26 screens
NO
WEEK
From September 20 To September 26, 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
8 23 5 7 28
253 807 65 369 1002
32,479 1,02,373 9,972 53,067 1,33,647
38,485 1,21,245 11,915 62,825 1,58,380
38,485 1,21,245 11,915 3,32,895 9,26,695
WEEK 1 1 1 2 3
31
BOX OFFICE COLLECTION
star world
From September 20 To September 26, 2019
16 screens
NO
fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
2220 1275 462 8526 1789
2,75,982 1,67,629 57,940 11,22,193 2,26,526
-
2,75,982 1,67,629 57,940 29,70,024 27,71,734
M2K CINEMAS fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
AUDIENCE
NETT
GROSS
GROSS TOTAL
35 14 25 70 45
1514 730 112 15788 5977
2,69,944 1,14,412 20,079 28,58,332 10,47,692
3,18,201 1,34,810 23,673 33,70,727 12,34,566
3,18,201 1,34,810 23,673 76,64,595 66,40,975
1 2 3 4 5 6
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE MISSION MANGAL
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM DREAM GIRL CHHICHHORE SAAHO (HINDI)
NETT
GROSS
GROSS TOTAL
8 13 6 25 19 1
152 208 26 1306 939 53
12,027 21,152 2,911 1,30,505 90,349 3,202
15,400 27,260 3,740 2,13,190 1,16,550 4,013
15,400 27,260 3,740 4,37,410 8,28,110 12,19,575
1 2
PAL PAL DIL KE PAAS DREAM GIRL
AUDIENCE
NETT
GROSS
GROSS TOTAL
8 16 32 42 8
135 243 944 1208 116
7,050 18,564 69,514 90,360 8,724
11,310 27,450 1,03,630 1,34,140 12,940
11,310 27,450 8,27,630 20,42,451 26,43,447
1 2 3 4 5 6 7
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI)
AUDIENCE
NETT
GROSS
GROSS TOTAL
24 35
1742 7170
2,24,759 9,83,337
2,64,605 11,60,355
2,64,605 36,55,430
1 2 3 4
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL
32
1 2
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
14 18 7 40 7 14 6
333 415 90 1379 209 725 132
39,846 49,236 10,677 1,63,605 24,796 86,014 15,660
50,350 62,250 13,500 2,06,850 31,350 1,08,750 19,800
50,350 62,250 13,500 6,85,160 1,38,750 9,22,770 21,30,170
WEEK 1 1 1 2 2 3 4
From September 20 To September 26, 2019
14 screens fILMS
WEEK
From September 20 To September 26, 2019
REDROCKS NO
1 1 2 3 4
(Collection from 2 stations)
SHOWS
7 screens
fILMS
WEEK
From September 20 To September 26, 2019
SSR RUPASI NO
1 1 1 2 3 6
(Collection from 1 stations)
SHOWS
4 screens
fILMS
WEEK
From September 20 To September 26, 2019
piccadily square NO
(Collection from 1 stations)
AUDIENCE
7 screens fILMS
1 1 1 2 3
SHOWS
cinemarc NO
WEEK
From September 20 To September 26, 2019
3 screens
fILMS
1 1 1 2 3
(Collection from 2 stations)
SHOWS
FORTUNE CINEPLEX NO
WEEK
From September 20 To September 26, 2019
5 screens
NO
(Collection from 5 stations)
(Collection from 6 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
68 49 2 52
1540 724 27 1640
1,82,331 73,424 3,517 1,92,203
2,15,150 86,640 4,150 2,26,800
2,15,150 86,640 4,150 11,77,610
Box Office India
WEEK 1 1 1 2
28 September 2019
Vinay
From September 20 To September 26, 2019
