BOX OFFICE INDIA MAGAZINE - Latest Issue - 19th October 2019 by BOX OFFICE INDIA

19 October 2019

Vol. 11

Issue 07

India’s Premier Film Trade Magazine

Grey Family Matters

Page 08

Saif Ali Khan on Laal Kaptaan, a fascination for dark characters and his transformation in the Hindi film industry over the years

Three

As Ajay Devgn's banner joins Netflix for the Original Tribhanga, the actordirector-producer talks about the venture and why he chose to go digital

Page 11

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Volume 11 • Issue 07 • 19 October 2019

EDITOR Vajir Singh vajir@boxofficeindia.co.in

Ajay Devgn Each year we see the box office collections going up and at the same we see more and more people choosing to stream content direct to their homes. It’s ultimately what the viewers want and when they want it. And we know that they want both.

ASSOCIATE EDITOR Shikha Saroj Gupta shikha@boxofficeindia.co.in

Sub-Editor and Senior Correspondent Padma Iyer padma@boxofficeindia.co.in

Editorial Assistants Titas Chowdhury titas@boxofficeindia.co.in

Saif Ali Khan I feel the idea of playing the classic kind of hero (is not my cup of tea) and Hindi films historically have had a really strong sense of ‘good’ in the Ram. I don’t think the Ram like characters have ever really suited me. At most it’s the Krishna like character that is my kind of a thing. So I think it’s just more interesting to be a little more real, a little darker somewhere.

Bhavi Gathani bhavi@boxofficeindia.co.in

Video Content Head Anita Britto anita@boxofficeindia.co.in

SENIOR DESIGNER Rohit Patil

Navdeep Singh I think I have a dark outlook towards life. In thrillers, there aren’t many different things explored and I think that is what draws me to this space. And so many musicals and romantic films are being made, getting that one unique idea is not easy. Hence I think that is why I end up working in this genre.

rohit@boxofficeindia.co.in

PHOTOGRAPHERS Yogen Shah Rohit Patil Mahendra Kumar Gajbhare

Vaibhav Adivarekar vaibhav@boxofficeindia.co.in Mob: 91-9769396866

EDITORIAL & ADVERTISING OFFICE

Aashish Singh We are creating content that we want the subscribers to sit at home and watch. But that doesn’t mean that they won’t go to the theatres. It is about them wanting to watch content that should be the push. Let us keep them engaged there rather than having them spend time somewhere else.

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Sohum Shah India is a big country and there is an audience for all kinds of content. If you make a film with a lot of love and diligence, you can reach out to a wide audience. I believe that the success of Tumbbad will help me helm and be part of other interesting projects.

REG: MAHENG/2009/56446

19 October 2019 Box Office India

QUOTE UNQUOTE

India’s Premier Film Trade Magazine

GOLD REVIEWS

Laal Kaptaan Banners: Colour Yellow Productions,

Eros International Producers: Colour Yellow Productions,

Eros International Director: Navdeep Singh Cast: Saif Ali Khan, Manav Vij, Deepak Dobriyal, Zoya Hussain, Simone Singh, Ameer Bashir Writers: Deepak Venkatesha & Navdeep Singh (Story & Screenplay), Sudip Sharma (Dialogue) Music: Samira Koppikar

evenge dramas have been a favourite subject in Bollywood over the years. But when you get a film with a novel treatment of the hero being the avenger and that too not in a urban or even rural setting but as a Naga Sadhu at a time when the East India Company is just making inroads in India, your interest is bound to be high. Does the momentum hold throughout in this saga? We will tell you that soon but first, the basics. We have our protagonist Gossain- a bundle of contradictions, he is a Naga Sadhu wearing an English army jacket, he is also a bounty hunter. While he goes about killing people who have rewards attached to their capture, his ultimate aim is to reach Rehmat Khan and extract revenge. He gets a tip from Noor bai about the man he has been hunting for 20 years. On the way to Rehmat’s location he is attacked by the Afghans. He manages to reach the place, only to find it abandoned. Badly wounded he loses consciousness. When he finally wakes up, he finds himself in the presence of a widow. She nurses him back to health and asks to be taken under his fold. In exchange she promises to take him to Rehmat Khan. After some reluctance Gossain lets her tag along. The Marathas who have been cheated of their money are also chasing Rehmat. In this entire wild goose chase Gossain is captured by Rehmat. What is the story of Gossain? Why does he want to take revenge from Rehmat? How is the widow involved in the story? How does this revenge saga end? That is what the rest of the movie is all about.

Navdeep Singh who has given us interesting thrillers like Manorama Six Feet Under and NH10, helms his most extravagant and challenging film with Laal Kaptaan. The canvas is engaging, the locations edgy, the story is interesting, but the film fails in the execution stage. The first half is extremely tedious and takes forever to get us into the groove of the story. Post interval there are some interesting moments, but by then you would have lost interest in the plot. Despite the flaws in the narrative, full marks to the other technical aspects of the film. Shanker Raman’s cinematography is breathtaking. He brings the rough terrains to life. The close-up shots are remarkable and make you uncomfortable when they ought to. Maxima Basu does a marvellous job with the costume design, each character getting a distinct style and at the same time maintaining the mood of the era it is set in. There are some really standout action pieces and the pre-climax portion is well-executed. Samira Koppikar’s music has the ‘malang’ feel as well as the background score by Naren Chandavarkar and

Benedict Taylor gives the film the Western touch of intrigue and suspense. If only the same could have translated in the screenplay and some taut editing, the film would have been a different experience. Saif Ali Khan as Gossain has given the role his blood, sweat and tears. His body language, the intensity in his eyes, the action scenes, every frame that he is in, he has done a brilliant job. Manav Vij as Rehmat Khan has his moments. The character could have been more layered, but the actor does a decent job. Deepak Dobriyal as the tracker is a delight to watch. He gets under the skin of the character and gives the movie its hilarious moments. Though Laal Kaptaan seems to be a male-driven film, the two female actors Zoya Hussain and Simone Singh have powerful and important roles. As the widow, Zoya gives her character the right amount of intrigue as well as innocence. Simone as Rehmat Khan’s wife is fiery and strong. The rest of the cast does a good job. Verdict: Strictly for Saif Ali Khan fans. Rating: **

Karo Dil Ki

Box Office India

19 October 2019

Twitter Poll

27%

15% 15%

8 cr – 12 cr

Housefull 4

43%

Saand Ki Aankh

Instagram Poll

120 cr –150 cr

150 cr – 170 cr

170 cr – 200 cr

Above 200 cr

44%

35%

20%

21%

27%

32%

31%

Saand Ki Aankh 8 cr – 12 cr

12 cr – 15 cr 15 cr – 20 cr

28%

12 cr – 15 cr

23%

14%

Above 20 cr

18%

15 cr – 20 cr Above 20 cr

All figures in crores (rupees)

Dynamic Trade Estimate of Box Office

200

Exhibitors

200

Distributors Bookies

150

175 150

100

50 15

0 Housefull 4 - October 25, 2019

19 October 2019

Box Office India

Saand Ki Aankh - October 25, 2019

TRADE TRAC

Netizens Predict Lifetime Collections

Next ATTRACTION

October 2019 - December 2020 Oct 25, 2019 Housefull 4 Saand Ki Aankh Made In China Nov 01, 2019 Bypass Road Bhangra Paa Le Nov 07, 2019 Bala Nov 08, 2019 Shikara Ujda Chaman Nov 14, 2019 Jhalki Nov 15, 2019 Marjaavaan Satellite Shankar Motichoor Chaknachoor Nov 22, 2019 Pagalpanti Ramprasad Ki Tehrvi Nov 29, 2019 Dil Bechara Jawaani Jaaneman Commando 3 Dec 06, 2019 Pati Patni Aur Woh Panipat Aadhaar X Ray Dec 13, 2019 Mardaani 2 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 Jan 31, 2020 Turram Khan Feb 14, 2020 Malang Aaj Kal Feb 21, 2020 Chehre Anurag Basu’s yet untitled Bhoot: Part 1 The Haunted Ship

Housefull 4

Saand Ki Aankh

Made In China

Sardar Udham Singh

Mardaani 2

Chehre

Mid 2020

1911

EID 2020

Radhe - Your Most

Wanted Bhai

Summer 2020 Brahmastra

June 12, 2020 Khaali Peeli

Anurag Kashyap-

June 19, 2020 Mumbai Saga

Taapsee Pannu’s next

July 10, 2020

Sadak 2

Shakuntala Devi

July 31, 2020

Shamshera

biopic

Bhool Bhulaiyaa 2

Shiddat

Aug 14, 2020

Bhuj: The Pride Of

Nikamma Mar 06, 2020

Thappad

Baaghi 3

Mar 13, 2020

Gunjan Saxena: Kargil

Girl

Shubh Mangal Zyada

Saavdhan Mar 20, 2020

Angrezi Medium

Mar 27, 2020

Sooryavanshi

India Oct 02, 2020

Sardar Udham Singh

Tiger Shroff’s Rambo

remake

Satyameva Jayate 2

Toofan Diwali 2020

Dhaakad

Prithviraj

April 10, 2020 ‘83

Christmas 2020 Ranbir Kapoor-Ajay

April 17, 2020 RoohiAfza

Devgn’s yet untitled

April 24, 2020 Gulabo Sitabo

Krrish 4

May 01, 2020 Coolie No. 1

Lal Singh Chaddha

May 22, 2020 Laxmmi Bomb

Bachchan Pandey

Bhoot: Part 1 - The Haunted Ship

Box Office India

19 October 2019

Desi ATTRACTION

october 2019 - july 2020 Oct 24, 2019

Hirkani (Mar)

Triple Seat (Mar)

Oct 25, 2019 Bigil (Tam)

Buro Sadhu (Ben)

Kaithi (Tam)

Nov 1, 2019

Copy (Mar)

Ghye Double (Mar)

Khari Biscuit (Mar)

Meeku Maathrame

Cheptha (Tel)

Phangrun (Mar)

Nov 8, 2019

Adithya Varma (Tam)

Moothon (Mal)

Stand Up (Mal)

Vikun Tak (Mar)

Nov 15, 2019 Fatteshikast (Mar)

hirkani (MAr)

triple seat (mar)

girlz (mar)

kaithi (tam)

big brother (mal)

buro sadhu (ben)

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)

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)

bigil (tam)

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

19 October 2019

Box Office India

INTERVIEW

Grey

Grey Matters 08

Matters

Box Office India

19 Ocotber 2019

As Saif Ali Khan’s Laal Kaptaan released this week, the actor talks to Titas Chowdhury about his fascination towards darker characters, his liking towards the western cinema, his transformation over the years in the Hindi film industry and more Hello Saif, how are you doing? I am alright. How are the promotions going on? The promotions are going nice. It’s actually quite relaxed. There is no madness… we haven’t gone on comedy entertainment evenings or anything like that. We probably should have. Anyway, right now we are at a studio in Bandra and my house is next door. I am very happy. Saif, you brought this trend of urban rom-coms to Hindi cinema. But it’s your grey characters that actually proved quite game changing for you. What really fascinated you towards these grey characters? I don’t know, I just feel the idea of playing the classic kind of hero (is not by cup of tea) and Hindi films historically have had a really strong sense of ‘good’ in the Ram. I guess it’s our mythology also. I don’t think the Ram like characters have ever really suited me. At most it’s the Krishna like character that is my kind of a thing. The Rajshri Movies character is may be the closest I have come to being super nice. And even that was quite Kanhaiya like. So I think it’s just more interesting to be a little more real, a little darker somewhere. Maybe because people wanted to make me a chocolate boy when I was starting out that I thought no okay, I am not. (Laughs). When Ek Haseena Thi came out, I don’t know but I just had a natural attraction for characters that are kind of greyer; ideally not dark, just little grey that become good. Or even… Not necessarily good… Yes, not necessarily good. But I am saying it’s more satisfying when they become good, like Race rather than Baazaar which is nice but dark. Or Langda Tyagi from Omkara that is so dark. Yes. Dark like a buffalo in Rajasthan. Woah! Yes. But that’s a universal favourite. I am sure for you also it must be close to your heart. That’s a Shakespearean villain. That’s like Iago. If you read about Iago, that’s

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Box Office India

the only Shakespearean character that has more lines than the hero. He is the greatest villain in western theatre. That’s the role. Navdeep Singh in an interview said that it’s your fascinations for the westerns that drew you towards this film. Yes, I am a big fan of westerns. I don’t

I think it’s just more interesting to be a little more real, a little darker somewhere. Maybe because people wanted to make me a chocolate boy know why but I grew up in Delhi and at that time there wasn’t much there to watch on TV. We used to have a VCR and I used to watch a lot of movies all the time. One of the things that I really loved ever since I was a kid, I discovered, I loved films like A Fistful Of Dollars, For A Few Dollars More and The Good, The Bad And The Ugly, more than anything else. The thing about the western is you have a mysterious central character, you don’t know if he is good or bad.

