Box Office India Magazine - 26 October 2019

India’s Premier Film Trade Magazine

26 October 2019

Vol. 11

Issue 08

by NFDC

Be a part of South Asia’s largest film market and interact with filmmakers, producers, festival programmers, sales agents, distributors, financiers from around the world.

20 – 24 November 2019 Marriott Resort, Goa www.filmbazaarindia.com

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QUOTE UNQUOTE

India’s Premier Film Trade Magazine

Volume 11 • Issue 08 • 26 October 2019

EDITOR Vajir Singh vajir@boxofficeindia.co.in

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

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

There is no pressure that I have to perform well, it’s a joy to create something new and surpass those challenges through my performance. Just few days before any of my film is on the verge of releasing it’s a mixed feeling. I am excited when I know we have made a good film that we all can be proud of, I was very eagerly waiting for people to see the film (Made In China) because it makes you laugh a lot and thoroughly entertains you.

Rajkummar Rao

Editorial Assistants Bhavi Gathani bhavi@boxofficeindia.co.in

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

SENIOR DESIGNER Rohit Patil rohit@boxofficeindia.co.in

PHOTOGRAPHERS Yogen Shah Rohit Patil Mahendra Kumar Gajbhare

Vaibhav Adivarekar

When you read a script you know the scene you are doing and you have to psyche your brain out and do it. You are an actor and that is what your job is. I mean from the outside when I see the film (Saand Ki Aankh), I will feel like screaming out ‘Speak up’. But you don’t feel like it when you are doing the part. You wing it because you have prepared your mind that while doing it you will stay quiet and not react the way you would have naturally done. I think that is what an actor does.

Taapsee Pannu

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

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REG: MAHENG/2009/56446

26 October 2019 Box Office India

The truth of the matter is if there were two men doing the same thing (have their film release on Diwali) and if they weren’t as accomplished actors as Taapsee and I are, but they were playing older characters, they would have been celebrated. I know it is sad.

But just like Chandro and Prakashi Tomar, Bhumi Pednekar and Taapsee Pannu are also trying to break some kind of social stigma.

Bhumi Pednekar

03

GOLD REVIEWS

Made In China Banner: Maddock Films, Jio Cinemas Producer: Dinesh Vijan Director: Mikhil Musale Cast: Rajkummar Rao, Boman Irani,

Paresh Rawal, Mouni Roy, Sumit Vyas, Mohan Joshi, Gajraj Rao, Abhishek Banerjee, Amyra Dastur Writers: Mikhil Musale, Karan Vyas, Parinda Joshi (Story & Screenplay), Niren Bhatt, Karan Vyas (Dialogue) Music: Sachin-Jigar

C

omedy is one of the most difficult genres to execute and there is no denying that just having a good premise is not enough. It has to be supported by stellar writing, both in screenplay and dialogue, along with a cast that can nail the comic timing.

And if it is a comedy that does not rely on slapstick, this factor becomes all the more important. Add to that a comedy based on a taboo subject, and the task becomes all the more challenging.

Mikhil Musale, who makes his Bollywood directorial debut with Made In China, attempts all of the abovementioned elements. The film is a challenging task and more so for a firsttime Bollywood director.

Raghuvir Mehta is a man with dreams.

He has a family business of selling Nepali carpets, but he aspires to be an entrepreneur. When he is unable to come up with ideas to make money, he is watching videos of successful businessman Abhay Chopra. His wife Rukmani is his constant support in everything he does. His uncle and cousin Devraj are well-to-do and provide his family with financial help when needed.

But with that also come constant humiliation and taunts about his various failed ventures.

Under the pretext of helping him, Devraj takes Raghu to China where he has a business meeting with Tanmay Shah, a marketing guru. Tanmay takes an immediate liking to Raghu and gives him some business advice. When Raghu accidentally stumbles upon a Chinese virility product, encouraged by Tanmay’s words he decides to start selling it in India. He connects with sexologist Dr. Vardhi and the two along with a small team of well-wishers start RV Corporation

and their product is Magic Soup! After a few initial hiccups the soup starts selling like hot cakes. But then a major incident puts everything in jeopardy including Raghu’s family life.

What exactly is this incident? How does it affect Raghu? Does Vardhi and Raghu’s partnership survive this calamity?

What happens to his relationship with Rukmani? All that and more unravels as the story progresses.

The writers of Made In China have an interesting premise at hand. There is plenty of scope for jokes and at the same time to talk about the issue they want to highlight. They manage to tick almost all the boxes except that the film falters slightly in execution. While the film at its heart is the story of Raghu but the underlying message is how as a society we still cringe to talk about sex and sex related issues. And the writing takes some time to get to this point, even though sporadically we get glimpses of the issue being highlighted in some scenes. And these are the moments that lift the film. The dialogue is definitely funny and subtle enough to create the needed impact. Full marks to the art and camera department for capturing the life of a middle-class struggling businessman from Ahmedabad as well as the busy and crowded streets of China. The music has the flavour of Gujarat and is used decently well in the narrative, without being overindulgent.

There are three really standout performances in the film. First there is Rajkummar Rao who takes on Raghu with absolute ease. He captures the nuances of not just the language but also the mannerisms. The slight paunch and unibrow are a good match to the vulnerability and innocence of his character. At the same time he exudes the right amount of sincerity and shrewdness that Raghu would have. Then there is Boman Irani. As Dr. Vardhi he is a treat to watch. He has the best lines and he delivers them as if they were second nature to him. And it is this simplicity in his approach that makes every punchline land perfectly.

There are two scenes in which he really shines, the seminar on sex, glimpses of which are seen in the trailer, and his monologue in the climax. And finally we have Paresh Rawal. The seasoned actor has just three to four scenes, but he hits the nail on the head every time he comes on screen. As Tanmay Shah he is a delight. Gajraj Rao as Abhay Chopra is underutilised. An actor of his calibre should have had more to do. Sumit Vyas as Devraj and Manoj Joshi as his father have nothing much to do. Mouni Roy as Rukmani has her moments, but she mostly seems like a misfit in the role.

Verdict: An entertaining watch with a relevant message.

Rating: ***

Karo Dil Ki

04

Box Office India

26 October 2019

Saand Ki Aankh Banners: Reliance Entertainment, Chalk

And Cheese Films Producers: Reliance Entertainment, Anurag Kashyap, Nidhi Parmar Director: Tushar Hiranandani Cast: Bhumi Pednekar, Taapsee Pannu, Prakash Jha, Viineet Kumar, Sara Arjun Writers: Balwinder Janjua (Story & Screenplay), Jagdeep Sidhu (Dialogue) Music: Vishal Mishra

I

t is not uncommon in Bollywood to see actors in their 30s and 40s play college students and/or romance heroines much younger than them. What is uncommon is seeing them age on screen and play fathers or even grandfathers.

Actresses, on the other hand, are forced to play mothers to actors older to them the moment they cross a certain age. But in recent times there has definitely been a change in the scenario and Saand Ki Aankh sets several precedents in this direction. We not only have two popular and young actresses playing characters in their 60s but also headlining the film that too without the support of any swashbuckling lead actor. Saand Ki Aankh has several plus points to its credit even if we put aside the age debate. It is a bold and cheerful piece of cinema, with a heavy dose of feminism. That it is based on the lives of shooter dadis- Chandro Tomar and Prakashi Tomar- who took up shooting by fighting against all odds including being brought up and living in a cloistered environment all their lives and already being grandmothers to grownup children, makes for some rather inspiring cinema.

Chandro and Prakashi Tomar are friends who married to the younger brothers of Ratan Singh Tomar who runs the household on his terms and conditions.

Nestled in Johri village in Uttar Pradesh, the world of these women revolves around taking care of their several children and then grandchildren, backbreaking work in the fields, and then returning to the confined four walls of their house and doing endless household chores. Their husbands just smoke the hookah and laze around the whole day while the women and girls of the house work day in and day out.

But all this changes one day, when Dr Yashpal, who had left Johri to pursue medicine, returns to set up a shooting

range. He tries to convince the villagers to send their children to the range. He says that if they are able to excel in the sport, it will open up government jobs. The boys of the village turn up, but they are least interested. Chandro sees this as an opportunity for her granddaughter Shefali.

She takes her to Yashpal and asks him to train her. Shefali is scared at first, but to encourage her, Chandro picks up the gun and shoots. And she hits Bull’s eye! Yashpal is surprised and insists that she come to the range with Shefali and practice. Very soon Prakashi also joins the range with her daughter Seema. The foursome sneak out of the home early in the morning to practice. Hiding their shooting escapades from the men of the house, they travel to different cities to participate in tournaments under some pretext or another. Chandro and Prakashi keep winning medals wherever they go and become famous as Shooter Dadis all this while keeping the news from reaching their home.

All seems to be going well when Yashpal announces that Shefali and Seema have been selected for the National shooting camp, a 45-day camp in New Delhi. The only way that the girls can go is to let the men of the household know the truth. Chandra and Prakashi muster the courage to tell Ratan Singh and his brothers the truth.

What happens when the Tomar brothers find out what their wives have been up to?

Are Seema and Shefali able to attend the camp? Are the dadis able to continue their shooting? All that and more is revealed as the story unfolds.

Tushar Hiranandani makes his directorial debut with this film and there couldn’t be a better subject for him to leave a mark.

The film inspired by the lives of the real-life shooters dadis who are also sisters-in-law is entertaining from the word go. What works in the film’s favour is the writing. Balwinder Janjua, the man behind the story and screenplay, does not give us a typical story of women in distress waiting to be rescued.

Instead, the Tomar women are driven and strong enough to save themselves. Jagdeep Sidhu’s dialogue is funny and at the same time provides the right punches when needed. The use of voiceover through the character of Shefali to guide the audience through the proceedings is executed well.

The director and his team ensure that every second of the film remains about the two women. There are no evil villains, nor is there any knight-in-shining armour to save the women. The fact that the writing steers away from these clichés of womenoriented films is a huge plus for Saand Ki Aankh. Add to this the cinematography

by Sudhakar Reddy Yakkanti as his lens beautifully captures the rural life of India, the editing chops of Devendra Murdeshwarquick and efficient, Vishal Mishra’s delightful music- Baby gold, Aasma, Jhunna jhunna being a few gems, Raj Shekhar’s poignant lyrics and an engaging background score by Advait Nemlekar, and we have quite an entertaining film on hand. The only let down is the makeup of the leading ladies. Their aged look is just not convincing enough. If only more care would have been taken in this department, it would have made the film almost perfect.

Bhumi Pednekar as Chandro Tomar and Taapsee Pannu as Prakashi Tomar share an amazing chemistry on screen.

Their camaraderie is the USP of the film.

The actresses get into their roles with ease and ace every scene they are in. While Taapsee manages to capture the grit and determination of Prakashi, Bhumi as Chandro is an absolute delight and there are moments when she shines brighter than all other actors in the film. Prakash Jha’s controlled performance does not make Rattan Singh an over-the-top villain.

Viineet Kumar as Dr Yashpal gives a balanced performance as he happily lets the dadis shine.

Verdict: Not to be missed!