3 screens
NO
fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
17 19 8 20 24
411 376 57 346 525
39,679 35,811 4,780 33,605 45,521
47,736 43,127 5,704 40,372 54,701
47,736 43,127 5,704 1,93,411 3,56,028
London Paris fILMS
1 2 3 4 5 6
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE
AUDIENCE
NETT
GROSS
GROSS TOTAL
14 14 14 21 7 7
198 137 224 581 360 374
28,014 22,677 41,037 90,557 63,714 76,875
33,870 27,472 49,680 1,09,600 77,012 92,612
33,870 27,472 49,680 4,02,022 1,51,642 7,14,486
fILMS DREAM GIRL
AUDIENCE
NETT
GROSS
GROSS TOTAL
24
10200
13,65,435
15,94,640
36,76,470
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
1,67,042 84,050 14,697 10,54,404 3,80,794
-
1,67,042 84,050 14,697 26,89,177 28,48,859
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
Rolling OMReels NO
fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
1,36,745 98,116 16,373 4,62,424 2,37,889
-
1,36,745 98,116 16,373 12,49,425 15,17,913
Rolling Reels
1 2 3 4
PAL PAL DIL KE PAAS THE ZOYA FACTOR DREAM GIRL CHHICHHORE
28 September 2019
Box Office India
WEEK 1 1 1 2 3
From September 20 To September 26, 2019
3 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
62,983 38,880 5,932 3,99,485 1,97,374
-
62,983 38,880 5,932 11,07,643 12,20,406
WEEK 1 1 1 2 3
From September 20 To September 26, 2019
2 screens
fILMS
1 1 1 2 3
(Collection from 1 stations)
SHOWS
mOVIE lOUNGE NO
WEEK
From September 20 To September 26, 2019
2 screens
fILMS
2
(Collection from 1 stations)
SHOWS
bmg Cinema NO
WEEK
From September 20 To September 26, 2019
3 screens
fILMS
1 1 1 2 2 3
(Collection from 1 stations)
SHOWS
sarv NO
WEEK
From September 20 To September 26, 2019
1 screens
1
1 1 1 2 3
(Collection from 1 station)
SHOWS
Raj Mandir NO
WEEK
From September 20 To September 26, 2019
2 screens
NO
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
-
-
30,663 12,536 2,10,585 1,09,927
-
(Collection from 1 stations)
GROSS TOTAL 30,663 12,536 5,55,443 5,77,902
WEEK 1 1 2 3
33
BOX OFFICE COLLECTION
M4U OM NO
fILMS
1 2
PRASSTHANAM SAAHO (HINDI)
M4U
From September 20 To September 26, 2019
2 screens
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
39,501 10,377
-
39,501 -
MAXX fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
1,13,819 15,569 6,911 2,18,472 57,629
-
1,13,819 15,569 6,911 6,51,585 8,78,405
1 2
WEEK 1 1 1 2 3
From September 20 To September 26, 2019
3 screens
fILMS
1 4
(Collection from 2 stations)
SHOWS
ELITE NO
WEEK
From September 20 To September 26, 2019
5 screens NO
(Collection from 1 stations)
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
PAL PAL DIL KE PAAS
-
-
42,016
-
42,016
1
PRASSTHANAM
-
-
5,870
-
5,870
1
3
THE ZOYA FACTOR
-
-
19,226
-
19,226
1
4
DREAM GIRL
-
-
7,17,294
-
16,65,254
2
5
CHHICHHORE
-
-
2,38,732
-
15,55,062
3
movie world
From September 20 To September 26, 2019
8 screens
NO
fILMS
1 2 3 4