You have an environment that is really hostile where everybody is kind of out to kill everybody else. It’s like a dangerous place. You have a mysterious guy; you don’t know who he is. He might even be a supernatural character. Is he a ghost? Is he a lie? These are the frontier kind of movies that are exciting for people. There are no rules, there is no law. 18 th century India is wilder than the Wild West. The Naga Sadhu is a more interesting character than the man with no name. In our own culture, all these things are there and I always wanted to do a western but my head was always like a kind of American idea of a western. But it was Navdeep who kind of translated it into our language and therefore it really works, at least in my head. I don’t even know if this will work at the box office because there has been no film like this. It’s got no item songs, none of the usual trappings of the kind of films that we are used to and we enjoy. But I just could not say no to this because it’s so amazing – just the horses, the costumes, the action, the drama and the whole world. This is something that I will be proud of forever. I think this is the film. If people ask me in 5-10 years, which is the one film that you are most proud of, I think I will say Laal Kaptaan. It might even out rank Omkara in my head. Because it has got a little more action, a little more style in terms of say western style. It was the hardest thing we have ever done. You cannot do this with the kind of budget that we did it in, without crazy people exploiting each other. Because you have to be mad and secondly you don’t have the money to really do it. So people will have to go beyond of what they have been paid to do. That’s the only way you can do it. So tell us, how was a day on the set of Laal Kaptaan? Okay, it wasn’t too crazy. So you wake up at about 7 in the morning, do couple of hours of makeup, have the stuff clipped on to your hair until its going bald by pulling out clumps of your hair. Makeup everywhere, body makeup… clothes, this, that but eight people are working on you at the same time. It takes one hour or 45 minutes to do all these things but

INTERVIEW there are too many people around you and I don’t like too many people touching but I have become patient. Somebody is stitching something, somebody is strapping something, it’s taking a long time, then you drive to location for around 45 minutes, sometimes an hour or two away. Then you are under the hot sun, on the horse, doing action with all the clothes on, in the dust and everything… Then with Navdeep sir screaming, ‘why is there a road here? I told you I wanted it to look like a barren land but you made a production road. I am going to kill you all…’ and that’s pretty much every day. (Laughs). In fact, yesterday only he said the same thing. He was always yelling at them for making roads because they kept making roads on location. He was like, ‘you know this movie is set in a time when there were no roads. We want this to be untouched and that’s why we have come two hours. And you have made roads.’ This would be a common fight every day. Yelling, a lot of yelling! Because it was extreme. But it was an amazing thing to pull off. When you see it, it looks like nothing else. Everyone is making films on CGI today. The upcoming film, Tanhaji: The Unsung Warrior which I did for Ajay Devgn’s production house was similar but it was all CGI, on a beautiful set, it was air conditioned, so for sweat you have to spray on. It’s all going to look amazing but this was all live. Uff… there

is just no comparison. It looks also so real. I get tired when I think about what we did. But it looks like it’s going to be super interesting. I think so. Let us talk a little bit about Saif 2.0, which is what you talked about in a recent interview. You are now willing to take more risks, you are willing to work harder. What’s the inspiration behind this? It might be Saif 4.0. I don’t think it is 2.0. See, if Saif 1.0 is Parampara and Aashik Aawara and Yeh Dillagi, then Saif 2.0 is Dil Chahta Hai and what followed after that, Saif 3.0 would be Omkara, etc. and 4.0 would be Sacred Games and Laal Kaaptaan. It’s not 2.0, its 4.0 after 30 years. Are you feeling more creatively satisfied now? Yes, because I think I have understood little bit more about acting and they are making very different things. Also, now I have a little less stress like I have to buy a house one day, or make money to look after my family, there is always responsibilities. But now you can choose a little more. So as soon as I do web show, Ali Abbas Zafar’s Tandav on politics, my next film is Bhoot Police which is a horror comedy. This creative

stuff out there happening can really keep you happy because you have a job you enjoy and respect. It’s nice. It wasn’t always like that. In the 90s we were just working and doing some things that were great but a lot of what I did at that time, I much prefer what I am doing right now. What is your biggest take away from this mysterious character Laal Kaptaan? Just the ability to find some strength in order to play slightly wilder characters because the kind of person he is, everything about him… like when you wear a costume like this, sometimes a costume can wear you. When you are on the horse but you can’t open your eyes because everything is just too heavy. Your head is hurting, the sun is out and all these excuses you can give. But to sit there with your eyes open giving some energy to a bunch of people saying alright I am doing a scene… if you can find that power then you have grown. That growth somewhere happened. It always happens in the bathroom of hotels. I don’t know why but at about 1 am or 2 am in the morning… I think because that’s where the mirror is. Just that preparation for a film with me at some point it happens in the bathroom of a hotel. That’s the final prep. So at some point in this Rajasthan hotel the transformation happened.

Box Office India

19 Ocotber 2019

Ajay Devgn is all set to make his digital debut as his banner Ajay Devgn Ffilms joins Netflix for the Original Tribhanga. The actor-director-producer talks to Box Office India about this new venture and the reason for exploring this space Ajay Devgn Ffilms is making its digital debut. What was the thought behind venturing into this space? The digital platform has given entertainment a new direction. Makers now have the freedom to tell stories in the most authentic way possible. Not only that, it also gives us as filmmakers and content creators the ability to take those stories to an audience who may not necessarily be just in India. The digital medium is the future and truly represents endless possibilities. We are excited to explore them with Netflix.

when they want it. And we know that they want both. What the entry of streaming services has done and rightly so is that they have made the story the central hero. If the story is engaging and entertaining, people will continue to watch. Do you think the web medium lets you push the envelope and engage in more nuanced storytelling, maybe with subjects like Tribhanga, for instance? Absolutely, and this is because this medium is not inhibited by factors that traditional media have to face and workaround. We are free to tell a story in a way that it can be best told and that is what the creative community is excited about.

What was it about the film Tribhanga that made it the right project to take the first step? Tribhanga is a story of three women who live in the same household but belong to different generations. Given the universal nature of the story, we wanted to tell it as a film. When my team and co-producer Banijay Asia got on board with Netflix, we were excited that we could tell this story in a much more nuanced manner and with the highest production standards possible and reach a wider audience. Kajol is part of the project. How creatively involved are you as a producer and she as an actor? Kajol would be best placed to answer about her role in the film but I can say that she is absolutely devoted to bringing alive her character on screen as she does with all roles she takes up. I am creatively vested in the film and all of us at Ajay Devgn Ffilms are excited to make it. Your movies are doing well at the box office. Would you take up an acting project in the digital space at this point in your career? As an actor, it’s the story and the ability to take those stories to the audience is what matters to me. There is nothing in

19 Ocotber 2019

Box Office India

Since Netflix has a reach across 190 countries, was there a thought to give Tribhanga a more universal appeal? The story of Tribhanga itself has a universal appeal. It’s about three women, all from different generations who live together. This inherently is an Indian tradition or a practice, where we live with our parents and grandparents. We are looking forward to taking this story to millions of Netflix members around the world. the pipeline with regards to the digital space as yet but as they say, never say never! The digital space is considered as the big thing today. Do you look at this medium as a competition to cinema? No, not at all. Both streaming and cinema can happily co-exist. Each year we see the box office collections going up and at the same we see more and more people choosing to stream content direct to their homes. It’s ultimately what the viewers want and

How would you describe your association with Netflix and how do you look at the future? Netflix is an amazing partner. What they have done to democratise content or stories worldwide is wonderful. We are excited to work with them on Tribhanga. With services such as Netflix who are reinventing storytelling, breaking all barriers of language, geography and a lot more, it is definitely an exciting time to be a creator or a filmmaker or an actor. I’d personally be open to all opportunities that come my way.

INTERVIEW

Family Three

INTERVIEW

Uncomfortable

Loving It

Director Navdeep Singh and actors Deepak Dobriyal and Manav Vij talk to Padma Iyer about their new film Laal Kaptaan and what they learnt while making this film Navdeep, this is your third film and looking at your work, it looks like you are attracted to dark subjects. Navdeep Singh (NS): I think it has something to do with the fact that maybe I have a dark outlook towards life. Having said that, I think it is the drive to do something different. Even if I had to make a musical I would want to do something different. Even in thrillers, there arenâ&#x20AC;&#x2122;t many different things explored and I think that is what draws me to this space. And given so many musicals and romantic films are being made, getting that one unique idea is not easy. Hence I think that is why end up working in this genre. Manav and Deepak, how did you both come on board Laal Kaptaan? Manav Vij (MV): The first thing is that I came on board very late. I was maybe destined to do this film. I was nervous. Actually I was nervous even when half the film was done. But then

it became easy because I completely surrendered myself to Navdeep. And he was very clear about what he wanted. With regard to character creation, I have always said that even with my previous films it is all about surrendering. That is my theory. I believe that the people who can see film in its totality are the director and writer. And when we come into the picture, our jobs become easier when we surrender ourselves to them. But on the other hand there are people who work on their characters and that is also another way of approaching the role. But I prefer the former. I am lucky that I was able to surrender. My character Rehmat Khan is intense. A lot of hard work has gone into it. We have changed the voice, the way he thinks. The character sketch that I had in my mind is that he is born as a tiger. But because of his karma, he has lived his life as a wolf and he

dies like a snake. There is an animallike side to him, but there is also a psyche behind it. We have not made the character purely dark. Even dark people have another side to them. They also have a point of viewâ&#x20AC;Ś you could say, we all have shades of grey. NS: I genuinely believe that the antagonist or the villain of any story, in his mind he is the hero. We have to always go with that approach that as well. Deepak Dobriyal (DD): When you get a phone call from one of your favourite directors, it is indeed a happy moment. So when you approach the film you are already in a positive mindset. Now coming to this story, when I heard it I knew that this is something different. This is not something that you can visualise immediately. The expression of some aspects of the character lies in the emptiness. And even in the emptiness he carries the prominent visuals. It is

Box Office India

19 Ocotber 2019

very different from what I have done and when I read the script I knew that it was going to be a lot of hard work. I had waited long for a good role and I knew that this was it. And the way my character developed as we shot, it happened over time. Even I donâ&#x20AC;&#x2122;t know how it did. But it was a gradual progression. I didnâ&#x20AC;&#x2122;t have to prepare, it just happened. For the voice, I assumed, since he is with dogs, what if he had rabies! So that became a characteristic. We are influenced by the people around us. Some of their nuances and mannerisms unknowingly creep in. Now this man lives with two dogs. So, it seemed natural for him to imbibe their traits. It is interesting that both of them spoke about animals as a reference point for their characters. Navdeep was it also the thought when you created these characters? NS: Yes, it was more in this film. But normally that is my approach. I usually ask my actors to think of one animal that describes their character. It could be deer or a dog or whatever. I think it helps them focus. Saif Ali Khan is an interesting and unconventional choice for a role like this. What was it about him that made him the perfect choice for Laal Kaptaan? NS: One of the things I like to do is make actors do things out of their comfort zone. In my first film Manorama Six Feet Under, Abhay Deol played a father; in NH10 Anushka Sharma did a very different role. In Saif, I had always felt that he had a potential based on some of the films that he had done. He has a certain swagger, a dangerous side to him. At the same time, he is a very likeable person. This makes a very interesting

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Box Office India

combination, which I feel that not many filmmakers have tapped. So I thought it would be exciting to play with that side of him through this film. What were the challenges that you faced making this film, given that it has been shot in real locations? NS: When you are working in these kinds of extreme locations, weather becomes one of the biggest challenges. But the entire crew and the actors they were so supportive. They were passionate about the film and they brought a certain reality to the final product as well. MV: We as actors are very passionate. We will run behind anyone who holds the torch of the same passion and drive. He (Navdeep) was that person and we just went behind him. We just had to follow him. And if we ever faltered, we looked at him and seeing his determination, we were enthused enough to not give up. We were each otherâ&#x20AC;&#x2122;s support system. And Navdeep was a one-man army managing everything for us and making sure that we got to the end. DD: We are all used to our comfort zones. But this film is about getting out of it, being uncomfortable and getting into difficult situations. At the same time, you have to enjoy that difficult zone. And that was the challenge. I have to say that all through the shoot, despite the extreme conditions not a single person cribbed about it or made an issue. Each one found a way to get through it, someone was just sitting idly or meditating or doing a yoga pose! MV: There is another thing also that made it less challenging. No one has ever put so much trust in me. This is the largest ever role that I have ever played. Of course, there have been films that I have been appreciated in but for him (Navdeep) to out that

kind of trust in me and have the confidence that I could pull it off was a huge thing. Deepak, you are known for your comic timing. But with Baaghi 2 and now this film, is it a conscious effort to change that perception about you? DD: It was a conscious effort, yes. How much ever you try to convince people that you can do other things, there is a tendency to offer you the same kind of roles. Sometimes I feel like sending a note to all filmmakers that whichever role you think that I cannot do, that is the role I want to do. Of course, there can be certain limitations, but at least they should trust and offer different parts. And I enjoy working with such filmmakers who are willing to try something different with me and take that chance. This film is commercial, it has action, it is also a thriller and more. The trailer is just a glimpse, but there is so much more to the film. Finally, what are your expectations for the film? NS: The characters in the film are larger than life and that I think is what will connect with the audience. It has dialoguebaazi and action, which are your mass elements. And of course, there is the novelty of the subject, which will appeal to the multiplex audience. MV: I have never had such a journey and I am extremely proud of it. This film has given me self-respect and made me think better about myself. It is a very special film for me. So I have already won the battle. DD: In this film, if there is any hero, then it is the locations. People will be surprised and curious to know where these places are. So there is a visual treat. There is something in it for everybody and that should appeal to a wider audience.