Rating: ****

Karo Dil Ki

26 October 2019

Box Office India

05

GOLD REVIEWS

Housefull 4 Banner: Nadiadwala Grandson Entertainment Producers: Sajid Nadiadwala, Wardha Nadiadwala, Firuzi Khan Director: Farhad Samji Cast: Akshay Kumar, Riteish Deshmukh, Bobby Deol, Kriti Sanon, Kriti Kharbanda, Pooja Hegde, Ranjeet, Chunky Panday, Johnny Lever, Rana Daggubati, Sharad Kelkar Writers: Sajid Nadiadwala & Sara Bodinar (Story), Farhad Samji (Dialogue), Aakash Kaushik & Madhur Sharma (Screenplay), Farhad Samji, Tushar Hiranandani, Sparsh Khetarpal & Tasha Bhambra (Additional Screenplay) Music: Sohail Sen

P

opular film franchises are tricky.

And when you are already three films down and each of those films is loved by the audience, then the expectations around the fourth instalment becomes sky high. Housefull 4 has hits screens this Diwali with all these baggages. In its favour is the fact that Akshay Kumar and Riteish Deshmukh, the leading men of the first three films, continue their fun run in this film as well.

In terms of story, the film has a novel idea- a reincarnation comedy. Does this translate into an entertaining film? Let us find out.

Harry, Max and Roy are brothers. They run a hair salon in London. The three are in deep financial crisis as they owe Michael Bhai five million pounds thanks to Harry’s forgetful nature. The only way for them to get out of this mess is to get married to rich businessman Thakral’s daughters Kriti, Neha and Pooja. The guys manage to impress the girls and their father. The wedding is fixed and it is decided that it will be held in Sitamgarh in India. When they arrive in Sitamgarh, the place triggers a 700-year-old memory in Harry’s mind. He discovers that he was Rajkumar Bala and has reincarnated as Harry. He also remembers the past lives of his brothers and that of the girls they are getting married to. This revelation leads Harry to realise that they are getting married to the wrong girls. Now he has just 36 hours before the wedding to make everyone remember their past lives and at the same time ensure that whatever

went wrong 700 years ago doesn’t happen again.

Bollywood has tried the reincarnation formula often on screen with most films finding success. The key to this has been a well-written plot with interesting twists and of course good performances.

Drama, romance and suspense have been the main themes that this formula has relied on. But with Housefull 4 the writers give a comic twist to a reincarnation story. There is plenty of scope for gags, slapstick and a comedy of errors. Despite all this, the film does not hit the mark all the time. The story of 1419 is much funnier than what we see in the 2019 version. The dialogue pays constant homage to Bollywood songs and situations and seeing that in 1419 is amusing. But somewhere as the story moves to 2019, the story starts dragging.

The situations created for the characters to recollect their past life seem forced.

Even the comedy seems contrived and uninspiring. Not that there are no genuinely funny moments, but there should have been more such instances considering how hard the previous parts made us laugh.

The film has been shot well and looks magnificent. Be it the palaces or the jungles, Housefull 4 is unapologetically glossy. The action sequences are well choreographed and pack quite a punch.

The songs fit within the narrative. But if there was a song or two less and some

ruthless editing was done, Housefull 4 could have been a tighter film.

Akshay Kumar does most of the heavy lifting in the film. As Harry and Bala he is a hoot. His expressions, body language, the balance between naughty and nice, evil and innocent, all of that with his signature humour, make his performance stand out. Riteish Deshmukh as Bangdu Maharaj and Roy does a good job. His chemistry with Kumar is the highlight of the film. Though he doesn’t get to exploit the characters, especially Bangdu Maharaj to the fullest, the actor makes good use of the opportunity he has.

Bobby Deol as Dharamputra and Max is decent. He is supposed to be the action star of this film, but his prowess is underutilised. Kriti Sanon, Kriti Kharbanda and Pooja Hegde as Madhu/Kriti, Meena/ Neha and Mala/Pooja respectively do their parts well. While they have limited screentime, they have some pretty cool action sequences, which they ace. Of the remaining cast, Ranjeet as the father of the girls and Chunky Panday as Aakhri Pasta are okay. It is a delight to watch vintage Johnny Lever. Rana Daggubati as Gama/Pappu is wasted. If it weren’t for his dynamic screen presence, the character would have fallen flat. Sharad Kelkar is okay. Nawazuddin Siddiqui does a fabulous job in his cameo.

Rating: *** Verdict: A fun ride

Karo Dil Ki

06

Box Office India

26 October 2019

Twitter Poll

55% 9% 7%

40 cr –45 cr

40 cr –45 cr

45 cr – 50 cr

45 cr – 50 cr

50 cr – 55 cr

50 cr – 55 cr

Above 55 cr

Above 55 cr

24% 24% 38%

19%

29%

Marjaavaan

13%

Saand Ki Aankh

Saand Ki Aankh

29%

25 cr – 30 cr

Instagram Poll

Marjaavaan

38%

55%

35 cr – 40 cr

25 cr – 30 cr

6%

35 cr – 40 cr

31%

10%

12%

Above 40 cr

35 cr – 40 cr 35 cr – 40 cr Above 40 cr

All figures in crores (rupees)

Dynamic Trade Estimate of Box Office

60

Exhibitors

60

Distributors

50 40

Bookies

48 40

30

30 24

20

20

10 0 Saand Ki Aankh - October 25, 2019

26 October 2019

Box Office India

Marjaavaan - November 22, 2019

07

TRADE TRAC

Netizens Predict Lifetime Collections

Next ATTRACTION

November 2019 - December 2020 Nov 01, 2019 Bhangra Paa Le Nov 07, 2019 Bala Nov 08, 2019 Shikara

Ujda Chaman

Bypass Road Nov 14, 2019 Jhalki Nov 15, 2019 Marjaavaan

Satellite Shankar Tony

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

Bala

Bhangra Paa Le

Dabangg 3

Marjaavaan

Motichoor Chaknachoor

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

Bhool Bhulaiyaa 2

Aug 14, 2020

Bhuj: The Pride Of

biopic Shiddat Nikamma Mar 06, 2020

Thappad

India

Baaghi 3

Oct 02, 2020

Sardar Udham Singh

Mar 13, 2020

Gunjan Saxena: Kargil

Tiger Shroff’s Rambo

Girl

Shubh Mangal Zyada

Saavdhan

remake

Satyameva Jayate 2

Mar 20, 2020

Angrezi Medium

Toofan

Mar 27, 2020

Sooryavanshi

Diwali 2020

Dhaakad

April 10, 2020 ‘83

Prithviraj

April 17, 2020 RoohiAfza

Christmas 2020 Ranbir Kapoor-Ajay

April 24, 2020 Gulabo Sitabo May 01, 2020 Coolie No. 1 May 22, 2020 Laxmmi Bomb Mid 2020 EID 2020

08

1911 Radhe - Your Most

Pagalpanti

Wanted Bhai

Devgn’s yet untitled

Krrish 4

Lal Singh Chaddha

Bachchan Pandey

Angrezi Medium

Box Office India

26 October 2019

Desi ATTRACTION

november 2019 - july 2020 Nov 1, 2019

Aayushmanbhava

(Kan)

Copy (Mar)

Ghye Double (Mar)

Khari Biscuit (Mar)

Meeku Maathrame

Cheptha (Tel)

Phangrun (Mar)

Nov 8, 2019

Adithya Varma (Tam)

Stand Up (Mal)

Vikun Tak (Mar)

adithya varma (tam)

mamangam (maL)

vicky velingkar (mar)

aayushmanbhava (kan)

sarileru neekevvaru (tel)

Sagardwipey Jawker Dhan (ben)

Nov 15, 2019 Fatteshikast (Mar)

Underworld (Mal)

Nov 21, 2019 Mamangam (Mal) Nov 22, 2019 Kulkarni Chowkatala

Deshpande (Mar)

Teko (Ben)

Nov 29, 2019 Basta (Mar)

Girlz (Mar)

Dec 6, 2019

Aruna (Mar)

K Sera Sera (Mar)

Sagardwipey Jawker

Dhan (Ben)

Vicky Velingkar (Mar)

Dec 13, 2019 Kesari (Mar)

Sankranti 2020 Ala Vaikuntapuramlo

Mee Maratha (Mar)

Dec 20, 2019 Hero (Tam) Christmas 2019 Big Brother (Mal)

Hobu Chandra Raja

Gobu Chandra Mantri

(Ben)

Dhurala (Mar)

(Tel)

Darbar (Tam)

Sarileru Neekevvaru

(Tel) Jan 23, 2020

Dwitiyo Purush (Ben)

Sanjhbati (Ben)

Jan 24, 2020

Vijeta (Mar)

Shylock (Mal)

Jan 2020

Sreekaram (Tel)

Trance (Mal)

Feb 14, 2020 TimePass 3 (Mar)

Dec 2019

Khaki (Tam)

Monsoon Football

My Santa (Mal)

(Mar)

April 2020

Vikram 58 (Tam)

Summer 2020 Rang De (Tel) May 1, 2020

Jaago Mohan Pyare

Professor Shonku O El

Dorado (Ben)

(Mar)

Jan 3, 2020

De Dhakka 2 (Mar)

Jul 30, 2020

RRR (Tel, Tam, Mal)

darbar (tam)

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

26 October 2019

Box Office India

09

INTERVIEW

Shooting Taapsee Pannu and Bhumi Pednekar, the lead actors of Saand Ki Aankh, the biopic based on ‘Shooter Dadis’,

Stars

Chandro and Prakashi Tomar, talk to Padma Iyer about playing much older characters, lessons they learnt and unlearnt during the making and the pride of two female actors headlining a Diwali release

10

Box Office India

26 October 2019

Taapsee and Bhumi, both of you have talked about the physical transformation that you had to undergo for this film. What we would like to know is the Taapsee and Bhumi as you were when you started the Saand Ki Aankh journey and the women you are today, what has the personal transformation been like?

Taapsee Pannu (TP): One thing that the character has changed in me is that I will not give up living till my time here is actually over. By over I mean when life is over. I will not stop trying new things just because I have reached a certain age. That mindset that ‘ab bahut ho gaya’, my mother has that mindset, she has reached 60 and I keep telling her that I have done this film for her. And therefore I will not give up whatever age I am in.

Bhumi Pednekar (BP): I think both the dadis have this attitude in life where they have overcome the deepest and toughest situations that they have been in and they have done it all with a smile. And that is something that I have learnt and I am trying to change about myself. As actors our lives are so busy and there is so much happening. So just dealing with all the craziness that is there around me and still having that spirit to live is what I have actually learnt from them.

The warmth that they have and the sense of inclusivity that they have for everyone; there is no discrimination about anything. During the shooting I

have seen that their doors would be open for everyone. Anybody could come into their house for a meal.

Everyone was given a lot of love and respect. They are very pure.

As young and modern women your experience of the world is very different from that of the shooter dadis. When they decided to break the norms of society in their time, their experience of the outside world was limited. How do you prepare to play women who are so unlike you, especially mentally?

BP: You have to unlearn a lot. You have to completely disconnect.

Makeup and such things are technical difficulties. These are things that can be handled even in post-production.

Supposing my makeup tears off and we don’t have time to fix it or anything like that, you can spend money and it can be corrected, it will happen.