PAL PAL DIL KE PAAS PRASSTHANAM DREAM GIRL CHHICHHORE
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
40,919 1,02,005 1,68,599 15,212
-
40,919 1,02,005 3,65,850 -
1 2 3 4
PAL PAL DIL KE PAAS PRASSTHANAM DREAM GIRL CHHICHHORE
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM DREAM GIRL CHHICHHORE SAAHO (HINDI)
TOP 3 NO
fILMS
1 2 3 4
PAL PAL DIL KE PAAS DREAM GIRL CHHICHHORE SAAHO (HINDI)
NETT
GROSS
GROSS TOTAL
10 10 22 26
183 168 473 731
18,825 19,677 50,652 77,156
26,560 27,180 71,150 1,08,420
26,560 27,180 1,73,890 3,98,040
fILMS PRASSTHANAM
34
1 1 2 3
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
28 35 21 28 21
424 2480 434 918 332
54,406 3,49,452 50,793 1,34,618 42,592
74,600 4,74,270 70,500 1,81,800 48560
74,600 4,74,270 3,24,910 9,45,690 -
TOP 3
WEEK 1 1 2 3 4
From September 20 To September 26, 2019
2 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
43,479 18,795 32,852 7,729
-
43,479 -
WEEK 1 2 3 4
From September 20 To September 26, 2019
4 screens
1
WEEK
From September 20 To September 26, 2019
OPERA NO
(Collection from 1 stations)
AUDIENCE
5 screens
fILMS
1 1 2 3
SHOWS
cosmoplex NO
WEEK
From September 20 To September 26, 2019
3 screens
fILMS
(Collection from 3 stations)
SHOWS
cine park NO
WEEK
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
27
1184
19,796
22,496
22,496
Box Office India
WEEK 1
28 September 2019
Seven Sky Multiplex
From September 20 To September 26, 2019
4 screens NO
fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
om NO
fILMS
1 2 3
PAL PAL DIL KE PAAS PRASSTHANAM DREAM GIRL
OM Ragini NO 1
PAL PAL DIL KE PAAS PRASSTHANAM
3
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
28 28 14 14 21
468 525 151 321 1227
82,429 95,826 29,004 48,919 2,00,755
1,08,920 1,26,158 38,000 65,750 2,67,408
1,08,920 1,26,158 38,000 3,29,608 9,49,572
om
WEEK 1 1 1 2 3
From September 20 To September 26, 2019
2 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
24 24 14
338 278 339
43,441 35,073 50,841
-
43,441 35,073 1,64,222
Ragini
WEEK 1 1 2
From September 20 To September 26, 2019
2 screens
fILMS
2
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
WEEK
8
236
20,999
30,680
30,680
1
11
324
32,948
46,980
46,980
1
THE ZOYA FACTOR
1
14
1,483
2,100
2,100
1
4
DREAM GIRL
6
230
20,465
29,900
2,12,900
2
5
CHHICHHORE
9
360
30,750
44,840
4,20,510
3
OM NO
fILMS
1
PRASSTHANAM
VELVET OM NO
fILMS
1 2
PAL PAL DIL KE PAAS PRASSTHANAM
OM NO
fILMS
1 2 3 4 5
PAL PAL DIL KE PAAS PRASSTHANAM THE ZOYA FACTOR DREAM GIRL CHHICHHORE
ENTERTAINMENT PARK NO
fILMS
1 2 3 4 5 6
PAL PAL DIL KE PAAS THE ZOYA FACTOR DREAM GIRL SECTION 375 CHHICHHORE SAAHO (HINDI)
OM NO
fILMS
1
DREAM GIRL
28 September 2019
Box Office India
Maharaja
From September 20 To September 26, 2019
2 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
28
-
17,290
-
17,290
VELVET
WEEK 1
From September 20 To September 26, 2019
2 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