INTERVIEW

Romancing The Past Zoya Hussain talks to Titas Chowdhury about her recent release, Laal Kaptaan, working with Saif Ali Khan and her love for history Laal Kaptaan is set in a certain era and that required your mannerisms to be a certain way. What was the reference point for your character? I am a huge history buff. Each generation or era has a certain pace of things and brings with it a certain body language and a certain way of speaking. I find anything historical or from another time period really attractive and interesting. We do not get to belong to different time periods in our films that much. I have romanticised the bygone era a little in my mind because the grass is always greener on the other side. Hence, the character that I play in Laal Kaptaan was really interesting for me. I had seen a lot of stuff from before, which served as a reference. My character had a certain poise and way of moving. Navdeep (Singh) gave me a few movies to watch to get into the mood, get the vibe and understand the character. There is a whole lot of mystery surrounding Naga Sadhus. Were you aware of their community before doing the film? Yes, I was aware. They live by a certain kind of module and code of conduct. They believe in brotherhood and togetherness. And it existed even more so at the time during which the film is set. Back then, men went to war and women stayed back at home. Everybody occupied the roles they had to play in order to survive, move forward and live. In this film, you get to see a lot of the Naga Sadhus, especially this particular Naga Sadhu which is Saif’s (Ali Khan) character. What happens with him and how he fits into the whole scheme of things will be revealed in the film. (Smiles) Laal Kaptaan is Saif Ali Khan’s film as he plays the titular character. When you read the script, what scope did you see for yourself in it? He, of course, is the protagonist in the film. And I am the female protagonist in the film. When I read the script, it was so interesting. And I really wanted to work with Navdeep. My character was the only big female part in the film and so there was so much scope to perform. And to be in a historical film and to be able to play a strong and bold character with so much duality drew me to it. And that’s the mystery surrounding my character. Why she is the way she is? Who is she? She

script with great dialogues, getting along with your colleagues and having a good director. These are the things that are important. Laal Kaptaan was so interesting and so different that there was nothing else that needed to convince me. You hail from Delhi and do not belong to a film family. Were films always your passion and acting always on the cards? Since I can remember, acting is all I have done. I have a theatre background. Everybody in my family is from boarding school. So the mentality there is that you need to have hobbies, you need to know how to play an instrument and you need to know how to play a sport. I used to play the metal flute and a lot of sports. I was an outdoor person because we were brought up like that. As I figured out where my interest actually lies, I ended up doing theatre a lot more than music and moving to Bombay seemed like a natural progression of things. I did not know how and where I would end up but I had to give it a shot. appears to be a widow, but is she one really? Even though the film is shrouded in so much mystery, when it actually starts, the story begins unfolding. It is not a film that keeps you hanging until the end. When the film starts, you soon come to know who is who, what they want, why they want it and what they are willing to do to get what they want. How was it working with Saif Ali Khan? He is known to be very intelligent and sharp. He is so much fun! He is an encyclopaedia of books and music. He truly knows everything. He is not very guarded and he is not all about himself. And when you are spending so much time together on a film set, especially a film set like this which is mostly about outdoor shoots, you do end up hanging out, chatting and having fun. Since I was the newest person in the cast, I only had things to learn from everybody. You have made rather unconventional choices as an actor. What drives them? I just like to tell stories. I think it is foolish to take up a project based on how big or small your part is. Sometimes you will have a big part and sometimes you will not. What matters is how much your part fits into the larger scheme of things. It is about being part of a good film or a good

You are someone who likes staying away from the limelight. Is that by choice? No! Until Mukkabaaz came out, I really lived under a rock. (Chuckles) I did not have too much know-how and I still do not know much about the industry and how to navigate through things. I am doing the best that I can. I am very grateful to have the opportunities that I have and I really appreciate the people who have chosen to work with me and are working with me including my team. I am sure I do not make their job any easier because of the way that I am. But now I am like an extroverted introvert. (Laughs) You have your plate full. There is Haathi Mere Saathi and a film with Sanjay Leela Bhansali… I don’t know. (Smiles) So what is in the pipeline? I am doing a bunch of stuff. I have been really lucky that I got great work after Mukkabaaz. I thought I would be sitting at home for two years because you do not get offers so fast! I am super grateful that I have been able to keep working. Now I am at that point where things are done and they are going to be releasing slowly. I am looking forward to them. (Smiles)

Box Office India

19 Ocotber 2019

Aashish Singh, Director - Original Films at Netflix, talks to Titas Chowdhury about the process of choosing films for the platform, the collaboration with Ajay Devgn Ffilms, and future plans at Netflix You had a long association with Yash Raj Films before your stint with Netflix. What made this change of course the right one for you? I had been on the studio side, seen that for 15 years with YRF. Dealt with big films, medium films, small films, understood the business side of it and all of that. But this is the next wave, Netflix, an OTT platform. It is such a wonderful company. Everything that Netflix is doing, there is so much to learn as an individual. After some time you reach a saturation point in your head where you are feeling ‘Where do you go next? Where do you learn next? What’s your next challenge?’ But in a place like Netflix you are learning every day.

that we are green lighting and how are we balancing our portfolio of films and genres. In Netflix, after the mobile plan that we launched, there is a new kind of subscriber that we have. We are definitely very conscious of that. If we are programming for two years down the line, it is very important to know what our subscriber base is going to look like, the regions and cities we are going to be more in. So it is important to plan it that way. Finally it is about giving satisfaction to our consumers, to know who are they and where they come from and of course increasing the base as well. It is a combination of both but first it is about consumer joy and expanding the same.

You must be coming across several scripts every day. What is your process of green lighting scripts? We are very script driven. For us the script is very important. We initially go through the synopsis. If that is exciting, we call for the story and the script and based on that we take our decision. After that it is all about packaging it correctly, getting the right director and all of that. But it is mainly driven by the script.

Talking about trends, are any specific genres that work on the platform? You are from Box Office India and you know that everything is working. There is no set formula to say that only this is working. That is what we are going for. Any story that is compelling we are not holding back saying that we will do only thrillers or horror or anything that typically works on the platform. We are very open to any story and any idea.

When we spoke to Srishti Arya (Director for International Original Film – India, Netflix) earlier, she said that one of the biggest advantages of this platform is that it is not star driven. What is your take on that? We have no pressure of box office and that is the way I would put it. So we can create any content across any genre with no formula to follow. It therefore works in our favour to tell any story that is compelling and engaging. It is also incredible for our subscribers in India as well as globally.

You are collaborating with Ajay Devgn Ffilms for the movie Tribhanga. What can you tell us about this association? We are super excited about collaborating with Ajay Devgn. He is such a knowledgeable actor. He has been working across diverse genres. He has been super successful despite having no godfather so to say. This means he has the pulse on what the audience likes. And most of his films are driven by entertainment and that is the plus of associating with somebody like him. We are looking at diverse films coming out of the ADF banner for us. And there is so much talent in the house. We are working with Kajol and we hope to bring him on the platform as well. There is so much to do with him.

How important is consumer consumption patterns? And have you seen any specific trends? It is pretty important at Netflix. We do have a team for consumer insights that keeps briefing us about it. But more than that it is about what our subscriber base looks like and where it is heading in the next couple of years. So that is a very good input for us to plan our strategy for the kind of films

19 Ocotber 2019

Box Office India

You have already collaborated with Shah Rukh Khan’s Red Chillies Entertainment for three projects. Are there more such plans? Three projects are in media knowledge.

It is project to project actually and it is same with every other collaboration. If you want to know whether we are collaborating with stars and big production houses, then the answer is, yes we are looking at collaborating with the best filmmakers of the country without a doubt because they bring a lot to the table. At the same time we are working with independent filmmakers, people with new ideas, new directors, new actors, new technicians because at Netflix we definitely want to have a balance of both. Finally it is about that compelling story and an engaging film that we can deliver to our consumers. Do you think this space is giving stiff competition to theatrical release of films? We all exist in the same ecosystem. At Netflix we don’t see anything as conflict or competition. We all have to co-exist. In the same ecosystem we are licensing films and there are some great films on our platform. In a way we are involved with the industry and at the same time we are creating content that we want the subscribers to sit at home and watch. But that doesn’t mean that they won’t go to the theatres. It is about them wanting to watch content and that should be the push. Let us keep them engaged there rather than having them spend time somewhere else. Let them be more involved with content. It is about coexisting together and we don’t have to be a threat to the exhibition side or any threat to the industry. What does the road ahead look like? The plan is obviously to build on the current slate that we have. We have a lot of films releasing next year. Currently we are planning for the 2020-21 slate and beyond that. So we want to make content that is more engaging, get some bigger filmmakers in the fray, and if at all get some actors in the fray. But finally it is about delivering the best content to the consumer. And we definitely want to scale up the content we are creating; both on the films and the series side so that our consumers are happy and stick around and add many more subscribers.

INTERVIEW

Net Gain

INTERVIEW

Fable Fever On the completion of one year of fantasy drama Tumbbad, actor-producer Sohum Shah talks to Titas Chowdhury on what made the film such a gem, his plans of creating a franchise and his admiration for Bard Of Blood producer Shah Rukh Khan Congratulations on Tumbbad completing one year of release! The film opened to rave reviews and struck a chord with the audience. What do you think worked in its favour? Thank you so much! Tumbbad was high on novelty. People had not watched anything like that before. This is why it worked at the box office. We had initially thought that it was meant for a niche set of audience and that was reflected in its first week collections. Somebody had asked me if the fact that the film fared so well surprised me. My answer to that person was that we always knew that the film would perform well. Because of this, we had the drive to make the film over a period of six to seven years. It opened to a lukewarm response but eventually, it gained momentum. It performed well at the theatres and people showed it a lot of love even when it came on the OTT platform. The story was so unique, accessible and rooted to Indian culture and yet it was something so new. So we thought how come a film like this never got made? It was like a story our grandmothers would narrate to us. Is there any update on Tumbbad 2 ? We are still in the process of writing a story so that we can make a prequel or a sequel. We will definitely make Tumbbad 2. Even when we were making Tumbbad, we thought that we would create a franchise because that world is so interesting. There is a story that we are working on and I am hopeful that we will crack it very soon. Tumbbad is a good property but creative things take their own time. A story should come to you; you cannot and should not forcefully write a story. How much confidence did the success of Tumbbad give you to take more risks? A lot of it! We could make Tumbbad

because of the immense love that Ship Of Theseus got. We were happy that a film as atrangi as Ship Of Theseus could reach out to so many people. India is a big country and there is an audience for all kinds of content. If you make a film with a lot of love and diligence, you can reach out to a wide audience. I believe that the success of Tumbbad will help me helm and be part of other interesting projects. You recently acted in a short film called Gulabi Lens. What can you tell us about that? Saurabh (Gupta) has directed and produced the film and he will decide on its release. It has a very interesting storyline. It has a bit of romance and this is a genre I have never attempted before. It is about how life unfolds for two people once they get married. It is based on the lives of these two strangers who have an arranged marriage and it also deals with the initial awkwardness they encounter. We recently saw you playing a pivotal part in the Netflix Original series, Bard Of Blood. It ends on a cliffhanger. Is there a season two on the cards? I think so. People showered a lot of love on Bard Of Blood. I think there should be a season two. And when that happens, you will find answers to all the questions that are there in your mind and you will be able to tie all the loose ends. The best part is that there are multiple interpretations of the ending. The more the theories, the better it is. But I cannot say anything. (Chuckles) How was it having big names like Shah Rukh Khan and Netflix backing you?

Jitne actors yahaan aate hain, woh sab Shah Rukh saab ke fans hote hain. They want to be like him. He is an idol to almost everyone. I did not meet him during the shoot but I have met him otherwise. Something happens to me when I see him. I get completely mesmerised every time I see him. He is Godâ&#x20AC;&#x2122;s favourite child. Shah Rukh saab has a very unique aura. He was there with us during the premiere of Bard Of Blood and even then I realised that there is something very special about him. I have met many stars but he is different. He conducts himself so well. He takes such good care of people around him. Talking about Netflix, it is a very respectable platform and they reach out to the right kind of audience. That gives you a lot of reassurance. It was great working with Emraan (Hashmi) too. He is really cool and chilled out. He never lets you feel that you are working with a star of his stature. I was not there on the set for too long but whatever little interaction I had with him was great.Â What are your upcoming projects? I have acted in a short film alongside Kirti Kulhari. It is directed by Pawan Kriplani and produced by Honey Trehan and Abhishek Chaubey. Apart from this, I am doing a film called The Big Bull with Abhishek Bachchan. I have a very interesting role in it. I am currently in Delhi shooting for it. I am also planning to produce something.

Box Office India

19 Ocotber 2019

Viveck Vaswani

Which film is a gun battle to the death between Babu Bihari and Banke Bihari? Who plays these actors in the film?

Name three Hindi films with the word Gun in the title.

5 Name a Hindi film where a mother shoots her son with a gun and kills him.

Who plays Gunmaster G9 in Surakksha?

Name two films with Shootout in their titles.

Answers

Name three Hindi films with the word Bandook in the title.

Who played the title role in Revolver Rani?

Name three films where the heroine plays a gun toting dacoit.

Which Amitabh Bachchan noir film was about a bank robbery and shot entirely in Los Angeles?

Who was the legendary star who played Hunterwali, Diamond Queen, Miss Frontier Mail in films of the same name?

10. Fearless Nadia 9. Shootout At Wadala and Shootout At Lokhandwala 8. Sanjay Guptaâ&#x20AC;&#x2122;s Kaante 7. Daku Hasina (Zeenat Aman), Bandit Queen (Seema Biswas), Ramkali (Hema Malini) 6. Mithun Chakraborty 5. Mother India 4. Kangana Ranaut 3. God And Gun, Guddu Ki Gun, Gun Pe Done 2. Bindiya Aur Bandook, Babumoshai Bandookbaaz, Bandook Dahej Ke Seeney Par Goswami

1. The film is Babumoshai Bandookbaaz and Nawazuddin Siddiqui plays Babu Bihari. Banke Bihari is played by Jatin 19 October 2019

Box Office India

TRADE QUIZ

BULLâ&#x20AC;&#x2122;S EYE!