But the emotional transformation that you have to go through and the physical transformation that you have to go through, how do you do justice to a character who has lived 40 years more than you? They have experienced so much in life that you haven’t even come remotely close to it. Right from the fact of getting married at the age of 16 to having the first kid at the age of 18 to living your entire life in a ghoonghat, working to be the bread earner of the family but not being given the respect and also being unaware of the fact that you are worth it! We are modern and independent women. So to be able to control ourselves in situations where we would have otherwise spoken out and to be okay with it, is difficult.

What we saw happening with them, we thought that it was wrong and it is injustice. But for them, that is the way they are born and raised. That is their social fabric. So, for them it was never wrong. But obviously this is cinema and to kill the urge to say something, that was difficult.

Of course it would be difficult, given that both of you are women with strong opinions, especially Taapsee...

TP: Mera toh har jagah jhagda chalu rehta hai… (Smiles) But when there are situations and scenes that you have to do which goes against your mindset, how so you suppress that urge to speak out and play your part?

TP: I don’t think you feel like that.

When you read the script you know that this is the scene you are doing and you have to psyche your brain out

26 October 2019

Box Office India

and do it. You are an actor and that is what your job is. I mean from the outside when I see the film, I will feel like screaming out ‘Speak up’. But you don’t feel like it when you are doing the part. You wing it because you have prepared your mind that while doing it you will stay quiet and not react the way you would have naturally done. I think that is what an actor does.

Another interesting aspect about this film is that we haven’t had two women leading a film…

BP: Absolutely.

TP: And definitely not a Diwali release.

And barring may be an instance here and there; the only time it happens is when a woman has headlined a film is when she is playing a double role. This is the biggest USP of Saand Ki Aankh that there are two contemporary female actors at the forefront of this project. How does it feel?

BP: So beautiful…

TP: So proud…

BP: I remember on the day of the trailer launch, Taapsee and I entered the event on a tractor. Taapsee was driving. There were dhols and celebrations. And this has never been seen. It is really sad and I don’t want to be calling it womenled films. But female actors have not been celebrated for a film that they have done. They have not been given such a podium. Everything that the

11

INTERVIEW

filmmakers, the producers and the studio is doing, they are putting us out there. They are putting in enough time and effort into this film thinking that…

TP: This is a big-ticket Diwali release.

BP: There is no gender bias.

That itself says a lot about the conviction the makers have in the subject…

BP: Absolutely. And of course there have been people saying that how can you come on Diwali?

TP: Yes. We keep hearing this every day.

Doesn’t it get tiring hearing this again and again?

BP: No, it is not tiring, but we were waiting for Diwali because we wanted people to see the film. And I know that once they see it they will stop asking us this question. The truth of the matter is if there were two men doing the same thing and if they weren’t as accomplished actors as Taapsee and I are, but they were playing older characters, they would have been celebrated. And people would be like ‘Wow, Diwali pe hi aani chahiye’. I know it is sad. But just like Chandro and Prakashi Tomar, Bhumi Pednekar and Taapsee Pannu are also trying to break some kind of social stigma.

TP: It has to start somewhere. We may get a lot of backlash but we want to change things for the future.

That is the larger goal that we are actually fighting for.

And backlash is not new to actors anyway.

TP: Yes, There is always some or the other reason for backlash, whether we do or don’t do anything.

The film also has its share of strong male actors. I have to mention Viineet Kumar Singh here. How was the experience working with him?

BP: Viineet is such a secure actor, so secure that he did a film led by two women. He is secure because he is an evolved person. He knows what he has and he knows what he is contributing to the film. It is beautiful the way he has supported us.

TP: I have known actors of his standard that is those who have done the number of films that he has done.

He has led a film, he has done supporting parts, I know of other male actors who have refused to do a film because the female actor’s part is more than theirs. And in those films it is just one female actor and in this film there are two! I have known such actors.

So, Viineet, despite doing Mukkabaaz, is open to doing film like this. Hats off to him!

BP: He is really proud and supportive of us. He wants us to go out there and shine…

Just like his character in the film…

TP: Yes… BP: It is beautiful. He is literally like our coach.

Saand Ki Aankh is out now. What do you want the audience to take back from the film?

TP: So many things…

BP: If anybody, irrespective of their gender and age has a dream, they will be inspired enough to fulfill it. What these women have done is amazing. Just the spirit they have to live, their attitude and the way they have achieved all this is fantastic.

TP: They have a zest to live. Age shouldn’t be a boundary for you; gender shouldn’t be a boundary for you. Just go ahead and live your life.

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INTERVIEW

A Fruitful Journey Murad Khetani of Cine1 Studios talks to Padma Iyer about his cinematic journey, the success of Kabir Singh and his upcoming films Cine1 Studios started its journey in 2012. How do you look back at this seven-year journey?

While I had the plans in place as to this is what I am going to do and all, but the one that I was sure about was that I want to make good films, collaborate and work with good directors and actors. We started with The Shaukeens with Akshay Kumar.

Then we did Mubarakan and then now we have Kabir Singh which is a huge success at the box office this year. Next we are coming up with Bhool Bhulaiyaa 2 which stars Kartik Aaryan and Kiara Advani. We are doing another film with Sandeep Reddy Vanga who directed Kabir Singh.

I am very happy with the way our company has progressed and with the future plans and lineup that we have.

The films you have made have been coproductions. Was it always the plan?

It just happened. We did Mubarakan with Sony. We did Kabir Singh with T-Series and are working with them again on Bhool Bhulaiyaa 2. I have a good relationship with them.

But then you may have to adjust. Two people will have a different point of view. How do you work out the differences if any?

The thing is, before joining hands we always have a clear understanding about what our roles are. This makes things comfortable and you don’t have any misunderstandings. For example for Kabir Singh and Bhool Bhulaiyaa 2, I know that I am doing the production so it’s my call. I am taking all the calls for production.

As a producer, you must come across several scripts. How do choose the one you want make?

I meet a lot of writers and directors. I also watch a lot of South Indian films. I watched Arjun Reddy, liked it and then bought the rights for its remake into Kabir Singh. I have also gotten rights for another South Indian film. I keep watching films.

When I read a script, I get the feeling that this film should be made. We get more than 50 scripts and the rejection ratio is multiple times higher than what we finally select.

Kabir Singh is the biggest success for your

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production house till date. But the film received its fair share of criticism as well.

How did you deal with?

See, the thing is, criticism comes with every film. Yes, as far as Kabir Singh is concerned, criticism was much more because of the kind of central character the film had. Neither the actor nor the director tried to say that we like this character. It was just a character in the film. Criticism is attached with every film.

We have to be prepared for that.

Your next big film is Bhool Bhulaiyaa 2.

How did it come about?

I received this script approximately two years ago. The writer came to me and narrated a one-line story. I thought that it was good and we should develop it. Then about six months ago I was talking to Bhushan (Kumar) ji about Bhool Bhulaiya and I told him that I have a script and it could be made as Bhool Bhulaiyaa 2.

He was looking for a script for the sequel and when he saw it, he too liked it. We just joined hands for the film and started working on it. We narrated it to Anees Bazmee and he loved it and he came on board as director. He is a writer himself, so for him to like something written by someone else is a huge thing.

How involved are you in the making of a film?

Be it choosing a director, actor or even budget, we have a say in all these things.

Once the director is on board, then we don’t get involved into other things much. It’s not like I don’t get involved in the creative process, it’s just that I don’t interfere much. I get involved in the sense that we discuss the casting; we discuss the locations, and so on. I don’t say that don’t do this or don’t do that. That is interference.

Satellite Shankar is all set for release.

What are your expectations from the film given that it is coming after Kabir Singh?

I have a very positive feeling about the film.

I have seen the film and it is well made.

It should do well. It cannot be compared with Kabir Singh. Every film can’t be Kabir Singh. It is a smaller budget film. Kabir Singh was much bigger than this. I cannot expect same result for every film.

You have worked with Anees Bazmee and Sandeep Reddy Vanga before and will be working with them again. What makes you repeat your directors?

One thing is that both are very good filmmakers. They have proven themselves. Sandeep has done two films Arjun Reddy and then the same film in Hindi. Remaking a regional film in another language is a very difficult thing. These are great filmmakers and there is no doubt about it. We had a good working relationship in Kabir Singh and we are working again for another film. Aneesbhai is such a senior director and so he has a good experience. I loved working with him in Mubarakan and we are very good friends now. I am very happy because if a director is ready to work with a producer again then that means that the producer is good and is paying you well. (Laughs).

What is the update on the Sandeep Reddy Vanga film?

It is a crime drama and he is writing it.

It should be ready in a couple of weeks.

Then we will decide whom to approach for the cast. We have not yet locked in anyone as yet.

What kind of films do you want to make in the future? Is regional cinema on the cards?

It should be good film no matter what the genre.

I haven’t thought about making any regional film as yet. But if something good comes my way, I can always do that.

It’s not like I don’t want to get into the regional space. If something interesting comes up then I will surely do it but I am not specially going and looking for a project that is regional.

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INTERVIEW

Conquering China Rajkummar Rao, who plays an Gujarati entrepreneur in Made In China, along with co-star Mouni Roy and director

Mikhil Musale in conversation with Anita Britto share the experience of shooting this quirky film, the idea where this film stemmed from and working with some of the finest co-actors in the recently released film

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Mikhil, who was the inspiration behind Made In China and why did you choose this as your first film?

Mikhil Musale (MM): This was one newspaper article narrated by my cowriter, three-four years back and that one line itself was so interesting- the story was of a businessman going to China, fetching something and coming back and become not just a millionaire but also creating an impact. So this story stayed with me for very long, it took a lot of time to perceive and make it into one film and now finally everything is falling in place. It was quite a journey for me, the same as Raghu’s (protagonists name) in the film.

Raj and Mouni what were your first thoughts before taking up this film?

Rajkummar Rao RR): Dinoo (Dinesh Vijan) our producer came on the sets of Stree when we were shooting in Chanderi and he told me very briefly about the idea of Made In China and told that he wants to make it and asked what I thought about it. I got very excited about the idea itself and I told him it’s a great story and that we should definitely make it together.

Then I came back to Bombay and met Mikhil and our two writers. I loved it; it’s a very unique, quirky and funny tale of an aspiring struggling Gujarati businessman.

Mouni Roy (MR): It was a no brainer for me. Mikhil was directing it, Maddock was producing it and I got to star opposite Rajkummar Rao and on top of it, the story is brilliant. I wanted to do something after Gold that had a great story and a great script and this was perfect.

Making a comedy about sex can be tricky...

RR: It’s not a sex comedy at all; sex is just part of it. It’s not at all a vulgar sex comedy. It’s an aspirational film, it is so real, the characters so relatable that you feel like you know these people.

Every middle-class family has seen and

done the things we are doing in the film. For us, it was never about feeling shy while about talking about sex.

Raghu is a guy who got an idea from China and now he has to sell that, it is all about how he manages to start his business and that’s where people will get their dose of comedy.

MM: It’s not that we are dealing with this issue for the first time with this film, it has been done before. We have been through a lot of research with my writers for months; we caught on to what exactly the problems are. There is a lot of information but at the same time, there is a lot of confusion. We have worked with the best sexologists also to understand the matter; our idea is was to deal with this issue in an entertaining yet insightful way. We are very confident about the approach we have chosen to tell the story.