23 21
214 271
15,956 19,530
-
15,956 19,530
svf
WEEK 1 1
From September 20 To September 26, 2019
13 screens
(Collection from 8 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
39 48 25 116 56
586 308 210 3079 1765
64,604 26,818 25,162 3,21,299 1,82,972
78,650 32,336 30,580 3,89,464 2,21,231
78,650 32,336 30,580 12,75,082 18,89,183
ENTERTAINMENT PARK
WEEK 1 1 1 2 3
From September 20 To September 26, 2019
2 screens
(Collection from 1 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
-
-
79,224 10,314 1,83,036 19,377 2,41,086 21,328
-
79,224 10,314 -
DIVINE CINEMAS
WEEK 1 1 2 2 3 4
From September 20 To September 26, 2019
4 screens
(Collection from 2 stations)
SHOWS
AUDIENCE
NETT
GROSS
GROSS TOTAL
22
474
28,447
37,700
-
WEEK 3
35
BOX OFFICE COLLECTION
Prassthanam - daywise collection Prassthanam
1st Day
2nd Day
3rd Day
4th Day
5th Day
6th Day
7th Day
1st Week
Mumbai
24,00,000
34,00,000
40,00,000
13,00,000
10,00,000
9,00,000
8,00,000
1,38,00,000
Delhi-UP
20,00,000
25,00,000
30,00,000
12,00,000
10,00,000
10,00,000
10,00,000
1,17,00,000
East Punjab
10,00,000
10,00,000
12,00,000
6,00,000
4,00,000
3,00,000
3,00,000
48,00,000
CP
5,00,000
6,00,000
7,00,000
3,00,000
3,00,000
2,00,000
1,00,000
27,00,000
CI
3,00,000
4,00,000
5,00,000
2,00,000
2,00,000
2,00,000
1,00,000
19,00,000
Rajasthan
4,00,000
5,00,000
6,00,000
2,00,000
2,00,000
2,00,000
1,00,000
22,00,000
Nizam
3,00,000
4,00,000
5,00,000
2,00,000
2,00,000
2,00,000
1,00,000
19,00,000
Mysore
2,00,000
4,00,000
4,00,000
1,00,000
1,00,000
1,00,000
1,00,000
14,00,000
West Bengal
3,00,000
5,00,000
6,00,000
1,00,000
1,00,000
1,00,000
1,00,000
18,00,000
Bihar-Jharkhand
2,00,000
3,00,000
4,00,000
2,00,000
2,00,000
2,00,000
1,00,000
16,00,000
Assam
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
50,000
6,50,000
Orissa
1,00,000
2,00,000
2,00,000
1,00,000
1,00,000
1,00,000
50,000
8,50,000
TNK
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
7,00,000
Total
79,00,000
1,04,00,000
1,23,00,000
47,00,000
40,00,000
37,00,000
30,00,000
4,60,00,000
Pal Pal Dil Ke Paas - daywise collection PPDKP
1st Day
2nd Day
3rd Day
4th Day
5th Day
6th Day
7th Day
1st Week
Mumbai
28,00,000
40,00,000
48,00,000
18,00,000
17,00,000
16,00,000
14,00,000
1,81,00,000
Delhi-UP
35,00,000
42,00,000
50,00,000
21,00,000
20,00,000
18,00,000
12,00,000
1,98,00,000
East Punjab
18,00,000
22,00,000
26,00,000
8,00,000
7,00,000
6,00,000
5,00,000
92,00,000
CP
5,00,000
7,00,000
9,00,000
3,00,000
3,00,000
2,00,000
2,00,000
31,00,000
CI
3,00,000
4,00,000
6,00,000
2,00,000
2,00,000
2,00,000
2,00,000
21,00,000
Rajasthan
4,00,000
5,00,000
7,00,000
2,00,000
2,00,000
2,00,000
2,00,000
24,00,000
Nizam
4,00,000
4,00,000
6,00,000
2,00,000
2,00,000
2,00,000
2,00,000
22,00,000
Mysore
4,00,000
6,00,000
6,00,000
2,00,000
2,00,000
2,00,000
2,00,000
24,00,000
West Bengal
5,00,000
5,00,000
6,00,000