Differing Demographics VARIATIONS IN SOCIAL MEDIA INTEREST HELP PREDICT A MOVIE’S POTENTIAL BY ALEX EDGHILL

its even split of men and woman, combined with the film’s star power, it made sense that Hustlers exploded on the service. Facebook and Twitter were solid as well but not nearly as big, which speaks to how well the film performed in the under-35 demographic that Instagram appeals to.

TWITTER 330 million monthly active users (134 million daily active users) 63% users are 35–65 years old 34% female 66% male 500 million tweets each day Source: Twitter, theVAB

INSTAGRAM 1 billion monthly active users (500 million daily active users) 88% of users are outside the U.S. 71% of users are under 35 years old Evenly split globally between men and women Source: Instagram, Statistica

FACEBOOK 2.41 billion monthly active users (1.59 billion daily active users) In North America, 25- to 34-year-old females are the biggest single group (12.4% of total users) Globally, 25- to 34-year-old males are the biggest single group (19% of total users) 55% female 45% male in North America 57% male 43% female globally Source: Statistica, Facebook

HUSTLERS

Reporting on social media from “reliable” sources across the web has to take into account the full gamut when it comes to the demographics for each service. This has to do with how the sources gauge usage, as their methods are almost always proprietary. Since the social media giants themselves are notoriously tight-lipped about the details of who accesses their services, the numbers quoted by marketing websites and gurus is a matter of conjecture. To further complicate matters, these huge sites are international, and in most cases North America makes up only a small percentage of total users

>> It’s our working hypothesis that different social media services have varying engagement levels for different genders and ages. This is important for many reasons, most notably because many films appeal primarily to a particular demographic, and the buzz on platforms most used by that demographic should have a disproportionately high level of activity. Following this logic further, we can draw inferences for the potential of future films that have a clear target audience. To test this hypothesis, let’s take a look at a variety of films that have opened recently, see what their stated demographic breakdowns were, and then compare that to how they ranked in the month prior to release on Twitter, Facebook, and Instagram to see if any patterns emerge. At first glance, to the untrained eye there would appear to be zero correlation between platform and target audience, but drilling down further there are clearly nuggets in the data that offer clues to their respective potential. Hustlers made it onto our list of interesting titles because its audience skewed female (68% female versus 32% male), the majority of whom were over 25. Its biggest performance came on Instagram, where it ranked second in total likes during the month leading up to its release. Given the younger population on Instagram and

John Wick: Chapter 3—Parabellum had a high male-skewing audience on opening weekend (64% to 36%), so its strength on Facebook was understandable, especially in light of its strong international opening. While it performed well on the other services, its numbers indicate that its sweet spot was in the 25–35 age range, slightly older than Instagram’s core demographic and slightly younger than Twitter’s core. Spider-Man: Far from Home was included as a control marker for the most part, as it ruled in two of the three services by a wide margin. It was also the only summer film to score a win on Twitter and Instagram, which is a good indication of its broad appeal across both gender and age lines. Aladdin predictably scored big on Facebook and Instagram while Twitter was lukewarm, indicating a failure to connect as strongly with older men. Meanwhile, Detective Pikachu was huge on Twitter and Instagram but didn’t have much of an impact on Facebook. This closer look does offer some clues, but there are a lot of moving parts here. The specific marketing campaign’s strengths and weaknesses, the film’s international appeal, whether it’s a brand-new social media property or an existing one from a franchise, and many other factors play a role in how well a film does on these services. That being said, in a broad sense we can draw meaningful inferences from this analysis. For instance, if a film is performing strongly across all three social media services, there is a very high chance of broad appeal on opening and a likely strong debut. Also, with the broad understanding that Twitter is strongest with older men, Instagram with younger audiences, and Facebook with a large overall presence that is especially potent with the 25–44 age group, we can obtain clues about the buzz for upcoming films. For instance, the upcoming James Bond 25, No Time to Die, already has a very strong showing on Twitter despite not yet having a trailer (no. 3 in terms of likes over the past month, behind only Star Wars: The Last Jedi and Joker), which is a very positive sign of the buzz it is creating for its core demographic. Coming out of this exercise it is clear that demo-

October 19, 2019 BOXOFFICE

NEWS, ANALYSIS AND RESULTS FROM NORTH AMERICA www.boxoffice.com

JOHN WICK: CHAPTER 3— PARABELLUM

graphics on Twitter, Facebook, and Instagram vary significantly enough to impact the consumption and reaction to upcoming films based on their marketing pitches and target audiences. While this is a useful

SPIDER-MAN: FAR FROM HOME

ALADDIN

tool for pundits to gauge potential, it also offers a roadmap for marketers, theaters, and promoters as to how to tailor their pitches. What clips to show, which interviews to push, engagement with fans: This

Top Grossing Films in North America WIDE (1000+ screens)

is the difference between passable, good, and great marketing campaigns, a Rubik’s Cube that more and more distributors and theater chains are attempting to solve than ever before.

Weekend of Oct. 11–13, 2019 WEEKEND

CHNG.

LOCATIONS

CHNG.

AVG.

(U.S. Dollars)

TOTAL WKS DISTRIBUTOR

JOKER

$55,861,403

-42%

4,374

$12,771

$193,590,190

Warner Bros.

THE ADDAMS FAMILY

$30,300,007

—

4,007

—

$7,562

$30,300,007

United Artists

GEMINI MAN

$20,552,372

—

3,642

—

$5,643

$20,552,372

Paramount Pictures

ABOMINABLE

$6,072,235

-49%

3,496

-752

$1,737

$47,873,585

Universal Pictures

DOWNTON ABBEY

$4,881,075

-39%

3,019

-529

$1,617

$82,668,665

Focus Features

HUSTLERS

$3,887,018

-39%

2,357

-673

$1,649

$98,052,357

STX Entertainment

JUDY

$3,217,960

-30%

1,627

169

$1,978

$14,936,811

Roadside Attractions

IT CHAPTER TWO

$3,136,415

-41%

2,303

-860

$1,362

$207,046,839

Warner Bros.

JEXI

$3,106,730

—

2,332

—

$1,332

$3,106,730

Lionsgate / CBS

AD ASTRA

$1,877,925

-55%

1,678

-1232

$1,119

$46,966,357

20th Century Fox

RAMBO: LAST BLOOD

$1,499,971

-58%

1,831

-1069

$819

$42,860,557

Lionsgate

THE LION KING

$684,962

1,687

653

$406

$542,287,663

Walt Disney Pictures

WEEKEND

CHNG.

LOCATIONS

CHNG.

AVG.

LIMITED (100—999 screens)

TOTAL WKS DISTRIBUTOR

GOOD BOYS

$339,245

-62%

374

-632

$907

$82,754,055

Universal Pictures

THE PEANUT BUTTER FALCON

$275,027

-43%

304

-319

$905

$19,510,033

Roadside Attractions

SCARY STORIES TO TELL IN THE DARK

$245,529

-48%

346

-231

$710

$67,921,783

CBS Films / Lionsgate

LINDA RONSTADT: THE SOUND OF MY VOICE

$205,949

-29%

168

-36

$1,226

$3,175,168

Greenwich Enter.

FAST & FURIOUS PRESENTS: HOBBS & SHAW

$185,845

-66%

301

-381

$617

$173,535,195

Universal Pictures

OVERCOMER

$167,192

-60%

298

-374

$561

$34,305,967

Sony Pictures

TOY STORY 4

$159,493

-31%

189

-54

$844

$433,560,473

Disney

ANGEL HAS FALLEN

$146,200

-74%

288

-543

$508

$68,718,675

Lionsgate

METALLICA AND SAN FRANCISCO SYMPHONY: S&M²

$144,736

—

157

—

$922

$907,163

Trafalgar Releasing

DORA AND THE LOST CITY OF GOLD

$140,531

-59%

224

-257

$627

$60,287,451

Paramount Pictures

October 19, 2019 BOXOFFICE

DESI TADKA

Mother Superior

Creative producer Rajesh Mapuskar, lead actors Sonalee Kulkarni and Ameet Khedekar talk to Padma Iyer about their upcoming film Hirkani, the making of the film, challenges faced, the passion that drove the project and more Sonalee, this is a film that you have wanted to make for a very long time. What was it about the story that made it your passion project? Sonalee Kulkarni (SK): More than the story it was about how it came to me, I was shooting for Ajintha which was also a historical film. Pratap Gangawane who mostly writes historical projects, was part of the research team on that film. It was he who brought the story of Hirkani to me. ‘Why don’t you make a film on Hirkani? It can be a cinematic story. Think about it,’ he said. I was excited and thrilled about the idea but as an actor I didn’t know what to do with this thought, Also I was very young and new when this happened; it was eight years ago. So the idea remained and I went about making other films. Three years ago he again approached me and this time he gave me a four-page synopsis of Hirkani to read. And I thought that it was destiny that the film came to me again and I didn’t want to miss doing it. I called up Prasad (Oak) dada, and said that I had a story which I thought that he should direct. I sent him the synopsis and he was really

thrilled and excited. He chose Chinmay Mandlekar to convert that into a two hour script and what a script he came up with! Then there was a lot of struggle in finding the right producers who would believe in us and that just went on for a long time. A lot of people didn’t want do it and I thank them today because that’s how we could reached Rajesh (Mapuskar) sir, because he was destined to make this baby come to life. Prasad had approached many producers for this film, but they were not keen on being part of this film. Rajesh, what convinced you to come on board Hirkani? Rajesh Mapuskar (RM): I am a huge fan of Sonalee and I really admire and appreciate her for what she does. So, she was one of the reasons for doing the film. Secondly, after Ventilator I wanted to make more films because the kind of love which I got for that film especially from the Marathi industry, it was like a homecoming for me. So I thought why not stay home and enjoy all the attention and pampering. Getting pampered was

the best feeling to have. And thirdly, I usually write my films and it takes one to two years to write a project and then another two years to make it. So, I thought why not produce films and tell the stories of others. That is when Falguni Patel and Irada Entertainment, Mr Lawrence D’souza; we all came together. What I got from Falguni and Irada Entertainment is what any creative producer can dream of; the freedom to choose and that is what inspired us. There was no interference; just absolute trust. So then it became our responsibility to come up with something that we could be proud of. It was suring that time that Aakash Pendharkar who was bringing many projects to us, suggested we take a look at Hirkani starring Sonalee being made by Prasad Oak. We all knew the story of Hirkani but as soon as we decided to make the film, all the economics involved in the making of such a film flashed in front of my eyes. But then I heard the narration from Prasad and it was difficult for me to

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find flaws in the script because the way he read the script, I was mesmerised and lost into it. I tried finding flaws but there weren’t any. My guru Vidhu Vinod Chopra had told me that if something is not broken, don’t fix it. So, I thought that it may not be the perfect script in the conventional way of things, but the way Prasad conveyed it to me, it connected with me. With Sanjay Memane, the director of photography teaming up with Prasad on this whole project, actually the passion I saw in the whole team, I had to be part of it and here I am! Ameet how did you become the part of this passionate project? Ameet Khedekar (AK): I got a call one fine day to come and meet for a film. I had absolute no idea about the project. And when I arrived, there was Prasad sir, his better half Manju tai and Sonalee. I was absolutely shocked to see them. And when they gave me the script, it was all the more shocking because it was a historical film. SK: It was almost like an interrogation. He was shell-shocked, I remember. He has absolutely no idea about the film or the character. RM: Well, Ameet agreed to the film on only one condition, that thank god he didn’t have to descend down the fort! (Everyone laughs) But jokes apart, there is an interesting story about the casting of the character of Jeeva. This was the last character to be cast and I was very convinced that Prasad should play the part because the way he read the script, his language... I told him that he should do it. But he said that it was difficult for him to be director and actor. But I could not imagine anyone else in that role. And then one fine day he called me and said that Jeeva has been cast. He told me about Ameet Khedekar and that he was perfect for the role. I had not heard the name before as I was relatively new to the Marathi film industry. He showed me his picture and I immediately warmed up to him. But then I saw him on the first day of shoot. He was shooting for a scene and when I heard him speak he immediately took me to that era. Rajesh, as a creative producer how did you contribute to the film? RM: My biggest contribution as a creative producer was not doing anything. It was difficult since I am also a director and there was a temptation to say or do something. But deep down I knew how I would feel if I had to go through the same thing. And Prasad is such a nice guy that he listens to what you say, but he does what he wants and he does it so well. Since they were making a good product, I took it upon myself to put it out there. Yes, I had to learn about that as well, but then it was a