The cast is brilliant, on the one hand we have Boman Irani and on the other hand, we have Paresh Rawal, how was the atmosphere on the sets with such stellar performers?

RR: It was great. For me, it was a learning experience working with these two stalwarts. I have been a huge admirer of their work, for me shooting the scenes with them for brilliant because they were creating these magic moments in the scene, they were adding so much in it.

Apart from that, it was like an acting class going on, because, I was asking them so many questions, about their earlier performances, which have inspired me and encouraged me as an actor.

MR: I actually didn’t get the chance to work with them on this film. I just got to work with Boman sir in a song, but I hope there is one day soon that I get to work with them. My learning experience was with these two (Raj and Mikhil). The scene would be something else on paper and Mikhil would come and explain it to us in a certain way and then Raj would add so much more, so altogether it was like a soupy mixture of creating some good art on screen.

MM: This is a dream cast honestly. After they came on board, I was always on my toes, I was very scared. Till date before texting Raj I still think twice because there is a kind of admiration, of course, we are very close now, but having all of them who are so good at something that they have been doing, me technically being a first-timer, and getting it across the way it has to be done (was a daunting task). The kind of experience they bring in and get it so correct is amazing.

that I will be working with Raj, and I wondered how will I be doing it, you question yourself whether or not will you be able to perform in front of somebody who is one of the finest actors in our country. But later on it was all good, it was challenging but the journey became very special because of how helpful he was.

And Raj and Mikhil since you both are National Award winners was there some kind of performance pressure?

RR: No pressure that I have to perform well, it’s a joy to create something new and surpass those challenges through my performance. Just few days before any of my film is on the verge of releasing it’s a mixed feeling. I am excited when I know we have made a good film that we all can be proud of, I was very eagerly waiting for people to see the film because it makes you laugh a lot and thoroughly entertains you. Also, it has some very quirky characters.

MM: We have tried to create a very interesting world. I just feel that people will resonate with that world now that it has released.

What is the one thing that you have learned through this journey?

MR: I have learned that you can turn the whole set into a high school musical. All you have to do is reach on set, then play a song and make sure that the whole units get up from their chairs and starts dancing like a flash mob and then start shooting.

RR: Actually, Mikhil has told me a lot of funny incidents like when during the research how they met a lot of sexologists and would ask them some weird questions and they would have even weirder answers to those questions.

I think that was a learning experience for me, that even today people have so many misconceptions when it comes to sex.

Mouni you were working with two National Award winners, were you intimidated by them?

MR: In the beginning yes when I heard

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INTERVIEW

Treading New Paths As Shruti Haasan makes her international acting debut with the series Treadstone, she talks to Padma Iyer about the show, her prep for the role and straddling multiple industries Shruti, how did Treadstone happen and was it something that was always on the cards?

I have agents in the US who hooked me up for the part. I auditioned and got the part. It was a guest role and I thought it would be fun to be part of the Bourne universe.

I didn’t plan for it, to be honest with you.

There was never any intention to crossover.

I was happy with the work that I got here.

I have been doing some interesting stuff and I am really happy about that. This just happened to come my way. And I am someone who likes to take on every opportunity that comes my way.

The character you play involves a lot of action and physical effort. How did you go about preparing for it?

Basically the role for Treadstone is a guest appearance for four episodes. The whole show is very action-driven. They already had other aspects in place, like training for months with the stunt team there. So for me, it was very exciting to do all of that for instance spending five weeks in training for just one fight. Everything was so meticulous. It was really cool.

For someone who has worked in Tamil, Telugu and Hindi films and now in Hollywood, how do you look at these different industries?

What I have learnt is that movie people are movie people all over. They are all the same. They have the same energy, same issues, same coordination or lack of it, the same level of commitment, coming together when it is really needed… they are all the same everywhere. It is all about teamwork.

You have always been someone who is

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not scared to try something new.

What is it that motivates you?

What drives you to take these risks?

As one grows as a person, you become fearless with age. I think everyone should become fearless with age. You have more things to say and you need to get them out.

I need to be able to express my perception and share it.

In the past few years, we have seen a definite shift in the kinds of films being made and the parts that are written for actresses. Is there anything that you have seen recently that you have liked?

Honestly, I don’t want to sound like an ignorant bum, but I haven’t been watching anything really. The recent thing I watched was Peaky Blinders, I am obsessed with it. So when season 5 came out I was immediately on it. I had been waiting for it forever. Given my schedule, I have not been able to catch up on stuff as much as I have wanted to, so I am not the best person to ask this. But from whatever little I have seen, my contemporaries have been doing amazing work, be it, men or women. There has also been a major shift in the stories that we have been telling.

How do you look at the digital space? Is it a platform that you would want to venture

into in the future?

I will one hundred per cent do something in the digital space. The digital platform offers you a certain kind of freedom. But it should be the right content.

So what is next on the cards for you? And what is happening on the music front?

I am currently shooting a Tamil film. I will be doing a Telugu film as well. There is my music as well. And internationally if I find something and I am able to accommodate the time, like I was with Treadstone as it takes a long time, I may do something in the future.

I am going back in NovemberDecember to the UK to do live shows.

I enjoy playing live there. I am also writing music, meeting a lot of people from the business. It is a completely new plate for me, an unknown entity, so it is really exciting.

Box Office India

26 October 2019

Viveck Vaswani

1

2

In Ketan Mehta’s film Sardaar who played Mahatma Gandhi? Who played Jawaharlal Nehru? And who played Sardaar Vallabhbhai Patel?

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4

In a film starring Hema Malini and Shah Rukh Khan, Naseeruddin Shah played Gandhi. Name the film and its director?

5

Anil Kapoor produced a film in which Akshaye Khanna acted, along with Darshan Jariwala, who played Gandhi.

What was Akshaye’s name in the film and who directed it?

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6

Richard Attenborough’s film Gandhi received worldwide acclaim.

Who played the role of Nathuram Godse in the film?

Who played Abha and Manu in Richard Attenborough’s Gandhi?

Answers

Which film on Dr Babasaheb Ambedkar showed Gandhi in a slightly negative light? Who played Gandhi, and who was the director of the film?

Which actor played Gandhi in three Hindi films? Name the films?

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7 Name the Oscar award winning costume designer of Richard Attenborough’s Gandhi.

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Name two foreign productions/coproductions which have Mahatma Gandhi as a character in them (except for Richard Attenborough’s Gandhi).

Anupam Kher plays Mahatma Gandhi in Maine Gandhi Ko Nahin Mara. True or false?

10. False 9. Neena Gupta played Abha and Supriya Pathak played Manu 8. Jinnah which was a Pakistani- British venture, and Viceroy’s House which was a British- Indian co-production 7. The Oscar winning costume designer was Bhanu Athaiya 6. Harsh Nayyar plays Nathuram Godse Feroz Khan

5. The film was Gandhi My Father, it starred Akshaye Khanna as Gandhi’s son, Harilal Gandhi and it was directed by Subhash Chandra Bose 4. Surendra Rajan played Gandhi in three films; they were The Legend Of Bhagat Singh, Veer Savarkar and Netaji 3. The film was Hey Ram and it was directed by Kamal Haasan 2. The film was directed by Jabbar Patel, and Mohan Gokhale played Mahatma Gandhi the Sardaar 1. In Ketan Mehta’s film Sardaar, Annu Kapoor plays Gandhi, Benjamin Gilani plays Nehru and Paresh Rawal plays 26 October 2019

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17

TRADE QUIZ

THE MAHATMA GANDHI SPECIAL

INTERVIEW

A Hair-Raising Tale!

As Ujda Chaman is all set for its theatrical release, director Abhishek Pathak and actor Sunny Singh talk to Bhavi Gathani about the making of the film The trailer of Ujda Chaman has comedy blended with a slice of life element. How do you see the audience connecting with the core subject of the film?

Abhishek Pathak (AP): I think the audience will immediately connect with the humour within a few minutes into the film. They are already in love with the humour we have shown in the trailer. At the same time, the dialogue used in the film, is the kind of comments we generally pass at others in our regular life. So when they watch this film, they will immediately

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connect to it. We have shown things in a humorous way. So, I think people will definitely come and enjoy the film. They would want to watch all the banter in the family and society.

People today want to go to the theatre to enjoy themselves and to get entertained. We are promising it to them with this film and we have delivered. There are also a lot of other surprises in the movie. I don’t want to talk about it right now but I assure you that after they watch the film, they will come out with a different thought

process.

Sunny Singh (SS): As an audience, if I go to a movie theatre, having popcorn with some cold drink, I will love and enjoy watching a film only if it is entertaining. You go to a theatre to watch a film to laugh and to be happy.

There are different genres and there are some movies that pass on some message. This is a film which shows the journey of a bald guy. There are moments which are different, there are emotions which are different, and obviously we have a humorous side

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to it so people will definitely like it.

The movies that we have given earlier also had a humorous blend. Through that, we have observed that people easily connect with a film. Apart from that, when you talk about something, you should also get into the details. If you are showing the relationship of a couple, you have to show the details by presenting it with appropriate dialogue and scenes that relate to the audience easily. When there is more of realism in the film, it connects with the audience and that is the reason people like a film.

AP: The same thing was there in Pyaar Ka Punchnama and Sonu Ke Titu Ki Sweety. The humour quotient that we normally get in a film is very real; something how people talk in real life.

The dialogues, the situations are not filmy as such. They are more real.

SS: More than a scene, the person’s character and the dialogue connect the audience with the film. As far as Ujda Chaman is concerned, the issue that we are discussing in the film, I think everybody has to go through this at some or the other age. It’s a human thing. Some have a genetic problem so they go through this at a very young age. I also have friends who are bald and somebody is a little unconfident and they face issues like… yaar mein kisi se baat nahi kar pata, for them there is a problem of dating, on the other hand, someone is happy, he has a girlfriend; it is all about the confidence and the journey of every individual.

Abhishek, Ujda Chaman is the remake of a Kannada film. What was the reason behind selecting this particular film to make your directorial debut with?

AP: When I watched the Kannada film Ondu Motteya Kathe, I felt that this is a very tough character to get on screen and convince people to watch.

It’s not an attractive character. Even in the film, the character is not attractive to a lot of people and that’s what the comment is all about. Somewhere, making people fall in love with him is a challenge in itself. I wanted to take up that challenge and I feel I have achieved it somewhere. The actor of the Kannada film is actually bald in real life too. Making him (Sunny) reach that level, that benchmark, it was challenging for us somewhere. We did a lot of look tests for that. When we achieved it, we were very firm that we want to take up this challenge and prove ourselves.

On the other hand, talking about making a remake or not making a

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remake, it is a different call altogether.

Every film has its own voice and I wanted to put my kind of treatment to it, my voice to it. It’s a great story and character no one has really explored before. It was quite amazing. I thought I will love doing this and so I chose this film. I believe that we have at least reached the benchmark of the trailer by giving a good trailer to them. Now the decision is totally on them whether to watch the film or not.

Sunny, besides makeup what was the most challenging part for you to play this character?

SS: Initially I was thinking that it’s a different role and I was a little nervous as to how will I take this character forward in terms of the process but I gained confidence during the making of the film. We used to sit a lot and discuss about this character. If you do the hard work and give 100 per cent in terms of direction, acting and everything, the outcome will surely be worth praising. Apart from the prosthetics, I worked on the body language of the character; how will he walk, how will he talk with the people around, how will he talk with the girl, everything. We used to see all the shots as soon as we filmed them and people used to laugh on set too. That was a great response.