2,00,000
2,00,000
2,00,000
2,00,000
24,00,000
Bihar-Jharkhand
3,00,000
3,00,000
5,00,000
1,50,000
1,50,000
1,50,000
1,00,000
16,50,000
Assam
1,00,000
1,00,000
2,00,000
50,000
50,000
50,000
25,000
5,75,000
Orissa
1,00,000
1,00,000
2,00,000
50,000
50,000
50,000
25,000
5,75,000
TNK
1,00,000
1,00,000
2,00,000
50,000
50,000
50,000
50,000
6,00,000
Total
1,12,00,000
1,41,00,000
1,75,00,000
63,00,000
60,00,000
55,00,000
45,00,000
6,51,00,000
The Zoya Factor - daywise collection The Zoya Factor
1st Day
2nd Day
3rd Day
4th Day
5th Day
6th Day
7th Day
1st Week
Mumbai
20,00,000
24,00,000
25,00,000
6,00,000
5,00,000
4,00,000
3,00,000
87,00,000
Delhi-UP
17,00,000
20,00,000
21,00,000
5,00,000
5,00,000
5,00,000
4,00,000
77,00,000
East Punjab
5,00,000
7,00,000
7,00,000
2,00,000
2,00,000
2,00,000
2,00,000
27,00,000
CP
2,00,000
2,00,000
2,00,000
50,000
50,000
50,000
50,000
8,00,000
CI
2,00,000
2,00,000
2,00,000
50,000
50,000
50,000
50,000
8,00,000
Rajasthan
2,00,000
2,00,000
2,00,000
50,000
50,000
50,000
50,000
8,00,000
Nizam
3,00,000
3,00,000
3,00,000
1,00,000
1,00,000
1,00,000
1,00,000
13,00,000
Mysore
2,00,000
4,00,000
4,00,000
2,00,000
1,00,000
1,00,000
1,00,000
15,00,000
West Bengal
2,50,000
3,00,000
3,00,000
75,000
75,000
75,000
75,000
11,50,000
Bihar-Jharkhand
50,000
1,00,000
1,00,000
25,000
25,000
25,000
25,000
3,50,000
Assam
50,000
50,000
50,000
25,000
25,000
25,000
25,000
2,50,000
Orissa
50,000
50,000
50,000
25,000
25,000
25,000
25,000
2,50,000
TNK
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
1,00,000
7,00,000
Total
58,00,000
70,00,000
72,00,000
20,00,000
18,00,000
17,00,000
15,00,000
2,70,00,000
36
Box Office India
28 September 2019
Dream Girl - daywise collection Dream Girl
1st Week
8th Day
9th Day
10th Day
11th Day
12th Day
13th Day
14th Day
2nd Week
Grand Total
Mumbai
18,42,00,000
1,31,00,000
2,51,00,000
2,84,00,000
86,00,000
58,00,000
73,00,000
66,00,000
9,49,00,000
27,91,00,000
Delhi-UP
20,70,00,000
1,72,00,000
2,73,00,000
3,19,00,000
1,26,00,000
1,15,00,000
1,02,00,000
1,02,00,000
12,09,00,000
32,79,00,000
East Punjab
9,26,00,000
64,00,000
1,08,00,000
1,27,00,000
48,00,000
43,00,000
37,00,000
35,00,000
4,62,00,000
13,88,00,000
CP
3,28,00,000
23,00,000
37,00,000
56,00,000
19,00,000
20,00,000
17,00,000
16,00,000
1,88,00,000
5,16,00,000
CI
3,20,00,000
24,00,000
41,00,000
60,00,000
20,00,000
21,00,000
15,00,000
16,00,000
1,97,00,000
5,17,00,000
Rajasthan
4,10,00,000
32,00,000
52,00,000
77,00,000
24,00,000
23,00,000
21,00,000
19,00,000
2,48,00,000
6,58,00,000
Nizam
2,67,00,000
12,00,000
23,00,000
23,00,000
12,00,000
9,00,000
8,00,000
8,00,000
95,00,000
3,62,00,000
Mysore
3,77,00,000
30,00,000
57,00,000
64,00,000
16,00,000
16,00,000
15,00,000
10,00,000
2,08,00,000
5,85,00,000
West Bengal
2,99,00,000
20,00,000
32,00,000
47,00,000
8,00,000
11,00,000
7,00,000
11,00,000
1,36,00,000
4,35,00,000
Bihar-Jharkhand