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humbling to do that. I tried my best to hold the team together which was so beautifully handpicked by Prasad Oak. I still remember the first day we shot in Raigad, we had to tow all the equipment via ropeway, horses and everything all the way up the fort. And when I saw the effort that went into I realised that it was a huge task and that I was better off chilling rather than directing this film. (Everyone laughs) Sonalee, the highlight of the film is the descent that Hirkani does down the fort. It involves VFX and this is something that you have never done before. How did you prepare for it? SK: A lot of people ask me, did you prepare, did you learn mountain climbing or rock climbing or did you rehearse how to do the stunts? I did nothing of that. In fact, my biggest challenge was to unlearn. To know that I can do this, or anything else for that matter, not just the climbing portions. Learning is easy; unlearning is the most difficult part. How can I pretend that my world is just my husband, my child and

of course shooting the entire sequence was challenging; it was a nine-day shoot, actually nine nights. It happened during kojagiri poornima, under the moonlight. We shot during the nights; from 7 pm to 7 am the next day. As an actor I don’t think I will ever get to shoot like this in the future and of course it has never happened in the past. It doesn’t happen often in any actor’s career that they have shot nine consecutive nights and that too all alone. There is no dialogue, no co-actors, nothing. Acting is all about reacting and here who am I going to react to? What am I going to react to? Everything is imaginary. So hats off to the Hollywood filmmakers who make entire films on CGI and VFX. Indian actors don’t get to experience this so much. I am very privileged that I got to experience something like this. At the same time it was a very traumatic because I felt that I was stuck in this situation. Imagine how she must have actually felt! It was physically, mentally and emotionally very straining. But it was all worth it. Ameet, were you at any point intimidated working with Sonalee or Prasad? AK: Yes, but only in the beginning. But once I was with the team and became part of the team, it was good. I believed in Prasad sir’s vision and that was the only thing that I did in the film. As an actor he is brilliant and he has a command over history and the language. When there are such experienced people behind you, things become easy for you. All you need to do is trust them. I didn’t overthink and just followed the instructions. So I guess that is what has reflected on screen as well.

my in-laws. I can act that I am absolutely unaware of the outside world, but then it will show in your eyes that you are acting. It will not look real. So the unlearning part began from looking naïve and innocent; I had to go back to being the person I was ten years before. When I came into the film industry I didn’t know anything. I had to bring that and as an actor that was challenging because the character I am playing is so innocent. For a woman like her, whose world is just her family, milking the cows and doing the chores around the house compared to a woman of today who has seen and experienced the outside world, they are affected differently. And it is that very innocence that probably gave her the courage to climb down that mountain. A woman of today would be more practical if she knew the dangers and think that she could wait till morning. To get that rawness and innocence was the biggest challenge for me. And every time Prasad dada kept reminding me to keep that intact. And

But did you have to learn anything specific, like Sonalee had to? AK: We had to learn the dialect. You can learn a language to communicate, but the inherent sweetness develops over time. We did a lot of readings; sitting, standing, in costume, while doing activities and daily chores, while practicing the scenes. And if in the trailer people are able to see and appreciate that we have been able to capture from that era, then the credit goes to the process. Of course then comes the body language and the stunts that we had to do, like horse-riding and so on. SK: Watching the film and how it has shaped up is definitely overwhelming. But not many actors get to do stuff like this or undergo such a process. How often does it happen that you spend two years on a film to prepare for it? It happens in Hollywood where directors and actors spend four to five years on a project. We are privileged that we got to do a film like this in which our producers and director gave us enough time to prepare to get the characters right. We got to learn so much.

DESI TADKA

The Rajayabhishek song has been talked about a lot and it has received attention and appreciation. What was the idea behind this song? RM: This film lets you get in touch with your core, as a proud Maharashtrian, a proud Indian. Every Maharashtrian feels proud when you mention Raje Shivaji. From that history come Tanaji Malusare, Baji Prabhu Deshpande and Hirkani. It is that history that all of us have and warm up to, feel proud about. That is what every Maharashtrian will connect to. Now coming to the Hirkani story, we know about the incident, but we don’t know her, her family, her personal life… so that has been fictionalised. But it has been kept true to the character. Above all of that this story needed a starting point that will take

you to that era and that is how Prasad approached it. This was completely Prasad Oak’s vision. SK: Both of us are revealed in the song. The beauty of the song is that who is Shivaji Maharaj is not revealed in the song, but his presence is felt throughout it. Prasad dada rightly says the song takes you to that era instantly. Hirkani is releasing during Diwali at the same time as three Bollywood releases. How do you look at the box office? RM: First of all we don’t feel threatened by the big films. It is not arrogance, but the core emotion of this film. The audience that will connect with that is different. The Marathi film audience is very rigid and very loyal. They will come and watch the film.

When it comes to Diwali, people look for reasons to get out of the house, reasons to celebrate. They want to be together and enjoy together. So I feel that everyone who knows Hirkani or wants to know about Hirkani will be curious. That curiosity will bring the audience to the theatres. So I feel it is a film made purely for Diwali and we are working day and night to get it out on that day. Yes, there was pressure from distributor friends to not release the film with the big releases, but there was no other date that we contemplated. We want all films do well. I want people to watch all the films. So I don’t feel threatened, none of us do. AK: When you do all the promotional activities, the love that we are getting, especially from the mothers, they want to watch the film and they also want their children to as well. And like sir said, there is no fear and we have the confidence that the audience will come and watch the film in theatres. SK: I agree with both of them. The day the first clap of the film was given we had decided that the film will come out on Diwali. And making clay forts is part of Diwali and what better occasion to celebrated motherhood than this time. Leaving all this sentiment aside, if we look in recent times, we have had Marathi films come with big Hindi releases during Diwali and doing well at the box office and what better occasion to celebrate this film than this festival!

Falguni Patel, producer of Hirkani talks to Padma Iyer about coming on board the film, her experience working with the team and the kinds of films she wants to be associated with How did you come on board Hirkani? When Prasad Oak narrated the idea to me and Rajesh Mapuskar, the strong female sentiment instantly appealed to us and got us on board. What was it about the film that connected with you? The historical setting especially the fact that the story is based in the glorious times of Shivaji Maharaj really drew us to the project. As I was saying earlier, the strong female sentiment in the script, it is the extraordinary story of a courageous mother, made the project dear to our hearts. How was the experience working with Prasad Oak and Team? It was indeed a wonderful experience of synergistic teamwork. The most challenging factor of the project was that it was to be actually shot on Raigad fort. Climbing up and reaching the top was a

task in itself. The work ethic of the entire team and its dedication towards creating an authentic experience for the audience was brilliant. Before the film went on floors, on the very night of kojagiri, a team actually undertook a trek of Hirkani’s path down Raigad fort, to be able to recreate her descent in the best possible way. The entire team worked with all heart. The concept itself is such that it required a team effort and it’s only because of it that the project could be executed so beautifully. Rajesh Mapuskar is the creative producer and Lawrence D’Souza is the co-producer. How does that dynamic work? Rajesh Mapuskar helmed the creative side and Lawrence D’Souza the infrastructure side of the project. Both have experience in handling large scale projects in their respective areas of expertise. With them was Falguni Sheth who is the pillar of Irada Entertainment.

As a producer what kind of films do you want to make? We want to make good and entertaining films with a social message. That is our focus. There is no particular genre that we are seeking to tap. A good script is what catches our interest. We look forward to creating films of different genres across different languages. How would you compare the regional cinema with Bollywood? It won’t be fair to compare the two but what I can say is that the fun of working in regional cinema lies in the fact that it is more content-based. As opposed to that, Bollywood is more driven by commercial movies. That is one comparison that immediately comes to mind.

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Saand Ki Aankh, the story based on the lives of sharpshooters Chandro and Prakashi Tomar, will be releasing this Diwali. The lyricist Raj Shekhar talks to Bhavi Gathani about his eight-year journey, the reason that makes Saand Ki Aankh a special and inspiring project and the dreamlike feeling when Asha Bhosle sang one of the songs Aasmaa from the film

aj Shekhar is a person who didn’t have any dreams when he first came to Mumbai but as time flew by his life started turning out to be the dream that he never saw coming. “Honestly, when I came to Bombay, I didn’t have any plans as to what I want to do. My friends from Delhi University came here so I just followed them. I never thought that I would become a lyricist. I used to work as an assistant director here and then suddenly I got a chance (as lyricist) in Tanu Weds Manu. I got a lot of love from people for my work after that film. People started believing in my capabilities but I wasn’t yet confident. I always thought that it was a fluke. Even today I feel after every project that this happened in a fluke,” he says. Talking about the influence Mumbai city had on him and the impact the film industry made to his style of approaching his work after his initial success, he says, “After Tanu Weds Manu, I got to write the lyrics for Tanu Weds Manu Returns. I don’t know if I should say this or not but during Tanu Weds Manu Returns, woh kehte hai na… Bombay ki hawa lag jaati hai. That happened to me also. As a contributor, I got corrupted. I started using formulas for my songs. I started thinking that if I will do this or that then the song will become chartbuster… so I started applying calculations in the process of writing songs. However, the songs of Tanu Weds Manu Returns did work out for people. The song Ghani bawri is still getting played in weddings, O saathi mere which was sung by Sonu Nigam was also liked by people. But I soon realised that these calculations can work for you only until they are not seen. So I started paying more attention to improving my craft of writing.” When asked what makes Saand Ki Aankh a special project, Shekhar says, “One of the reasons this is a very special album to me is because it is

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a solo album for me. In today’s times where we see multiple composers and multiple lyricists working on a single project, I am doing all the six songs of the album all alone. In such a thematic film, a film that is based on real persons, it is generally preferred that there is only one composer or a lyricist working on the whole album so that the sur of the whole film remains constant.” “The other reason is that the characters of the film are very inspiring. I remember an interesting incident when I met Tushar Hiranandani for the first time. I thought of him as the person who was part of commercial films. On the other hand, I have mostly been part of films which are not traditionally commercial. I told Tushar that his world was very different from mine but he insisted that I should read the script. When he told me the gist of the film, I had already thought what kind of songs the film would have. But when I read the whole script with Vishal Mishra, we decided on making an entirely new album. There were also times when Tushar and Jagdeep Sidhu, the writer, used to tweak the script according to the songs. The script and the songs were developed together and we were happy about it.” The story of Saand Ki Aankh was

very inspiring for Shekhar. “When I heard the script, I decided that I will make my parents listen to this story. Nowadays we easily say that we are going through mid-life crises. And here we have two 70-80 year old women, forget about accepting their defeat… they are confronting the whole world with a brave face. Their energy was very much inspiring. I am not just saying this, I really want to show this film to my parents who are in their early 60s and they just feel that there is nothing left for them to do after their early retirement. These women, living a suppressed life in such a patriarchal society, they faced the society so bravely for their dreams and today so many people want to tell their story and so many people will soon know what all they have been through,” he says. Legendary singer Asha Bhosle sung the song titled Aasmaa, from Saand Ki Aankh. Describing how he felt when the legend sung his words, Shekhar says, “This was the most surreal experience of my life. I come from a small town but I am not somebody who gets star struck. But imagine this. You are a kid and your grandpa is playing the radio on which there is an announcement saying ‘sangeet hai OP Nayyar ka, likha hai inhone aur awaaz hai Asha Bhosle aur Mohammad Rafi ki’. That is the memory of Ashaji for me. Then when all of a sudden I get to know that Ashaji is going to sing the song written by me, it is a surreal feeling. As I am narrating the whole song to her in the studio, the lyrics and she is writing them down in her handwriting, at that very moment I could see my whole village, my friends, my home, the surroundings, the radio and the songs that were played on it… everything flashing in front of my eyes!” The lyricist smiles as he concludes, “I didn’t come to Mumbai with any dream but all these things surely feel like a dream…”

SOUND BOX

When Dreams Come True

web side story

Up, Up And Away!

Lead actors of the recent Netflix Original film Upstarts Priyanshu Painyuli, Shadab Kamal and Chandrachoor Rai talk to Padma Iyer about the film and how they bonded together for this bromance First questions first, how did you all come onboard Upstarts? Priyanshu Painyuli (PP): For me it began like it usually does, through a casting director. Today the process has become good as there is a proper format. So, I auditioned for it and Udai (Singh Pawar) really liked my performance. After the audition when I met him he said that he had really liked my work in Rock On 2. He was writing the script when he saw the film. I have a very small part in Rock On 2. Then I read the script and it is based in Bangalore. As I come from Bangalore, it connected even better. Shadab Kamal (SK): We went through a series of auditions and it was improv auditions. From day one I have wanted to be part of this film. It was very exciting. Even the audition process was very exciting. And we were cast a long time back. PP: Yes, we came on board the film more than a year back. I remember in the audition process a couple of us were put together. We were told that a phone call would come and we had to sell an app or an idea; become a startup guy straight away. That was an interesting thing that happened. SK: And a lot of things changed since

the time we started auditioning till we finally made the film. PP: Yes, we evolved with the script. Chandrachoor Rai (CR): I was the last one to come on board but I kept hearing about this film because he (Shadab) kept on talking about it. So he used to come, discuss the film, read his lines. And like how most of the things in my life have worked out, whoever was supposed to do the film was not available for whatever reason. Then I was auditioned. These two buggers look very young and handsome. So when Udai looked at me, he said ‘I am not sure. Achcha hai, but I am not sure with the age thing.’ But I think Raja Menon was very excited about me. So they said ‘Let’s figure out something’ and I was on board. The story is all about the camaraderie between the three characters Kapil, Vinay and Yash. How did you get going? PP: All it required was one evening and a sail boat. (Everyone laughs) It is the usual story of how friends bond. Udai had this idea. The script, the drama, the story… everything is on paper. The premise as you said is about friends doing business together, so

the friendship has to be made evident. Udai’s wife has a membership in a yacht club, lucky guy! So he got us a sail boat, jo Gateway (of India) ke paas milti hai. Two-three hours we just went on the boat, Udai and the three of us. We chatted, we had fun and the whole evening just went by. And when you open up like this and then you start reading the script together, you are at ease with each other. On the set then there is nothing that I can’t tell him or he can’t tell me or we can’t tell each other. SK: We were hanging out a lot with each other even after the readings. We spent a lot of time bonding together. We actually became friends so it came very naturally to us. PP: And it becomes easier even on set. I remember during one shot, I was sitting behind the monitor and I looked at him (Chandrachoor) and said ki tu aise kar le. And he did not think twice before following it because we have bonded so well. CR: Also, the detail he picked up was centric to my performance more than anything else. He said that if you change this it will be a lot about your performance instead of distracting from it. He said it and I didn’t even think