What was it about the story that triggered a yes from you?

SS: When Abhishek called me and said that he had a good script, I watched the Kannada film and I simply said yes for the film. I was very excited to work on the character. I remember doing the scenes and walking and talking as Chaman, wearing those clothes and the whole make over… I was very confident and happy doing it as this time the audience will see something different from me.

Abhishek, according to you, what makes Sunny and Maanvi (Gagroo) the perfect characters for this film?

AP: The way they are in their real-life I would say. I know Maanvi since long and I know Sunny since we were kids.

When I was working on the script with my writers, they really came to my mind when it came to the vulnerability factor in the characters. This is how they are in real life. Then obviously we got a lot of look tests. I had to use prosthetics on him because I cannot make him go bald but as far as Maanvi is concerned, she is not a very thin girl so I didn’t want to cheat the audience as well. We made her look fuller as compared to what she is in real life to

achieve the perfect character. Also, both of them are very fine actors so it was not a difficult decision. They were my first choice and we really got through it.

Also, as we discussed this is a remake of a Kannada film into Hindi. When you serve a larger audience, the Hindi speaking audience, what changes do you need to make in an originally regional film?

AP: The Kannada film is a funny film itself. The comedy that they do is very different as compared to the kind of comedy we as a Hindi audience expect. To make it relatable and more colourful, I took the entire set up to Delhi first. That is my favourite place. I love getting a character from Delhi be it Pyaar Ka Punchnama or anything.

On paper we can easily see a very colourful family if it is from Delhi. The humour quotient has been lifted way above of what the original film had. At the same time, we have made a lot of changes. Of course, it was already an amazing film but I would not say that any film is a perfect film because at a certain point we feel that this can be done a little better, even when we watch our own film we feel the same way. So in that sense we somewhere had the opportunity to make it a little better since I am remaking a film.

When Ujda Chaman gets released in theatres, what do you want the audience to take away from it?

SS: They will take back Chaman.

AP: Yes, they will love the character Chaman because he is real, relatable, a very sweet and nice and innocent character. At the same time, they will remember a lot of writing work that we have done for the film. The dialogue I think will really remain with people for a longer time. They will go back with a smile at least when they leave the theatre.

I remember we showed the film to a lot of people who didn’t know anything about the script. I have shown this film to more than 60-70 people and I have kept getting messages even after four days saying that the film stays with them after watching it even after many days.

What’s next for both of you?

AP: Holiday. (Laughs). We need to take a break right now. We had a really hectic schedule for this.

SS: Yes, we need a little break and then maybe we’ll figure out something.

AP: Yes, right now just a break and then we will do something as there are a lot of things in the pipeline.

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Killer Couture

PETER STRICKLAND GOES ASMR WITH IN FABRIC

BY REBECCA PAHLE

Martin Paydes, who was doing the sound mix, wanted to get a bit of ambience, just a bit of background noise. So [people] just stood in the studio in a semicircle, improvising. But I loved the sound of it. It was really hypnotic and brought to mind all these ASMR videos, which I was watching. Then we decided to use it in a very different way.

We tried to use it as score, where we would use crescendos or suddenly do hard cuts to it. Take out a lot of the Foley, a lot of the Atmos, and give it this level of artifice that makes the sound feel almost as if it’s in suspension. It’s a mixture, really. I was watching a lot of ASMR videos when I was writing the script. I always knew I wanted the film to feel like an extended YouTube video to some degree.

Sound design is so interesting to me—it affects the audience in such a visceral way, but it’s not necessarily a way most people can articulate.

MARIANNE JEAN-BAPTISTE AS SHEILA WOODCHAPEL

>> Don’t go into a Peter Strickland

movie expecting a mainstream tentpole.

With In Fabric, out in North America from A24 on December 6, the director of Katalin Varga, Berberian Sound Studio, and The Duke of Burgundy returns to the world of the weird with an atmospheric tale of’90s British department store culture; capitalism and corporate malaise; washing machine repair; sexual fetishes; and a dress that kills people.

Holding these potentially disparate elements together is a soundscape that the director compares to an ASMR video—a popular if niche form of online filmmaking that seeks to evoke a physical response in the viewer through the use of sound. (Look it up on YouTube. There are a lot of them.)

I’ve read in a previous interview that you don’t usually do storyboards, or even shot lists. Is that correct?

With In Fabric, it was different. In Duke of Burgundy, it was two people in a house.

With In Fabric, we had dogs, we had washing machines. That did need planning—certainly shot lists. Sometimes we would do video rehearsals. Storyboards occasionally.

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There was no way we could just leave it to spontaneity on the day. The fighting, that was all rehearsed and videoed beforehand.

The dog, as well, that was done in advance.

[Editor’s note: A dog attacks Sheila, played

by Marianne Jean-Baptiste, which is why you don’t buy a dress with weird murderous powers.] So the dog knew on the day what to do. He was more prepared than we were, by the way.

At what point in the process are you thinking about sound design? It’s a huge element in all your films.

I’ve always been a big believer in spontaneity. I think with sound design, there’s always time for that. When you shoot things, it’s a very tricky beast. A lot of the sound from In Fabric is actually the music. When you hear that fire alarm at the end, that’s actually Tim Gane using a Moog [synthesizer].

You do get a sense, “It might be a Moog; I’m not sure.” But it sounds like it isn’t an alarm—it’s obviously going through distortion, as if the speakers are being melted.

That was done in advance.

A lot of that was done even before I wrote the script. Other things came very late. All the murmuring in the store, that came from the final weeks of sound mixing.

My first epiphany with that would be Alan Splet’s work with David Lynch on Eraserhead (1977). That was in 1990. I was 16 then. And I’d never seen that kind of film before. I was a regular kid; I’d watched Cocktail, stuff like that. Tom Cruise movies. I loved those films. I still do. But here was something so insular in using sound to convey a state of mind. Sound as something very expressive, not functional. A lot of action films have amazing sound design, but it’s still functional sound. They’re illustrating an explosion or illustrating a spaceship. But what Splet and Lynch were doing was not illustrating at all. It was going in a very different direction. It opened up a whole world for me. It got under my skin.

You definitely share a more impressionistic approach to sound design.

Yes, I would say that. I was never into being particularly bombastic. I think a lot of the sounds we do in In Fabric are fairly low-key sounds. But still, sound has this immense power. A lot of it is about the context of sound. Where the sound is. It’s not so much being the loudest or the harshest frequencies. It’s the juxtapositions of image and sound that people wouldn’t normally expect.

October 26, 2019 BOXOFFICE

NEWS, ANALYSIS AND RESULTS FROM NORTH AMERICA www.boxoffice.com It contributes so much to the mood of the film. It’s set in the world of these ’90s British department stores, right?

Yes. I would’ve set it now. A lot of those stores are dying. Each year another one of those unique stores disappears. The one that the store [in In Fabric] was based on was called Jacksons, in Reading, and that closed in 2013. But even then it was pretty much the same as I remember it when I was a kid.

In the film, we use Muzak. But those stores didn’t have Muzak. They were very silent.

Very different from chain stores where you would almost feel as if you were in a nightclub. There was silence. So you’d really key into certain sounds.

The thick catalog [that several characters interact with], with very thin paper, this kind of high-gloss, 80 GSM paper weight—this very thin paper. The sound of those pages turning. The carpet was thick, so the sound was quite muffled. There was this very heightened feel. It was like theater.

The stores would also have these money chutes, a pneumatic piping system, so you’d have these agonizingly long waits for your

money to come back. Time would seem to do strange things. I tried to be true to how I remembered that store as a kid. When you’re a kid, there’s no language for certain things.

If you’re a young boy, you see a suspender [garter] belt, you haven’t got a clue what it is.

You see a dumbwaiter going up and down, you haven’t got a clue where it leads to.

That scene where Fatma Mohamed’s character is in the dumbwaiter is so chilling. It taps into this sort of childhood fear, where you imagine they go straight down to hell.

Exactly. This is clearly not a film for kids, but I wanted to employ this childhood perspective, which can often be quite dark.

It’s using that kind of M.R. James sensibility. Usually, M.R. James, you’d associate his work with a misty beach or a haunted house. But [I took] it to a very prosaic setting, which is the High Street shops. People don’t normally associate that with something haunted. The sound of the High Street is the sound of the past, so that’s been quite

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

interesting for me.

Your films are so meticulous in how they’re constructed—I wonder if you’re equally picky about how they’re screened.

I don’t bother, because I would get an ulcer. You can’t! I know some directors who really police their screenings, but I’d rather just write a new script, to be honest. When it’s done, it’s done. You have no control over how people watch your films. The first screening we had last year, I turned up to that. We did some sound tests, and we had to go back and remix certain parts of the film. [There was one scene where] the frequencies sounded very aggressive, but to a manageable degree, in the studio. But when we heard it in the cinema, it was just painful. And I’m not really into doing that to an audience. We turned it down, making everything else too quiet, to save people’s ears from being terrorized. With certain things, it’s good that I was there to test things. But yeah, you get to a certain point and you just have to let it go.

Weekend of Oct. 18–20, 2019 WEEKEND

CHNG.

LOCATIONS

CHNG.

AVG.

(U.S. Dollars)

TOTAL WKS DISTRIBUTOR

1

MALEFICENT: MISTRESS OF EVIL

$36,948,713

—

3,790

—

$9,749

$36,948,713

1

Disney

2

JOKER

$29,251,840

-48%

4,090

-284

$7,152

$247,275,844

3

Warner Bros.

3

ZOMBIELAND: DOUBLE TAP

$26,803,104

—

3,468

—

$7,729

$26,803,104

1

Sony Pictures

4

THE ADDAMS FAMILY

$16,320,980

-46%

4,102

95

$3,979

$57,080,007

2

United Artists Rel.

5

GEMINI MAN

$8,310,078

-60%

3,642

0

$2,282

$36,326,621

2

Paramount Pictures

6

ABOMINABLE

$3,510,360

-42%

2,647

-849

$1,326

$53,925,430

4

Universal Pictures

7

DOWNTON ABBEY

$3,105,720

-36%

2,258

-761

$1,375

$88,638,180

5

Focus Features

8

JUDY

$2,093,144

-35%

1,418

-209

$1,476

$19,055,282

4

Roadside Attractions

9

HUSTLERS

$2,025,541

-48%

1,575

-782

$1,286

$101,847,453

6

STX Entertainment

10

IT CHAPTER TWO

$1,453,742

-54%

1,528

-775

$951

$209,608,260

7

Warner Bros.

11

JEXI

$1,203,092

-61%

2,332

0

$516

$5,722,776

2

Lionsgate / CBS

LIMITED (100—999 screens)

WEEKEND

CHNG.

LOCATIONS

CHNG.

AVG.