1,55,00,000
13,00,000
17,00,000
20,00,000
9,00,000
7,00,000
8,00,000
8,00,000
82,00,000
2,37,00,000
Assam
64,00,000
2,00,000
4,00,000
7,00,000
2,00,000
2,00,000
2,00,000
2,00,000
21,00,000
85,00,000
Orissa
1,04,00,000
5,00,000
9,00,000
15,00,000
3,00,000
3,00,000
3,00,000
4,00,000
42,00,000
1,46,00,000
TNK
58,00,000
2,00,000
6,00,000
6,00,000
2,00,000
2,00,000
2,00,000
3,00,000
23,00,000
81,00,000
Total
72,20,00,000
5,30,00,000
9,10,00,000
11,05,00,000
3,75,00,000
3,30,00,000
3,10,00,000
3,00,00,000
38,60,00,000
1,10,80,00,000
Chhichhore - daywise collection Chhichhore
1st Week
2nd Week
15th Day
16th Day
17th Day
18th Day
19th Day
20th Day
21st Day
3rd Week
Grand Total
Mumbai
17,50,00,000
10,72,00,000
70,00,000
1,23,00,000
1,65,00,000
52,00,000
50,00,000
45,00,000
40,00,000
5,45,00,000
33,67,00,000
Delhi-UP
16,45,00,000
9,17,00,000
75,00,000
1,31,00,000
1,75,00,000
56,00,000
55,00,000
50,00,000
45,00,000
5,87,00,000
31,49,00,000
East Punjab
7,16,00,000
4,02,00,000
28,00,000
50,00,000
68,00,000
20,00,000
20,00,000
17,00,000
15,00,000
2,18,00,000
13,36,00,000
CP
3,10,00,000
1,87,00,000
15,00,000
26,00,000
35,00,000
11,00,000
10,00,000
9,00,000
8,00,000
1,14,00,000
6,11,00,000
CI
2,77,00,000
1,60,00,000
13,00,000
23,00,000
30,00,000
10,00,000
9,00,000
8,00,000
7,00,000
1,00,00,000
5,37,00,000
Rajasthan
3,48,00,000
1,94,00,000
16,00,000
28,00,000
38,00,000
12,00,000
11,00,000
10,00,000
9,00,000
1,24,00,000
6,66,00,000
Nizam
4,30,00,000
2,12,00,000
18,00,000
31,00,000
42,00,000
13,00,000
12,00,000
11,00,000
10,00,000
1,37,00,000
7,79,00,000
Mysore
4,10,00,000
2,65,00,000
20,00,000
35,00,000
45,00,000
15,00,000
14,00,000
12,00,000
10,00,000
1,51,00,000
8,26,00,000
West Bengal
2,90,00,000
1,46,00,000
15,00,000
26,00,000
35,00,000
9,00,000
10,00,000
9,00,000
8,00,000
1,12,00,000
5,48,00,000
BiharJharkhand
1,78,00,000
97,00,000
8,00,000
14,00,000
18,00,000
7,00,000
6,00,000
5,00,000
4,00,000
62,00,000
3,37,00,000
Assam
70,00,000
46,00,000
3,00,000
5,00,000
5,00,000
2,00,000
2,00,000
2,00,000
2,00,000
21,00,000
1,37,00,000
Orissa
1,18,00,000
55,00,000
4,00,000
6,00,000
8,00,000
2,00,000
2,00,000
2,00,000
2,00,000
26,00,000
1,99,00,000
TNK
1,04,00,000
1,12,00,000
5,00,000
6,00,000
10,00,000
2,00,000
2,00,000
2,00,000
2,00,000
29,00,000
2,45,00,000
Total
66,46,00,000
38,51,00,000
2,90,00,000
1,62,00,000
22,26,00,000
1,27,23,00,000
5,04,00,000 6,74,00,000 2,11,00,000 2,03,00,000
1,82,00,000
DISCLAIMER: Box Office Information/Figures/Collections contained in this magazine are compiled from a number of sources, including our own research. While every effort is made to ensure completeness and authenticity of data/figures/information, Box Office India makes no Representation about the accuracy and reliability of the data. Box Office India, Select Publishing Company, Select Media 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.