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twice. PP: If you are working with someone new, you think should we even be suggesting things to each other. But there was no such thing here. CR: Shadab here is the nicest person I know. In the film I am not supposed to be pulling his leg ever. But in real life we do pull his leg a lot. So I had to take care that equation did not come on screen. The characters you play need not be like your real-life selves. As actors how do you keep your respective personalities from overlapping your roles? PP: I think that is where Udai comes in. He knew his world very well. He comes from an IT background so he knew these three characters. During the banter scenes between Yash, Kapil and Vinay we used to completely get ourselves into it. Everyone on the sets would enjoy and laugh aloud. But Udai said that this is not what these guys do. I have not done engineering. I am not from that background so I don’t really know how these guys work. I have never stayed in a boys’ hostel. So Udai used to correctly pull him (Chandrachoor) up ki tu zyada kar raha hai. Kapil tu zyada kar, kyun ki main generally zyada nahi karta hoon. I think a lot before doing anything, Kapil doesn’t think. SK: You have to constantly remind yourself about the key characteristics of your character. So you have to constantly remind yourself and bring yourself back again to the role you are playing. That is where the director comes into the picture. Every time you stray away from the character, he brings you back. CR: There would be times when Udai would come and be silent for two seconds. Then he would say ‘Something you did was nice but it this is not my script. So change it and get back to how it should be.’ If you could play any other character, other than what you have played in this film, which one would it be? PP: Actually Vinay would have been very easy on me. I am very Vinay, easygoing in life. During rehearsals the costume stylist and even Udai would be like he dresses like Vinay, some bands, short

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kurtas, laid back with normal hair… I am a very Bangalore-type lazy boy. Kapil is a bit hyper, he is impulsive. SK: I relate very much to Yash. It would have been very much natural for me to play Yash. I am very much edgy just like Yash’s character. CR: I don’t relate to any of those characters. They are very driven towards something. Generally I am very relaxed. I don’t want to necessarily immediately achieve something. As a character, no matter how many times I read the script, I genuinely liked Yash. The character has a lot of things which are very emotional and vulnerable. I remember Udai constantly telling me that you cannot be macho. This guy is very vulnerable, he is a very complex character. You cannot have that typical masculinity coming into the character. And I really liked the idea of playing someone who is so on the edge and showing people something they haven’t seen before and making them relate to it, which they might have difficulty in relating to otherwise, so that is the part that excited me a lot. Otherwise I would have loved to play Veer because he had got the best clothes with some of the hottest girls in the film. (Everyone laughs) As actors who have been around for quite some time, do you look at the digital space as an exciting time for lot of budding actors as well as talented people? PP: I think it’s great. I was in Taiwan, my sister is there. Because my earlier films which are there on Netflix, Bhavesh Joshi and Once Again, I got a free acupuncture treatment from a doctor because his son had seen Bhavesh Joshi in Chinese and he was a fan! Upstarts is going to 190 countries. It is going to have a global reach. The work is reaching the audience straightaway and none of these guys can make the excuse that it is no longer in the theatres. It’s always going to be there on Netflix and you can watch it any time, that too on the move, now that people are watching movies on their tablets and the phones. It is everywhere. Also what is happening is that because we are reaching out globally, I know my work is going to different countries. So, we have to

come up with challenging stuff and that inspires us and pushes us to do great work because everybody is watching everything, from Narcos to Money Heist. CR: That’s what I find very interesting. The fact that Netflix is operating in so many countries, the inception of an idea in itself requires different faces, faces that do not fit into a certain type that was otherwise a prerequisite for Bollywood. You were initially only seeing certain faces and then something like Netflix that operates in so many countries gives us an idea of what a face is, what a personality is, what a character’s peculiarity is, so everything suddenly plays an important part in the script. How many people are going to see it, how many people are going to consume it, how they understand it… that for an actor is so good because now there are so many scripts that I can fit in because it’s not just the set sample of people those who are watching so it’s a great time to be an actor. SK: These digital platforms are actually giving us opportunities for different content, which weren’t happening before. It has opened up new channels. Any final words on what should we expect from the film as an audience? PP: If you are from the startup or the IT world I hope that you relate to it and you will see your story in it. And if you are not from there then I hope you relate to the hope and drive that is there in every millennial today. You want to do everything and you also want to give back to society. All that in a nutshell is there. We have got the friendship angle also coming in. Infact there is a line that we say in the film ‘Khula aasmaan, sasti daaru, ghatiya dost’… after everything when you get to that, it is peaceful. CR: For me it is basically that the idea is eventually to be at peace with yourself. Most of what the film tries to show is that the idea of purist creations for startups has become so interesting because it arises from a need that one person identifies with from a simplest level. The complications of life are there, but at the end of the day it is about… SK: ‘Khula aasmaan, sasti daaru, ghatiya dost’… aur kya chahiye!

LIGHTS CAMERA ACTION

Thappad T

he shooting for the Anubhav Sinha directorial Thappad featuring Taapsee Pannu and Pavail Gulati in the lead has wrapped up. The film is produced by Anubhav Sinha under the Benaras Mediaworks banner along with Bhushan Kumar’s T-Series.

Second Lieutenant Arun Kherterpal biopic V

arun Dhawan will play the lead in the biopic on the 1971 war hero Second Lieutenant Arun Kheterpal. The film, produced by Dinesh Vijan under the Maddock Films banner, will be directed by Sriram Raghavan.

Radhe – Your Most Wanted Bhai S

alman Khan joins director Prabhudeva for Radhe – Your Most Wanted Bhai. The film produced by Sohail Khan and Reel Life Productions and presented by Salman Khan Films will hit screens for Eid 2020.

Murthy

Jersey remake

itesh Tiwari and Mahaveer Jain will produce Murthy, a film based on the lives of NR Narayana Murthy, co-founder of Infosys and his wife Sudha Murthy. The film co-written by Shreyas Jain, Piyush Gupta and Nitesh Tiwari, will be helmed by Ashwiny Iyer Tiwari.

Khuda Hafiz

hahid Kapoor will be featuring in the Hindi remake of the Telugu film Jersey. It will be directed by Gowtam Tinnanauri, who helmed the original Telugu version. The film in Hindi is being produced by Allu Aravind, Aman Gill and Dil Raju and will release worldwide on August 28, 2020

Yeh Saali Aashiqui

3 Shyaane C

he filming of Vidyut Jammwal’s romantic action thriller Khuda Hafiz has commenced in Uzbekistan. A Panorama Studios Production, the film is produced by Kumar Mangat Pathak and Abhishek Pathak, co-produced by Sanjeev Joshi, Aditya Chowksey and Murlidhar Chhatwani and is directed by Faruk Kabir. It is set to hit the theatres in early 2020.

omedy Ka Tadka has been renamed 3 Shyaane. Currently the dubbing of the film is in progress. Made under the SSS Films International banner and directed by Anees Barudwale, the film features Dev Sharma, debutante Anupriya Laxmi Katoch, Nishant Tanwar, Kunal Singh Rajput, Aarti Gupta and Harshika Kashyap with Mukesh Khanna, Zarina Wahab, Tiku Talsania, Vrajesh Hirjee and Rakesh Bedi in pivotal roles.

ardhan Puri makes his acting debut with Yeh Saali Aashiqui. The film, which also features debutant Shivaleeka Oberoi, is directed by Cherag Ruparel. Produced by Rajeev Amrish Puri, Dr Meena Rajeev Puri, Dhaval Jayantilala Gada and Aksshay Jayantilal Gada under the Amrish Puri Films banner, the film will hit screens on November 22.

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19 October 2019

Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

WEEKs COLLECTIONs Theatres 1

4,48,00,000

420

total collections 4,48,00,000

13,67,00,000

650

82,24,00,000

59,00,000

35,33,00,000

East punjab Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

WEEKs COLLECTIONs Theatres

Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

Nizam-AP

Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

1,48,00,000

160

total collections 1,48,00,000

4,09,00,000

175

24,52,00,000

25,50,000

17,11,50,000

WEEKs COLLECTIONs Theatres 1

56,00,000

total collections 56,00,000

1,73,00,000

125

9,66,00,000

10,00,000

6,45,00,000

WEEKs COLLECTIONs Theatres 1

70,00,000

total collections 70,00,000

2,01,00,000

11,82,00,000

8,50,000

4,70,00,000

WEST BENGAL Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

assam

Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

WEEKs COLLECTIONs Theatres 1

68,00,000

total collections 68,00,000

1,92,00,000

196

14,29,00,000

9,00,000

5,49,25,000

WEEKs COLLECTIONs Theatres 1

12,00,000

total collections 12,00,000

42,00,000

3,76,00,000

1,00,000

1,00,00,000

Delhi - UP

Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

Rajasthan Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

mysore

Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

WEEKs COLLECTIONs Theatres 1

3,14,00,000

170

total collections 3,14,00,000

9,64,00,000

245

58,84,00,000

67,50,000

41,25,50,000

WEEKs COLLECTIONs Theatres 1

77,00,000

125

total collections 77,00,000

2,60,00,000

210

14,99,00,000

10,50,000

6,52,00,000

WEEKs COLLECTIONs Theatres 1

86,00,000

total collections 86,00,000

2,34,00,000

105

14,89,00,000

13,00,000

8,23,00,000

WEEKs COLLECTIONs Theatres 1

1,07,00,000

total collections 1,07,00,000

2,20,00,000

11,18,00,000

15,50,000

7,80,50,000

bihar & jharkhand Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

orissa

Film (Distributor) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films) Dream Girl (Pen Marudhar Entertainment)

WEEKs COLLECTIONs Theatres 1

26,00,000

total collections 26,00,000

1,40,00,000

135

9,13,00,000

4,00,000

2,88,00,000

WEEKs COLLECTIONs Theatres 1

12,00,000

total collections 12,00,000

51,00,000

4,71,00,000

2,50,000

1,78,75,000

TNK Film (Distributor)

WEEKs COLLECTIONs Theatres

total collections

The Sky Is Pink (RSVP Movies)

20,00,000

WAR (Yash Raj Films)

56,00,000

2,74,00,000

Dream Girl (Pen Marudhar Entertainment)

1,00,000

97,50,000

19 October 2019

Box Office India

at your fingertips. Log on to www.boxofficeindia.co.in

BOX OFFICE COLLECTION

MUMBAI

BOX OFFICE COLLECTION

Week

Nett last Week

Ronnie Screwvala, Siddharth Roy Kapur

14,44,00,000

1497

14,44,00,000

The Destiny Samaj Of Banjaraa

Amit Sharma

10,000

WAR

Aditya Chopra

43,09,00,000

2171

2,62,77,00,000

Syeraa Narasimha Reddy (Hindi)

Ram Charan

74,36,298

150

8,67,36,298

Joker*

Todd Phillips, Bradley Cooper, Emma Tillinger Koskoff

17,45,00,000

800

55,00,00,000

Main Zaroor Aaunga

Mahendra Singh Namdev

61,388

19,66,435

Pal Pal Dil Ke Paas

Zee Studios, Sunny Sounds Pvt Ltd

1,10,327

8,19,27,051

Prassthanam

Maanayata Dutt

53,028

5,10,12,566

The Zoya Factor

Fox Star Studios, Aarrti Shetty, Pooja Shetty

27,761

2,92,12,441

Dream Girl

Shobha Kapoor, Ekta Kapoor

2,27,00,000

348

1,39,54,00,000

Section 375

Kumar Mangat Pathak, Abhishek Pathak, SCIPL

6,98,318

12,61,21,338

Pehlwaan

Swapna Krishna

12,537

60,93,134

Chhichhore

Sajid Nadiadwala

1,13,85,470

231

1,44,56,85,470

Saaho (Hindi)

Vamsi-Pramod

43,033

1,37,72,27,742

Mission Mangal

Cape of Good Films, R Balki, Fox Star Studios

4,70,366

1,92,47,44,282

Film

Producer

The Sky Is Pink

Theatres

Total Nett

*Including all formats and dubbed versions

PVR CINEMAX

From October 11 To October 17, 2019

444 screens 693

fILMS

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

5179 6523 1063 679

261159 493056 58548 32046

5,08,24,263 8,06,79,352 1,06,20,580 53,60,052

6,00,85,805 9,52,05,871 1,25,34,200 63,36,421

6,00,85,805 55,67,68,103 43,96,66,033 47,59,75,222

1 2 5 6

INOX

From October 11 To October 17, 2019

574 screens

fILMS

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

4779 6245 722 320

193381 451471 28818 11149

3,16,76,002 6,37,41,681 44,60,956 17,26,751

3,85,93,699 7,79,63,946 53,78,550 20,73,150

3,85,93,699 46,97,28,498 30,49,23,877 34,52,42,439

1 2 5 6

From October 11 To October 17, 2019

311 screens

fILMS

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

(Collection from 139 stations)

SHOWS

Cinepolis NO

(Collection from 149 stations)

SHOWS

(Collection from 56 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

2110 3022 474 243

100697 208586 24917 10691

1,78,91,165 3,46,16,845 40,82,968 18,20,521

2,10,62,670 4,07,14,704 47,98,201 21,41,552

2,10,62,670 22,14,44,629 18,39,49,058 19,44,62,347

1 2 5 6

Box Office India

19 October 2019

SRS CINEMAS

From October 11 To October 17, 2019

62 screens

fILMS

SHOWS

AUDIENCE

NETT

GROSS

THE SKY IS PINK

453

11240

15,18,628

18,21,411

(Collection from 22 stations)

GROSS TOTAL

WEEK

18,21,411

WAR

888

43720

54,77,851

66,01,113

4,45,06,604

DREAM GIRL

3949

5,89,551

7,15,244

2,78,23,062

CHHICHHORE

1648

2,15,177

2,63,570

2,97,02,233

WAVE INC.