TOTAL WKS DISTRIBUTOR

1

AD ASTRA

$813,202

-57%

796

-882

$1,022

$48,677,973

5

20th Century Fox

2

RAMBO: LAST BLOOD

$554,397

-63%

930

-901

$596

$44,076,563

5

Lionsgate

3

THE LION KING

$270,615

-60%

325

-1362

$833

$542,954,243

14

Walt Disney Pictures

4

THE PEANUT BUTTER FALCON

$211,351

-24%

248

-56

$852

$19,864,511

11

Roadside Attractions

5

SCARY STORIES TO TELL IN THE DARK

$138,646

-44%

219

-127

$633

$68,140,950

11

CBS Films / Lionsgate

6

GOOD BOYS

$101,915

-70%

190

-184

$536

$82,970,810

10

Universal Pictures

7

ANGEL HAS FALLEN

$98,867

-32%

168

-120

$588

$68,887,280

9

Lionsgate

8

DORA AND THE LOST CITY OF GOLD

$95,819

-32%

147

-77

$652

$60,452,837

11

Paramount Pictures

9

FAST & FURIOUS PRESENTS: HOBBS & SHAW

$93,635

-50%

187

-114

$501

$173,697,270

12

Universal Pictures

10

TOY STORY 4

$90,532

-43%

145

-44

$624

$433,716,016

18

Disney

October 26, 2019 BOXOFFICE

21

SOUND BOX

Shining Bright Here comes another song from the label Jjust Music, Dim dim light. The composer-singer of the song Rahul Jain and actor Sooraj Pancholi, who features in the video, talk to Bhavi Gathani about the story behind the song and the opportunities given to new artistes with a label like Jjust Music Dim dim light seems like this sweet romantic song. What is it all about?

Rahul Jain (RJ): The video has a very happy vibe story.

Sooraj Pancholi (SP): It’s about wooing the person you like. As the lyrics go… mere liye shining tu hai, dim dim light bhi tu hai…

RJ: The song is all about that. Just the four lines tell everything. You are only my shining, you are only my dim dim light… mein jaag raha hoon ya so raha hoon tab bhi tum hi ho… Anyone can dedicate this song to anyone.

SP: Yes, it could be from a girl to a boy also.

RJ: And that’s what is there in the video.

SP: It’s a cute song.

So, how did Dim dim light happen?

RJ: First I will say how the song was made. I made this song when I was in Amsterdam. I was touring for my shows and at that time I was under a lot of pressure to submit the song. So, I was working from there as I had carried my laptop with me. I just finished one of the shows. I was trying to complete other things but it just wasn’t happening. I was stuck somewhere. My mind was just blank. The hotel I was staying in, was a really nice one. I went to the balcony and I randomly started playing the guitar. At that moment, the song happened and it took me just 30 minutes.

SP: But while you were making the song, you must have seen someone right?

RJ: Well, I didn’t see someone but I did think about someone.

Who did you think about?

RJ: Well, kisi chahne waale ko socha tha… (Everyone laughs) RJ: Anyway, what I was trying to say was, as a composer or as a creator of the song, there are some songs that you try to make for maybe two days or two months but they don’t happen.

But on the other hand, there are also some songs that you can just start and finish in 15 minutes. Something similar happened with this song too. I just hummed something and directly sent to the lyricist. She sent me a few words that were just perfect fit and the antra

22

was also made at the same time. This was a quick song. And then there are songs that no matter how much you sit for them or think on them, they just don’t happen.

So this is the story behind the making of this song. I never thought that this song will get released so soon. And now over to him (directing towards Sooraj).

SP: Well, Jjust Music and the entire team behind it are all my friends.

Jackky (Bhagnani) called me saying that ‘Sooraj there is one nice song and we are planning to make a music video on it as we are launching our label Jjust Music. So would you like to do it?’ I asked him to first send me the song. I just heard the 30 seconds of the song, not even the whole song and I called back saying that I am doing the song. I simply realised that this song has that pulse to attract the youth. It had that element of making the influencers of Instagram and Tik Tok love this song and they would like to make videos based on it. This song is just about the feel and not about someone’s look. It is a universal song.

RJ: With this platform, we would like to invite people to make videos on Tik Tok and Instagram.

With the introduction of a label like Jjust Music, do you think the deserving artistes will get more opportunities?

RJ: Exactly! So the man behind Jjust Music, Jackkybhai has amazing sense of music. Every time I am here, I play 10 songs but I already know which one he will choose. He will choose the best of all and so I can say that he has an amazing sense of music. In fact, the whole team behind Jjust Music is really amazing. It is a very good platform for upcoming artistes and I feel that they are doing a great job. It’s a next-level independent thing. Besides, they are also bringing faces like Soorajbhai. So it’s a very good platform.

I am really happy collaborating with Jjust Music. Jackky is really a very sweet-hearted person. Even in the past he has picked the best music.

He brought forward very talented people who today are doing great in the industry. I just hope the same thing happens to me too. We are working on

a few other tracks as well. I am really happy to be a part of Jjust Music and Dim dim light.

Jackky had also said that the treatment they give to the music videos is as good as the treatment given to a film.

RJ: In fact, there is more concentration on music videos than films. It does not matter what the back story is or what the story is around. The whole focus is on the music you hear.

SP: Everything has to be said in just three minutes.

RJ: It is like a short film.

What’s next for both of you?

RJ: I am doing a few films and I am also working on a few singles. There is a film called Kaagaz, which is presented by Salman Khan Films and I am doing two songs from the film. It is directed by Satish Kaushikji and Pankaj Tripathi sir is playing the lead role. Then I am doing Badnam, it’s a Vikram Bhatt film. It is scheduled to release in November or December. And apart from that, there are two-three other projects which I can’t say much about.

SP: I have Satellite Shankar releasing on November 15, right after my birthday. I hope it’s the best birthday gift I ever get. Apart from that, I am doing a film which is an Indian sports biopic. I will start the shoot in December and I am prepping for that.

Box Office India

26 October 2019

T

he first schedule of the Ekta Kapoor produced film featuring Disha Patani in the lead is underway in Chandigarh. Written by Raaj Shaandilya, the film is directed by Ashima Chibber. The film is produced under the Balaji Motion Pictures banner.

Toofan F

arhan Akhtar has kickstarted the shooting of Toofan in Dongri. The film is directed

by Rakeysh Omprakash Mehra and is based on the life of a boxer. It is produced by Akhtar and Ritesh Sidhwani’s Excel Entertainment along with Mehra’s ROMP. The film is slated to release on October 2, 2020.

Indoo Ki Jawani K

iara Advani has begun shooting for Indoo Ki Jawani in Lucknow. The film,

which also features Aditya Seal, is directed

by Abir Sengupta. It is produced under the

Dostana 2

banners of T-Series, Emmay Entertainment

T

Bhojwani and Nikkhil Advani. The film will

he lead cast of Dostana 2, Kartik Aaryan, Janhvi Kapoor and Lakshya has started prepping for the film. The film is directed by Collin Da Cunha and produced by Hiroo Johar, Karan Johar and Apoorva Mehta.

Mahabharat D

eepika Padukone is all set to co-produce Mahabharat with Madhu Mantena. The film, which will made in multiple parts, will also feature Padukone in the role of Draupadi. The first part of Mahabharat is slated to release in Diwali 2021.

Sardar Udham Singh V

icky Kaushal has taken a break from the first schedule of the Shoojit Sircar directorial Sardar Udham Singh, which is going on in Punjab. The film is produced

by Ronnie Lahiri and Sheel Kumar under the Rising Sun Films banner and is set to release on October 2, 2020.

26 October 2019

Box Office India

and Electric Apples by Bhushan Kumar, Krishan Kumar, Monisha Advani, Madhu hit screens on June 5, 2020.

Bypass Road T

he post production work of the Neil Nitin Mukesh starrer Bypass Road is

currently on. Directed by debutant Naman Nitin Mukesh, the cast of the film also includes Adah Sharma, Gul Panag, Shama Sikander, Rajit Kapoor, Sudhanshu Pandey, Manish Chaudhary and Taher Shabbir. The film is produced by Madan Paliwal of Miraj Creations and co-produced by Neil Nitin Mukesh’s NNM films. The film will release on November 8.

23

LIGHTS CAMERA ACTION

KTina

BOX OFFICE COLLECTION

MUMBAI

Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

WEEKs COLLECTIONs Theatres 1

84,00,000

200

total collections 84,00,000

2

1,59,00,000

194

6,07,00,000

3

5,91,00,000

325

88,15,00,000

East punjab Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

CI

Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

Nizam-AP Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

WEEKs COLLECTIONs Theatres 1

25,00,000

124

total collections 25,00,000

2

56,00,000

95

2,04,00,000

3

1,85,00,000

88

26,37,00,000

WEEKs COLLECTIONs Theatres 1

7,75,000

41

total collections 7,75,000

2

18,00,000

47

74,00,000

3

74,00,000

63

10,40,00,000

WEEKs COLLECTIONs Theatres 1

7,75,000

45

total collections 7,75,000

2

19,00,000

45

89,00,000

3

84,00,000

45

12,66,00,000

WEST BENGAL Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

assam

Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

WEEKs COLLECTIONs Theatres 1

7,75,000

54

total collections 7,75,000

2

18,00,000

48

86,00,000

3

1,13,00,000

98

15,42,00,000

WEEKs COLLECTIONs Theatres 1

2,50,000

7

total collections 2,50,000

2

1,75,000

7

13,75,000

3

19,00,000

25

3,95,00,000

Delhi - UP Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

CP

Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

Rajasthan Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

mysore

Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

WEEKs COLLECTIONs Theatres 1

53,00,000

169

total collections 53,00,000

2

1,13,00,000

105

4,27,00,000

3

4,38,00,000

123

63,22,00,000

WEEKs COLLECTIONs Theatres 1

12,75,000

47

total collections 12,75,000

2

22,00,000

63

99,00,000

3

1,18,00,000

105

16,17,00,000

WEEKs COLLECTIONs Theatres 1

12,75,000

38

total collections 12,75,000

2

23,00,000

37

1,09,00,000

3

1,20,00,000

53

16,09,00,000

WEEKs COLLECTIONs Theatres 1

10,25,000

44

total collections 10,25,000

2

26,00,000

33

1,33,00,000

3

1,02,00,000

30

12,20,00,000

bihar & jharkhand Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

orissa

Film (Distributor) Laal Kaptaan (Eros International) The Sky Is Pink (RSVP Movies) WAR (Yash Raj Films)

WEEKs COLLECTIONs Theatres 1

4,00,000

20

total collections 4,00,000

2

2,50,000

12

28,50,000

3

51,00,000

68

9,64,00,000

WEEKs COLLECTIONs Theatres 1

2,50,000

8

total collections 2,50,000

2

1,75,000

5

13,75,000

3

21,00,000

40

4,92,00,000

TNK Film (Distributor)

WEEKs COLLECTIONs Theatres

total collections

Laal Kaptaan (Eros International)

1

4,00,000

10

4,00,000

The Sky Is Pink (RSVP Movies)

2

4,00,000

8

24,00,000

WAR (Yash Raj Films)

3

16,00,000

25

2,90,00,000

22

at your fingertips.