28 September 2019
Box Office India
37
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
2
248
490
17,28,94,714
15,02,13,834
6,37,988
5,54,295
47,50,15,073
41,23,48,045
2
Chhichhore
Hindi
FOXSTAR
3
430
739
16,90,34,320
14,28,77,813
3,70,689
3,13,329
88,32,37,743
75,18,73,738
3
Nikka Zaildar 3
Punjabi
V18
1
87
127
3,37,68,766
2,89,19,818
2,98,839
2,55,928
3,37,68,766
2,89,19,818
4
Pal Pal Dilke Paas
Hindi
ZMP
1
272
343
3,04,50,439
2,68,23,113
89,560
78,892
3,04,99,156
2,68,64,590
5
Gaddalakonda Ganesh
Telugu
14RLS
1
54
87
2,90,01,061
2,47,80,873
4,67,759
3,99,691
2,90,01,061
2,47,80,873
6
Kaappaan
Tamil
LYCA
1
62
93
2,70,13,474
2,22,05,482
3,70,048
3,04,185
2,70,13,474
2,22,05,482
7
The Zoya Factor
Hindi
FOXSTAR
1
275
327
1,82,15,195
1,55,74,078
42,859
36,645
1,82,20,075
1,55,78,214
8
Rambo: Last Blood
English
PVR
1
164
234
1,70,34,742
1,45,84,206
86,471
74,032
1,72,43,332
1,47,57,826
9
Prassthanam
Hindi
NHSTUDZ
1
182
225
1,47,67,149
1,31,88,308
61,021
54,497
1,47,94,869
1,32,11,761
10
Gang Leader
Telugu
MYTHRI
2
35
51
1,00,93,480
86,03,225
2,40,321
2,04,839
4,48,75,299
3,82,05,654
11
Section 375
Hindi
PNMST
2
56
75
77,83,360
67,66,703
1,27,596
1,10,930
4,23,16,814
3,69,31,983
12
Pehlwaan
Kannada
ZMP
2
24
36
69,50,816
63,26,802
2,78,033
2,53,072
3,98,79,692
3,87,61,946
13
Mission Mangal
Hindi
FOXSTAR
6
46
52
34,96,571
28,82,667
61,343
50,573
1,23,76,35,379
1,04,60,14,153
14
It: Chapter Two
English
WBI
3
35
40
28,84,597
24,67,002
75,910
64,921
9,19,56,261
8,07,25,535
15
Oththa Seruppu Size -7
Tamil
INDP
1
10
18
20,03,879
15,90,852
1,82,171
1,44,623
20,03,879
15,90,852
16
Love Action Drama
Malayalam
INDP
3
8
11
17,58,709
14,48,268
1,95,412
1,60,919
1,34,56,851
1,13,00,608
17
Saaho
Telugu
UVC
4
20
23
15,00,482
12,84,970
65,238
55,868
60,47,30,629
52,33,97,888
18
Sivappu Manjal Pachai
Tamil
ABSHKF
3
7
10
13,46,132
10,57,028
1,92,305
1,51,004
74,31,381
58,98,408
19
Comali
Tamil
VELS
6
10
13
10,20,687
8,10,296
1,02,069
81,030
3,92,16,661
3,20,07,650
20
The Angry Birds Movie 2
English
SPE
5
15
15
9,97,254
8,25,565
43,359
35,894
6,99,29,530
5,76,31,700
2040
3009
55,20,15,827
47,32,30,905
3,72,22,25,925
3,18,30,06,723
Date : 20 - 26 September Note: INOX data is partial. Data from 28 reporting Cinema Chains & Select Independent Cinemas only.
38
Box Office India
28 September 2019
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