From October 11 To October 17, 2019

35 screens

fILMS

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

385 637 91 42

16219 44186 4959 1774

25,28,000 65,99,656 7,48,280 2,95,384

30,91,555 80,83,870 9,21,050 3,62,430

30,91,555 5,05,87,945 4,09,65,140 3,34,17,935

1 2 5 6

Mukta a2

From October 11 To October 17, 2019

44 screens

fILMS

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

469 815

13173 39290

16,88,242 45,93,818

16,88,242 2,54,71,067

1 2

From October 11 To October 17, 2019

30 screens

fILMS

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

210 489 45 7

10770 31272 2408 417

15,58,226 41,63,976 3,03,605 55,551

19,28,863 51,62,950 3,78,760 69,300

19,28,863 2,65,96,999 1,81,02,331 2,19,98,395

1 2 5 6

From October 11 To October 17, 2019

57 screens

fILMS

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

617 930 33 28

17611 37440 1215 1156

24,80,067 48,18,347 1,38,873 1,59,922

30,16,493 58,52,595 1,74,020 1,95,385

30,16,493 3,87,08,036 2,29,00,420 2,66,35,855

1 2 5 6

From October 11 To October 17, 2019

99 screens

fILMS

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

883 1572 89 24

23923 93937 3042 354

27,65,753 1,00,67,968 3,26,009 31,382

33,87,598 1,24,06,220 3,99,015 45,062

33,87,598 7,90,25,788 4,35,97,424 4,80,74,002

1 2 5 6

From October 11 To October 17, 2019

28 screens

fILMS

1 2 3

THE SKY IS PINK WAR DREAM GIRL

19 October 2019

Box Office India

(Collection from 36 stations)

SHOWS

RAJHANS NO

(Collectionfrom from189 stations) (Collection

SHOWS

miraj NO

(Collection from 10 stations)

SHOWS

MOVIE TIME NO

(Collection from 17 stations)

SHOWS

City pride NO

(Collection from 10 stations)

SHOWS

(Collection from 9 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

293 577 38

7376 36573 458

8,23,559 36,33,702 54,726

11,22,040 50,74,295 67,050

11,22,040 2,61,33,211 1,13,96,799

1 2 5

BOX OFFICE COLLECTION

Q Cinema

From October 11 To October 17, 2019

18 screens

fILMS

WAR

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

224

4,31,331

5,04,850

44,88,612

gold Cinema fILMS

WEEK 2

From October 11 To October 17, 2019

56 screens

(Collection from 5 stations)

(Collection from 31 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

THE SKY IS PINK

248

7135

9,32,060

11,47,142

WAR

760

31394

38,13,693

46,70,316

2,85,42,430

DREAM GIRL

447

46,967

59,222

1,33,65,026

priya entertainments fILMS

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

70 158

1688 9005

2,18,470 11,37,435

2,67,770 13,84,250

2,67,770 48,19,320

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

Cinemas

fILMS

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

1 2

THE SKY IS PINK WAR

NETT

GROSS

GROSS TOTAL

WEEK

110 481 15 12

2519 23534 506 259

2,63,736 22,87,929 41,702 21,964

3,32,020 28,35,324 52,440 27,710

3,32,020 1,21,77,440 -

1 2 5 6

maxus cinema

From October 11 To October 17, 2019

19 screens

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

108 179 25 16

4068 11085 929 447

6,81,039 18,07,095 1,16,964 1,03,635

8,46,109 22,47,873 1,47,579 1,27,303

8,46,109 1,45,36,707 77,02,433 99,79,568

1 2 5 6

From October 11 To October 17, 2019

SHOWS

AUDIENCE

NETT

GROSS

21 49

309 2824

38,109 3,25,368

44,550 3,78,225

1 2

THE SKY IS PINK WAR

(Collection from 3 stations) GROSS TOTAL 44,550 1,16,86,065

WEEK 1 2

From October 11 To October 17, 2019

26 screens

fILMS

(Collection from 4 stations)

SHOWS

k sera sera NO

(Collection from 16 stations)

AUDIENCE

6 screens

fILMS

1 2

SHOWS

IP CINEMAS NO

WEEK

From October 11 To October 17, 2019

47 screens

fILMS

(Collection from 9 stations)

SHOWS

E-square NO

From October 11 To October 17, 2019

11 screens

WEEK

(Collection from 11 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

66 249

1012 4434

1,46,880 5,32,460

1,88,480 6,79,910

1,88,480 37,29,036

Box Office India

WEEK 1 2

19 October 2019

CITY PULSE

From October 11 To October 17, 2019

5 screens

fILMS

1 2

THE SKY IS PINK WAR

SHOWS

AUDIENCE

NETT

GROSS

59,822 1,70,921

CITY GOLD fILMS

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

134 263 39 8

3715 11713 1436 113

4,52,537 13,83,842 1,80,884 12,038

6,21,974 18,94,039 2,48,955 17,030

6,21,974 51,65,578 45,52,075 65,68,910

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

14 37

241 2448

32,932 3,26,200

39,235 3,85,510

39,235 16,26,705

1 2 3

THE SKY IS PINK WAR DREAM GIRL

fILMS THE SKY IS PINK WAR

GROSS

GROSS TOTAL

WEEK

1133 8947 135

1,47,670 11,87,874 21,980

1,47,670 1,13,86,807 36,26,292

1 2 5

From October 11 To October 17, 2019

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

69,315 1,98,043

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

56 98

2728 7832

4,70,301 14,10,723

5,54,307 16,62,427

5,54,307 95,32,175

1 2 3 4

THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

19 October 2019

Box Office India

1 2

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

26 36

451 1726

46,299 1,79,111

59,660 2,26,900

59,660 -

WEEK 1 2

From October 11 To October 17, 2019

7 screens fILMS

WEEK

From October 11 To October 17, 2019

cinemarc NO

1 2

(Collection from 2 stations)

SHOWS

3 screens

fILMS

WEEK

From October 11 To October 17, 2019

FORTUNE CINEPLEX NO

(Collection from 1 stations)

SHOWS

5 screens

fILMS

(Collection from 5 stations)

NETT

M2K CINEMAS NO

1 2

AUDIENCE

4 screens

1 2

WEEK

SHOWS

OHM CINEMA NO

1 2 5 6

From October 11 To October 17, 2019

16 screens

fILMS

WEEK

(Collection from 2 stations)

SHOWS

star world NO

1 2

From October 11 To October 17, 2019

9 screens

fILMS

WEEK

(Collection from 5 stations)

SHOWS

wide angle NO

GROSS TOTAL -

From October 11 To October 17, 2019

19 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

70 229 50 22

829 8030 964 268

55,867 6,13,614 74,496 19,015

84,900 9,11,430 64,662 28,600

84,900 37,16,290 12,64,800 24,04,401

WEEK 1 2 5 6

BOX OFFICE COLLECTION

devi

From October 11 To October 17, 2019

3 screens

fILMS

1 2

THE SKY IS PINK WAR

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

21 49

334 3965

21,056 2,67,218

32,300 4,07,400

32,300 18,52,440

piccadily square fILMS

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

35 56

3020 4440

4,13,744 5,74,454

4,88,225 6,77,055

4,88,225 41,77,720

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

68,705 1,96,301

EYLEX FUN N FILMS

fILMS

1 2

THE SKY IS PINK WAR

fILMS THE SKY IS PINK WAR DREAM GIRL

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

5,21,139 14,88,969

WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

33 54 4

1290 2686 71

2,04,429 5,27,288 8,423

2,54,150 6,50,150 10,650

2,54,150 36,82,050 -

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

1201

1,36,186

1,60,700

27,37,250

1 2

THE SKY IS PINK WAR

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

31 46

212 1549

21,265 1,52,387

25,612 1,83,279

25,612 9,62,251

WEEK 1 2

From October 11 To October 17, 2019

2 screens

fILMS

WEEK

From October 11 To October 17, 2019

London Paris NO

1 2 5

(Collection from 6 stations)

SHOWS

3 screens

fILMS

WEEK

From October 11 To October 17, 2019

Vinay NO

1 2

(Collection from 1 stations)

SHOWS

14 screens fILMS

WEEK

From October 11 To October 17, 2019

REDROCKS NO

1 2

(Collection from 15 stations)

7 screens

1 2 3

WEEK

From October 11 To October 17, 2019

SSR RUPASI NO

1 2

(Collection from 2 stations)

SHOWS

23 screens NO

WEEK

From October 11 To October 17, 2019

6 screens

fILMS

1 2

(Collection from 2 stations)

SHOWS

E4U multiplex NO

WEEK

From October 11 To October 17, 2019

4 screens

(Collection from 1 stations)

(Collection from 1 station)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

18 18

1134 694

2,14,651 1,22,954

2,59,046 1,48,776

2,59,046 11,30,046

Box Office India

WEEK 1 2

19 October 2019

Raj Mandir

From October 11 To October 17, 2019

1 screens

fILMS

WAR

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

14974

19,59,249

22,83,130

86,82,146

sarv fILMS

1 2 3

THE SKY IS PINK WAR DREAM GIRL

AUDIENCE

NETT

GROSS

GROSS TOTAL

1,27,118 4,85,360 75,186

1,27,118 41,69,479 33,76,175

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

4,66,524 13,32,926

4,66,524 76,80,197

1 2

THE SKY IS PINK WAR

Rolling OMReels NO

fILMS

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

1,17,049 7,08,384

1,17,049 35,22,603

Rolling Reels

1 2

THE SKY IS PINK WAR

M4U OM NO

fILMS

WAR

OM NO

fILMS

1 2

THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

54,679 2,57,124

54,679 24,72,357

1 2

THE SKY IS PINK WAR

19 October 2019

Box Office India

WEEK 1 2

From October 11 To October 17, 2019

SHOWS

AUDIENCE

NETT

GROSS

83,368 1,27,461

M4U

(Collection from 1 stations)

GROSS TOTAL 83,368 8,16,330

WEEK 1 2

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

58,773

10,26,672

Star X

WEEK 2

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

1,04,092 2,97,406

1,04,092 17,13,626

WEEK 1 2

From October 11 To October 17, 2019

5 screens fILMS

1 2

(Collection from 1 stations)

SHOWS

MAXX NO

WEEK

From October 11 To October 17, 2019

3 screens

2 screens

fILMS

1 2

(Collection from 1 stations)

SHOWS

mOVIE lOUNGE NO

WEEK

From October 11 To October 17, 2019

2 screens

fILMS

1 2 5

(Collection from 3 stations)

SHOWS

bmg Cinema NO

WEEK

From October 11 To October 17, 2019

12 screens

fILMS

(Collection from 1 stations)

SHOWS

Silver City NO

WEEK

From October 11 To October 17, 2019

3 screens

(Collection from 1 stations)

(Collection from 2 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

55,130 1,82,693

55,130 14,34,195

WEEK 1 2

BOX OFFICE COLLECTION

ELITE

From October 11 To October 17, 2019

3 screens

(Collection from 1 stations)

fILMS

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

THE SKY IS PINK

1,52,426

WAR

3,06,326

22,10,605

movie world

From October 11 To October 17, 2019

8 screens

fILMS

WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

3,05,316

22,09,827

1 2

THE SKY IS PINK WAR

1 2

THE SKY IS PINK WAR

TOP 3 NO

fILMS

1 2

THE SKY IS PINK WAR

NETT

GROSS

GROSS TOTAL

70,378 2,01,081

70,378 11,58,611

1 2

THE SKY IS PINK WAR

om NO

fILMS

1 2

THE SKY IS PINK WAR

OM NO

fILMS

1 2

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

1,63,943 4,68,409

1,63,943 26,98,929

TOP 3

WEEK 1 2

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

1,99,118 5,68,910

WEEK 1 2

From October 11 To October 17, 2019

4 screens fILMS

WEEK

From October 11 To October 17, 2019

Seven Sky Multiplex NO

(Collection from 1 stations)

AUDIENCE

5 screens

fILMS

SHOWS

cosmoplex NO

WEEK

From October 11 To October 17, 2019

3 screens

fILMS

(Collection from 3 stations)