Log on to www.boxofficeindia.co.in

Box Office India

26 October 2019

Week

Nett last Week

Colour Yellow Productions, Eros International

1

2,34,00,000

807

2,34,00,000

Ghost

Vashu Bhagnani, Vikram Bhatt

1

1,80,00,000

1516

1,80,00,000

Kirket

RK Jalan, Sonu Jha, Vishal Tiwari

1

86,140

10

86,140

Officer Arjun Singh IPS Batch 2000

Laxmi Narain Pandey Guruji, Shreya Films International

1

94,785

2

94,785

Life Mein Time Nahi Hai Kisi Ko

Manish Rander

1

1,69,440

6

1,69,440

Junction Varanasi Ek Amar Prem Katha

Kamlesh Singh Rajput

1

26,713

1

26,713

P Se Pyaar F Se Faraar

Dr. Jogender Singh

1

42,54,600

275

42,54,600

Jacqueline I Am ComingÂ

Manjesh Giri

1

2,72,205

5

2,72,205

Hashtag Yaaram

Veejay Mulchandani

1

2,48,570

6

2,48,570

Love In College

Vinod Kumar

1

10,000

1

10,000

Love Shots

Alpa Oberoi

1

10,000

1

10,000

The Sky Is Pink

Ronnie Screwvala, Siddharth Roy Kapur

2

4,64,00,000

698

19,08,00,000

WAR

Aditya Chopra

3

19,32,00,000

1086

2,82,09,00,000

Dream Girl

Shobha Kapoor, Ekta Kapoor

6

1,42,15,471

295

1,40,96,15,471

Chhichhore

Sajid Nadiadwala

7

51,23,461

196

1,45,08,08,931

Film

Producer

Laal Kaptaan

PVR CINEMAX fILMS

1 2 3 4 5 6

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

2923 1120 1575 3935 710 353

42453 29023 94643 240678 37972 14302

68,21,423 38,81,381 1,84,58,501 3,77,00,431 62,54,210 24,47,831

80,37,086 45,34,415 2,18,59,922 4,44,40,226 73,76,003 28,85,313

80,37,086 45,34,415 8,19,45,726 60,12,08,329 44,70,42,036 47,88,60,536

1 1 2 3 6 7

From October 18 To October 24, 2019

574 screens

fILMS

1 2 3 4 5 6

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

2756 1607 1369 4114 447 80

34977 32717 62451 209414 18896 2415

50,94,430 43,87,128 1,05,28,777 2,90,94,845 28,31,901 4,17,247

62,48,708 53,62,090 1,28,76,087 3,57,71,469 34,31,520 5,07,142

62,48,708 53,62,090 5,14,69,786 50,54,99,967 30,83,55,397 34,57,49,581

1 1 2 3 6 7

From October 18 To October 24, 2019

405 screens

fILMS

1 2 3 4 5 6

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

26 October 2019

Box Office India

(Collection from 139 stations)

SHOWS

CARNIVAL CINEMAS NO

(Collection from 149 stations)

SHOWS

INOX NO

Total Nett

From October 18 To October 24, 2019

444 screens 693

NO

Theatres

(Collection from 154 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

1441 768 474 2410 210 82

21816 16953 23794 107237 6872 4008

26,89,943 19,85,173 32,24,239 1,28,52,644 8,96,236 4,98,113

33,05,194 24,32,507 40,09,426 1,59,01,840 11,00,289 6,25,545

33,05,194 24,32,507 40,09,426 22,63,42,287 14,75,26,823 17,56,20,027

1 1 2 3 6 7

23

BOX OFFICE COLLECTION

Cinepolis

From October 18 To October 24, 2019

311 screens

NO

fILMS

1 2 3 4 5 6

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

1142 672 559 1794 415 101

17512 17713 29354 100375 18659 3214

29,31,721 28,40,883 49,98,534 1,61,03,138 29,68,855 5,36,106

34,49,835 33,38,485 58,79,541 1,89,24,206 34,89,727 6,30,176

34,49,835 33,38,485 2,69,42,211 24,03,68,836 18,74,38,785 19,50,92,523

1 1 2 3 6 7

SRS CINEMAS

From October 18 To October 24, 2019

62 screens

NO

fILMS

1

(Collection from 56 stations)

(Collection from 22 stations)

SHOWS

AUDIENCE

NETT

GROSS

LAAL KAPTAAN

322

3471

4,06,159

4,89,014

195

4237

4,70,285

5,68,196

5,68,196

1

78

2285

3,08,576

3,67,644

21,89,055

2

435

16871

20,47,945

24,82,223

4,69,88,827

3

2

GHOST

3

THE SKY IS PINK

4

WAR

GROSS TOTAL 4,89,014

WEEK 1

5

DREAM GIRL

70

2745

3,27,374

4,03,499

2,82,26,561

6

6

CHHICHHORE

31

795

92,715

1,14,960

2,98,17,193

7

WAVE INC.

From October 18 To October 24, 2019

35 screens

NO

fILMS

1 2 3 4 5

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

285 194 62 348 34

4918 5849 2674 18557 847

7,08,196 7,68,838 4,08,707 26,64,379 1,20,029

8,70,205 9,53,070 4,84,663 32,70,655 1,47,975

8,70,205 9,53,070 35,76,218 5,38,58,600 4,11,13,115

1 1 2 3 6

Mukta a2

From October 18 To October 24, 2019

44 screens

NO

fILMS

1 2 3 4

LAAL KAPTAAN GHOST THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

255 176 102 450

3384 1908 5697 23713

3,06,523 1,90,697 4,94,835 21,06,722

-

3,06,523 1,90,697 21,83,077 2,75,77,789

1 1 2 3

From October 18 To October 24, 2019

30 screens

fILMS

1 2 3 4 5

LAAL KAPTAAN GHOST THE SKY IS PINK WAR CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

161 73 76 309 37

2674 1757 4424 18380 1627

3,25,242 2,01,217 5,76,400 22,65,664 2,00,641

4,07,260 2,50,930 7,19,710 28,18,277 2,51,870

4,07,260 2,50,930 26,48,573 2,94,15,276 2,22,50,265

1 1 2 3 7

From October 18 To October 24, 2019

57 screens

fILMS

1 2 3 4 5 6

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

24

(Collection from 10 stations)

SHOWS

MOVIE TIME NO

(Collection from 17 stations)

SHOWS

City pride NO

(Collection from 10 stations)

SHOWS

(Collectionfrom from189 stations) (Collection

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

412 222 128 482 17 18

4616 3968 5131 15329 988 873

5,60,831 4,63,391 7,26,436 19,30,726 1,18,879 1,10,502

6,87,936 5,64,342 8,90,993 23,60,096 1,49,170 1,38,250

6,87,936 5,64,342 39,07,487 4,10,68,132 2,30,49,590 2,67,74,105

1 1 2 3 6 7

Box Office India

26 October 2019

miraj

From October 18 To October 24, 2019

99 screens

NO

fILMS

1 2 3 4 5 6

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

587 209 123 890 22 8

7154 4276 3910 36832 555 201

7,57,699 4,20,801 3,98,829 37,71,501 50,945 16,481

9,32,964 5,08,853 5,01,092 46,90,203 60,995 24,195

9,32,964 5,08,853 38,88,690 8,37,15,991 4,36,58,419 4,80,98,197

1 1 2 3 6 7

RAJHANS

From October 18 To October 24, 2019

28 screens

NO

fILMS

1 2 3 4

LAAL KAPTAAN GHOST THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

123 182 90 389

1388 2768 3037 16780

1,52,737 2,44,465 3,26,511 16,26,321

2,11,740 3,48,730 4,57,590 22,71,000

2,11,740 3,48,730 15,79,630 2,84,04,211

1 1 2 3

From October 18 To October 24, 2019

18 screens

fILMS

1 2 3

LAAL KAPTAAN GHOST WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

70 42 42

-

44,191 60,826 69,968

51,850 71,415 81,850

51,850 71,415 45,70,462

1

LAAL KAPTAAN

2 3 4

WAR

WEEK 1 1 3

From October 18 To October 24, 2019

56 screens

fILMS

(Collection from 5 stations)

SHOWS

gold Cinema NO

(Collection from 9 stations)

SHOWS

Q Cinema NO

(Collection from 36 stations)

(Collection from 31 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

146

2597

3,05,288

3,73,886

3,73,886

GHOST

98

2285

2,49,306

3,09,586

3,09,586

1

THE SKY IS PINK

12

345

38,451

49,934

11,48,430

2

251

7513

8,73,522

10,93,500

2,83,84,280

3

priya entertainments fILMS

1 2 3 4

LAAL KAPTAAN GHOST THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

70 28 14 84

731 684 634 3554

88,980 80,871 79,602 4,26,426

1,13,952 99,040 97,480 5,20,410

1,13,952 99,040 3,65,250 53,39,730

1 2 3 4 5

LAAL KAPTAAN GHOST WAR DREAM GIRL CHHICHHORE

Cinemas

NO

fILMS

1 2 3 4 5

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL

26 October 2019

Box Office India

WEEK 1 1 2 3

From October 18 To October 24, 2019

47 screens

fILMS

(Collection from 9 stations)

SHOWS

E-square NO

1

From October 18 To October 24, 2019

11 screens

NO

WEEK

(Collection from 16 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

115 48 336 9 8

2135 962 13049 229 220

2,04,103 90,359 11,37,268 20,052 19,860

2,50,564 1,08,080 14,19,524 25,270 25,090

2,50,564 1,08,080 1,35,96,964 -

1 1 3 6 7

maxus cinema

From October 18 To October 24, 2019

19 screens

(Collection from 4 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

73 68 60 205 15

1535 2202 2098 10365 310

1,99,153 2,95,071 3,45,118 14,40,000 37,873

2,50,309 3,69,608 4,27,546 18,03,169 47,309

2,50,309 3,69,608 12,73,655 1,63,39,876 77,49,742

1 1 2 3 6

25

BOX OFFICE COLLECTION

suncity

From October 18 To October 24, 2019

14 screens

NO

fILMS

1 2 3

LAAL KAPTAAN GHOST WAR

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

23 14 41

850 579 1614

1,13,981 73,662 2,08,150

1,34,496 86,920 2,45,615

1,34,496 86,920 46,62,788

IP CINEMAS fILMS

1 2 3 4

LAAL KAPTAAN GHOST THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

28 28 7 49

633 1061 405 2898

1,05,216 1,58,282 69,065 4,37,852

1,24,160 1,86,100 81,500 5,15,250

1 2 3 4 5 6

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

25 44 12 138 12 11

119 401 150 2376 283 373

14,337 48,954 35,360 2,57,828 31,294 51,560

18,042 52,084 46,150 3,19,927 39,548 40,778

18,042 52,084 2,34,630 40,48,963 -

1 2

THE SKY IS PINK WAR

SHOWS

AUDIENCE

NETT

GROSS

-

-

59,822 1,70,921

-

CITY GOLD fILMS

1 2 3 4 5 6

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

fILMS LAAL KAPTAAN GHOST WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

789 907 1543 5642 209 44

82,641 95,763 2,09,536 6,07,919 23,496 4,661

1,15,704 1,35,395 2,85,830 8,40,990 32,950 6,600

1,15,704 1,35,395 9,07,804 60,06,568 45,85,025 65,75,510

1 2 3

LAAL KAPTAAN GHOST WAR

26

1 2

WEEK 1 1 2 3 6 7

From October 18 To October 24, 2019

(Collection from 2 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

15 10 35

15 121 1699

37,920 13,542 2,25,994

45,115 16,215 2,67,375

45,115 16,215 18,94,080

WEEK 1 1 3

From October 18 To October 24, 2019

16 screens

fILMS

WEEK

(Collection from 5 stations)