SHOWS

cine park NO

WEEK

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

99,559 2,84,455

WEEK 1 2

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

18,892 53,979

18,892 3,11,026

Maharaja

WEEK 1 2

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

THE SKY IS PINK

16,496

WAR

47,133

2,71,576

GROSS TOTAL

Box Office India

WEEK

19 October 2019

VELVET OM NO

fILMS

1 2

THE SKY IS PINK WAR

silver screen NO

fILMS

1 2

THE SKY IS PINK WAR

angel NO

fILMS

1 2

THE SKY IS PINK WAR

OM NO

fILMS

WAR

ENTERTAINMENT PARK NO

fILMS

1 2

THE SKY IS PINK WAR

BIGOM LION NO

fILMS

1 2

THE SKY IS PINK WAR

ny NO

fILMS

1 2

THE SKY IS PINK WAR

OM NO

fILMS

1 2

THE SKY IS PINK WAR

19 October 2019

Box Office India

VELVET

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

13,633 38,952

13,633 2,24,440

silver screen

WEEK 1 2

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

52,982 1,51,377

52,982 8,72,221

angel cineworld

WEEK 1 2

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

63,272 1,80,777

10,41,621 8,60,844

svf

WEEK 1 2

From October 11 To October 17, 2019

13 screens

(Collection from 8 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

284

18532

18,06,040

21,84,209

1,15,76,316

ENTERTAINMENT PARK

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

77,755 2,22,157

77,755 12,80,049

BIG LION

WEEK 1 2

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

62,988 1,79,966

62,988 10,36,951

ny multiplex

WEEK 1 2

From October 11 To October 17, 2019

2 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

1,08,463 3,09,895

1,08,463 17,85,587

DIVINE CINEMAS

WEEK 1 2

From October 11 To October 17, 2019

4 screens

(Collection from 2 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

59,440 1,69,831

59,440 9,78,551

WEEK 1 2

BOX OFFICE COLLECTION

The Sky Is Pink - daywise collection The Sky Is Pink

1st Day

2nd Day

3rd Day

4th Day

5th Day

6th Day

7th Day

1st Week

Mumbai

70,00,000

1,05,00,000

1,10,00,000

45,00,000

40,00,000

38,00,000

40,00,000

4,48,00,000

Delhi-UP

50,00,000

82,00,000

85,00,000

25,00,000

22,00,000

25,00,000

3,14,00,000

East Punjab

26,00,000

40,00,000

42,00,000

10,00,000

9,00,000

11,00,000

1,48,00,000

13,00,000

20,00,000

7,00,000

6,00,000

5,00,000

6,00,000

77,00,000

9,00,000

14,00,000

5,00,000

4,00,000

5,00,000

56,00,000

Rajasthan

14,00,000

22,00,000

8,00,000

7,00,000

6,00,000

7,00,000

86,00,000

Nizam

12,00,000

20,00,000

5,00,000

4,00,000

70,00,000

Mysore

11,00,000

30,00,000

35,00,000

8,00,000

7,00,000

8,00,000

1,07,00,000

West Bengal

10,00,000

18,00,000

6,00,000

5,00,000

68,00,000

Bihar-Jharkhand

5,00,000

7,00,000

2,00,000

1,00,000

2,00,000

26,00,000

Assam

2,00,000

3,00,000

1,00,000

12,00,000

Orissa

2,00,000

3,00,000

1,00,000

12,00,000

TNK

2,00,000

4,00,000

6,00,000

2,00,000

20,00,000

Total

2,26,00,000

3,68,00,000

3,85,00,000

1,25,00,000

1,18,00,000

1,05,00,000

1,17,00,000

14,44,00,000

WAR - daywise collection WAR

1st Week

10th Day

11th Day

12th Day

13th Day

14th Day

15th Day

16th Day

2nd Week

Grand Total

Mumbai

68,57,00,000

2,15,00,000

3,32,00,000

3,75,00,000

1,32,00,000

1,15,00,000

98,00,000

1,00,00,000

13,67,00,000

82,24,00,000

Delhi UP

49,20,00,000

1,46,00,000

2,35,00,000

2,62,00,000

95,00,000

81,00,000

70,00,000

75,00,000

9,64,00,000

58,84,00,000

East Punjab

20,43,00,000

54,00,000

90,00,000

1,08,00,000

44,00,000

40,00,000

35,00,000

38,00,000

4,09,00,000

24,52,00,000

12,39,00,000

36,00,000

66,00,000

70,00,000

25,00,000

23,00,000

20,00,000

2,60,00,000

14,99,00,000

7,93,00,000

24,00,000

44,00,000

48,00,000

17,00,000

15,00,000

12,00,000

13,00,000

1,73,00,000

9,66,00,000

Rajasthan

12,55,00,000

33,00,000

55,00,000

65,00,000

22,00,000

21,00,000

18,00,000

20,00,000

2,34,00,000

14,89,00,000

Nizam

9,81,00,000

30,00,000

50,00,000

58,00,000

18,00,000

16,00,000

14,00,000

15,00,000

2,01,00,000

11,82,00,000

Mysore

8,98,00,000

22,00,000

62,00,000

65,00,000

20,00,000

15,00,000

16,00,000

2,20,00,000

11,18,00,000

West Bengal

12,37,00,000

27,00,000

47,00,000

54,00,000

17,00,000

15,00,000

1,92,00,000

14,29,00,000

Bihar-Jharkhand

7,73,00,000

20,00,000

35,00,000

40,00,000

12,00,000

10,00,000

11,00,000

1,40,00,000

9,13,00,000

Assam

3,34,00,000

6,00,000

10,00,000

12,00,000

4,00,000

3,00,000

42,00,000

3,76,00,000

Orissa

4,20,00,000

7,00,000

12,00,000

14,00,000

5,00,000

4,00,000

51,00,000

4,71,00,000

TNK

2,18,00,000

6,00,000

14,00,000

16,00,000

6,00,000

4,00,000

56,00,000

2,74,00,000

Total

2,19,68,00,000

6,26,00,000

10,52,00,000

11,87,00,000

4,17,00,000

3,75,00,000

3,18,00,000

3,34,00,000

43,09,00,000

2,62,77,00,000

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.

Box Office India

19 October 2019

PUBLIC NOTICE NOTICE is hereby given that our clients are in the process of acquiring all exclusive Intellectual Property Rights (including any and all means or manner known now or which may be invented in the future from time to time) (“IPR”) in the Film for all forms of exploitation (linear and non-linear) including without limitation through distribution, transmission and retransmission for multiple telecasts/ airings of the Film through (a) Exclusive Broadcast Rights; (b) Exclusive Cable Television Rights; (c) Exclusive Terrestrial Television Rights; (d) Exclusive Internet Rights; (e) Exclusive Mobile Rights; (f) Exclusive On Demand Rights; (g) Exclusive IPTV Rights; (h) Exclusive Subtitling Rights; (i) Exclusive Dubbing Rights; (j) Merchandising Rights; (k) Ancillary Rights and (l) Exclusive Syndication Rights for all the aforementioned rights for unlimited telecasts of the Film as detailed in the Schedule herein below. To the best of our knowledge and belief, the Film is free from any encumbrances, claims or demands, whatsoever. However, should any person(s) have claim against, to, or in respect of the Film mentioned hereunder, whether by way of any sale, lease, assignment, license or otherwise, such person(s) are hereby required to make the same known in writing to the undersigned at the address given below, within 15 (fifteen) days from the date of publication hereof, failing which the transaction will be completed without reference to such claims and the same, if any, will be deemed to have been waived. SCHEDULE Film Name

Star cast

Language

Territory

Effective Date

Hindi

Entire World for all exclusive IPR

October 9, 2019

Chandan Roy Sanyal, Shivin Narang Dheet Patangey

Hardik Sangani, Ali Murad, Priya Banerjee, Sheen Das, Valeri, Shridhar Watsar, Tillotama Shome

Dated: 19th October, 2019 Place: Gujarat Sd/Nanavati & Co., Advocates 1206-1208, Elite Business Park, In lane of Shapath Hexa, Next to Prajapati Bhavan, Near Kargil Petrol Pump, Sola, Ahmedabad, Gujarat - 380060

PUBLIC NOTICE Notice is hereby given to public at large in general and film trade in particular that our client has acquired remake rights only in Hindi language, in and to the cinematograph film titled “JALWA” in Hindi language, starring Naseeruddin Shah and others, written and directed by Pankaj Parashar (hereinafter referred to as the “Film”) to create and produce the Hindi language remake version of the Film (“Remake Film”) in perpetuity and for the entire universe, and the necessary rights to develop, produce and exploit the Remake Film and all copyrights, intellectual property rights, negative rights and any and all exploitation rights in connection with and arising from the Remake Film for the territories of the entire world for the full period of copyright and thereafter in perpetuity for all modes, medium, formats and platforms, including the rights of distribution, exhibition and exploitation of the Remake Film in all sizes/ theatrical formats, satellite broadcasting rights, pay TV rights, pay per view rights, free TV, direct to home rights, cable TV rights, video-on-demand rights (including NVOD, SVOD, TVOD, FVOD), video copyrights/home video rights, including VCD and DVD copyrights, broadband rights, internet and digital rights, terrestrial TV rights, IPTV rights, mobile rights, air borne rights, surface transport rights, dubbing rights and sub-titling rights of the Remake Film, songs and clippings rights of the Remake Film, derivative rights of the Remake Film and merchandising rights in respect of the new elements and new characters of the Remake Film; and also acquired certain limited non-exclusive rights in and to the song titled ‘Yeh Hai Jalwa’ of the Film. Now, therefore, any persons (whether natural or legal) claiming to have or have any right, title or interest in and to the said remake rights of the Film or any part thereof or certain limited non-exclusive rights in and to the song titled ‘Yeh Hai Jalwa’ of the Film by virtue of any agreement, contract or otherwise or having any objections with respect to such transfer/assignment of the said remake rights of the said Film, including the aforesaid intellectual property rights and exploitation rights in and to the Remake Film, or certain limited non-exclusive rights in and to the song titled ‘Yeh Hai Jalwa’ of the Film in our client’s favour, are hereby required to make the same known in writing to us at the address mentioned below within 15 (fifteen) days of publication of this notice, failing which any such right, title, interest or objections, as mentioned above shall be considered as waived and shall not be binding on our client and all of the aforesaid rights, title and interest in and to the said remake rights of the Film and/or certain limited non-exclusive rights in and to the song titled ‘Yeh Hai Jalwa’ of the Film as mentioned above shall continue to vest solely and exclusively with our client free from any third party right, title, interest or objections. Further note that no such claims from any persons (whether natural or legal) shall be entertained without the relevant documentary proof supporting the same. If you have or claim to have any right, title or interest in and to the remake rights of the said Film in Hindi language or certain limited non-exclusive rights in and to the song titled ‘Yeh Hai Jalwa’ of the Film, please immediately make the same known to us in writing at the following address: Neo Juris LLP Advocates & Solicitors, F-2, Basement, Kailash Colony, New Delhi – 110048 Email: arjun@neojuris.com Date: October 19th, 2019

19 October 2019

Box Office India

COMSCORE Box office Charts

WEEKEND TOP 20 India - PROVISIONAL REPORT Rank Title

Language

Dist

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

War

Hindi

YSHRAJ

487

979

24,09,57,929

20,20,78,609

4,67,879

3,92,386

1,38,18,49,445

1,16,06,14,466

Joker

English

WBI

342

568

13,95,12,098

11,90,00,196

3,94,102

3,36,159

43,91,74,895

38,35,64,389

The Sky Is Pink

Hindi

RSVP

246

380

7,73,39,530

6,71,25,660

2,84,337

2,46,786

7,75,05,290

6,72,68,712

Sye Raa Narasimha Reddy

Telugu

KNIDLA

108

166

4,10,59,523

3,80,83,253

3,42,163

3,17,360

25,41,97,241

22,14,65,629

Dream Girl

Hindi

BLJMP

128

179

1,57,10,727

1,41,60,639

1,05,441

95,038

62,85,23,558

54,74,45,368

Asuran

Tamil

MSVC

1,26,54,664

1,03,48,340

3,51,518

2,87,454

3,73,39,836

3,06,11,436

Gemini Man

English

V18

230

272

1,20,78,161

1,05,10,707

41,082

35,751

1,21,02,961

1,05,31,725

Chhichhore

Hindi

FOXSTAR

130

160

97,24,658

84,93,060

65,266

57,000

1,03,23,11,480

87,83,89,288

Tara Mira

Punjabi

INDP

50,83,714

43,57,988

1,54,052

1,32,060

50,83,714

43,57,988

Vadhaladu

Tamil

TRDNT

42,42,276

33,47,421

81,582

64,373

42,42,276

33,47,421

RDX Love

Telugu

INDP

35,76,526

31,21,968

60,619

52,915

35,76,526

31,21,968

Namma Veettu Pillai

Tamil

SUNPIC

25,75,302

20,34,373

2,57,530

2,03,437

3,35,87,582

2,73,41,954

Petromax

Tamil

INDP

21,24,728

16,32,030

75,883

58,287

21,24,728

16,32,030

Puppy

Tamil

INDP

19,87,684

15,20,978

1,52,899

1,16,998

19,87,684

15,20,978

Gumnaami

Bengali

SVF

15,64,865

13,21,862

1,95,608

1,65,233

72,72,863

61,28,939

Chanakya

Telugu

AKE

13,94,721

12,17,981

1,39,472

1,21,798

1,24,89,382

1,08,19,833

Abominable

English

UPI

12,90,676

10,51,453

51,627

42,058

2,56,58,003

2,07,85,396

Unni Ikki

Punjabi

INDP

11,69,982

10,02,477

48,749

41,770

11,69,982

10,02,477

Jallikattu

Malayalam

INDP

10,55,621

8,68,959

3,51,874

2,89,653

41,23,114

33,91,369

Adhyaksha In America

Kannada

PMF

9,22,202

9,32,892

1,31,743

1,33,270

41,94,950

39,83,037

1915

3023

57,60,25,587

49,22,10,847

3,96,85,15,510

3,38,73,24,404

Date : 11 - 17 October Note: INOX data is partial. Data from 28 reporting Cinema Chains & Select Independent Cinemas only.

Box Office India

19 October 2019

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