60 54 44 187 4 6

star world NO

GROSS TOTAL -

SHOWS

9 screens

1 2 3

1 1 2 3 6 7

(Collection from 1 stations)

wide angle NO

WEEK

From October 18 To October 24, 2019

19 screens

NO

1 1 2 3

From October 18 To October 24, 2019

5 screens

fILMS

WEEK

(Collection from 11 stations)

SHOWS

CITY PULSE NO

GROSS TOTAL 1,24,160 1,86,100 1,26,050 1,22,01,315

From October 18 To October 24, 2019

26 screens

fILMS

1 1 3

(Collection from 3 stations)

SHOWS

k sera sera NO

WEEK

From October 18 To October 24, 2019

6 screens

NO

(Collection from 6 stations)

(Collection from 5 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

-

251 1967 3012

38,527 2,40,030 4,06,878

-

38,527 2,40,030 1,17,93,685

1 1 3

Box Office India

26 October 2019

M2K CINEMAS

From October 18 To October 24, 2019

5 screens

NO

fILMS

1 2 3

LAAL KAPTAAN GHOST WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

42 28 42

634 747 2619

1,09,735 1,19,438 4,75,535

1,29,488 1,40,607 5,61,329

1,29,488 1,40,607 1,00,93,504

1 1 3

FORTUNE CINEPLEX

From October 18 To October 24, 2019

3 screens

NO

fILMS

1 2 3

LAAL KAPTAAN GHOST WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

8 7 27

68 47 875

7,070 4,810 78,695

9,060 6,210 98,430

9,060 6,210 -

1 2 3 4 5 6

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL CHHICHHORE

AUDIENCE

NETT

GROSS

GROSS TOTAL

59 72 26 168 50 32

386 814 485 4242 1129 640

25,608 52,782 35,641 2,90,854 81,528 46,733

39,040 80,610 53,060 4,39,040 1,22,030 69,470

39,040 80,610 1,37,960 41,55,330 13,86,830 24,73,871

1

WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

30

1953

1,18,082

1,82,450

20,34,890

1 2

LAAL KAPTAAN WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

21 14

513 1034

64,226 1,42,998

75,455 1,68,740

75,455 43,46,460

1 2 3

LAAL KAPTAAN THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

27 13 34

2756 1577 6617

1,28,994 74,960 3,58,939

1,74,700 1,01,350 4,77,900

1,74,700 3,55,500 41,59,950

1 2

LAAL KAPTAAN WAR

26 October 2019

Box Office India

WEEK 1 2 3

From October 18 To October 24, 2019

14 screens fILMS

1 3

(Collection from 1 stations)

SHOWS

REDROCKS NO

WEEK

From October 18 To October 24, 2019

7 screens

fILMS

3

(Collection from 2 stations)

SHOWS

SSR RUPASI NO

WEEK

From October 18 To October 24, 2019

4 screens

fILMS

1 1 2 3 6 7

(Collection from 1 stations)

SHOWS

piccadily square NO

WEEK

From October 18 To October 24, 2019

3 screens

fILMS

1 1 3

(Collection from 1 stations)

SHOWS

devi NO

WEEK

From October 18 To October 24, 2019

7 screens fILMS

(Collection from 1 stations)

SHOWS

cinemarc NO

(Collection from 2 stations)

SHOWS

(Collection from 6 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

18 60

147 957

18,686 1,19,831

22,050 1,41,400

22,050 28,78,650

WEEK 1 3

27

BOX OFFICE COLLECTION

Vinay

From October 18 To October 24, 2019

3 screens

NO

fILMS

1 2 3

LAAL KAPTAAN GHOST WAR

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

27 27 28

194 266 717

16,481 20,388 64,745

19,792 24,251 77,457

19,792 24,251 10,39,708

London Paris fILMS

1 2 3

LAAL KAPTAAN THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

14 21 7

61 1294 120

10,402 2,29,328 21,148

12,580 2,77,112 25,636

12,580 5,36,158 11,55,682

fILMS WAR

1 2 3 4 5

LAAL KAPTAAN GHOST THE SKY IS PINK WAR DREAM GIRL

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

10076

13,16,056

15,32,000

1,02,14,146

3

From October 18 To October 24, 2019

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

31,251 69,899 34,926 1,86,348 71,761

-

31,251 69,899 1,62,044 43,55,827 34,47,936

fILMS LAAL KAPTAAN GHOST WAR DREAM GIRL

Rolling OMReels NO

fILMS

1 2 3

LAAL KAPTAAN GHOST WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

76,101 73,118 2,49,283 41,744

-

76,101 73,118 37,71,886 -

Rolling Reels

1 2 3

LAAL KAPTAAN GHOST WAR

28

WEEK 1 1 3 6

From October 18 To October 24, 2019

3 screens

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

23,321 26,287 1,09,746

-

23,321 26,287 25,82,103

WEEK 1 1 3

From October 18 To October 24, 2019

2 screens

fILMS

1 1 2 3 6

(Collection from 1 stations)

SHOWS

mOVIE lOUNGE NO

WEEK

From October 18 To October 24, 2019

2 screens

1 2 3 4

(Collection from 1 stations)

SHOWS

bmg Cinema NO

(Collection from 1 stations)

27

3 screens

fILMS

1 2 3

SHOWS

sarv NO

WEEK

From October 18 To October 24, 2019

1 screens

1

1 1 3

(Collection from 1 station)

SHOWS

Raj Mandir NO

WEEK

From October 18 To October 24, 2019

2 screens

NO

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

-

-

23,074 17,053 61,389

-

(Collection from 1 stations)

GROSS TOTAL

WEEK

23,074 17,053 8,77,719

1 1 3

Box Office India

26 October 2019

M4U OM NO

fILMS

1

WAR

M4U

From October 18 To October 24, 2019

2 screens

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

23,979

-

10,50,651

MAXX fILMS

1 2 3

LAAL KAPTAAN GHOST WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

32,668 14,843 72,644

-

32,668 14,843 15,06,839

1

LAAL KAPTAAN

WEEK 1 1 3

From October 18 To October 24, 2019

3 screens

fILMS

3

(Collection from 2 stations)

SHOWS

ELITE NO

WEEK

From October 18 To October 24, 2019

5 screens NO

(Collection from 1 stations)

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

-

-

38,704

-

38,704

1

2

GHOST

-

-

5,227

-

5,227

1

3

THE SKY IS PINK

-

-

29,181

-

1,81,607

2

4

WAR

-

-

1,21,891

-

23,32,496

3

movie world

From October 18 To October 24, 2019

8 screens

NO

fILMS

1 2 3

LAAL KAPTAAN GHOST WAR

OM NO

fILMS

1 2 3

LAAL KAPTAAN THE SKY IS PINK WAR

AUDIENCE

NETT

GROSS

GROSS TOTAL

-

-

22,594 34,288 75,187

-

22,594 34,288 22,85,014

svf

1

LAAL KAPTAAN

OM NO

fILMS

1 1 3

(Collection from 8 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

WEEK

28 35 187

132 823 5717

14,367 91,359 5,54,157

17,490 1,11,030 6,70,833

17,490 1,22,47,149

1 2 3

From October 18 To October 24, 2019

4 screens

fILMS

WEEK

From October 18 To October 24, 2019

13 screens

OPERA NO

(Collection from 3 stations)

SHOWS

(Collection from 1 stations)

SHOWS

AUDIENCE

NETT

GROSS

GROSS TOTAL

28

2125

35,530

40,375

40,375

Maharaja

WEEK 1

From October 18 To October 24, 2019

2 screens

SHOWS

AUDIENCE

NETT

GROSS

(Collection from 1 stations)

GROSS TOTAL

WEEK

1

THE SKY IS PINK

-

-

16,496

-

16,496

1

2

WAR

-

-

47,133

-

2,71,576

2

26 October 2019

Box Office India

29

BOX OFFICE COLLECTION

Laal Kaptaan - daywise collection Laal Kaptaan

1st Day

2nd Day

3rd Day

4th Day

5th Day

6th Day

7th Day

1st Week

Mumbai

15,00,000

18,00,000

20,00,000

10,00,000

8,00,000

7,00,000

6,00,000

84,00,000

Delhi-UP

11,00,000

12,00,000

12,00,000

6,00,000

5,00,000

4,00,000

3,00,000

53,00,000

East Punjab

5,00,000

6,00,000

6,00,000

3,00,000

2,00,000

2,00,000

1,00,000

25,00,000

CP

3,00,000

4,00,000

4,00,000

50,000

50,000

50,000

25,000

12,75,000

CI

2,00,000

2,00,000

2,00,000

50,000

50,000

50,000

25,000

7,75,000

Rajasthan

3,00,000

4,00,000

4,00,000

50,000

50,000

50,000

25,000

12,75,000

Nizam

2,00,000

2,00,000

2,00,000

50,000

50,000

50,000

25,000

7,75,000

Mysore

2,00,000

3,00,000

3,00,000

50,000

50,000

50,000

75,000

10,25,000

West Bengal

2,00,000

2,00,000

2,00,000

50,000

50,000

50,000

25,000

7,75,000

Bihar-Jharkhand

1,00,000

1,00,000

1,00,000

25,000

25,000

25,000

25,000

4,00,000

Assam

50,000

50,000

50,000

25,000

25,000

25,000

25,000

2,50,000

Orissa

50,000

50,000

50,000

25,000

25,000

25,000

25,000

2,50,000

TNK

1,00,000

1,00,000

1,00,000

25,000

25,000

25,000

25,000

4,00,000

Total

48,00,000

56,00,000

58,00,000

23,00,000

19,00,000

17,00,000

13,00,000

2,34,00,000

The Sky Is Pink - daywise collection The Sky Is Pink

1st Week

8th Day

9th Day

10th Day

11th Day

12th Day

13th Day

14th Day

2nd Week

Grand Total

Mumbai

4,48,00,000

20,00,000

40,00,000

42,00,000

20,00,000

15,00,000

12,00,000

10,00,000

1,59,00,000

6,07,00,000

Delhi-UP

3,14,00,000

16,00,000

28,00,000

30,00,000

15,00,000

9,00,000

8,00,000

7,00,000

1,13,00,000

4,27,00,000

East Punjab

1,48,00,000

8,00,000

12,00,000

15,00,000

7,00,000

5,00,000

5,00,000

4,00,000

56,00,000

2,04,00,000

CP

77,00,000

4,00,000

5,00,000

6,00,000

2,00,000

2,00,000

2,00,000

1,00,000

22,00,000

99,00,000

CI

56,00,000

3,00,000

4,00,000

4,00,000

2,00,000

2,00,000

2,00,000

1,00,000

18,00,000

74,00,000

Rajasthan

86,00,000

4,00,000

5,00,000

7,00,000

2,00,000

2,00,000

2,00,000

1,00,000

23,00,000

1,09,00,000

Nizam

70,00,000

3,00,000

4,00,000

5,00,000

2,00,000

2,00,000

2,00,000

1,00,000

19,00,000

89,00,000

Mysore

1,07,00,000

5,00,000

6,00,000

8,00,000

2,00,000

2,00,000

2,00,000

1,00,000

26,00,000

1,33,00,000

West Bengal

68,00,000

3,00,000

4,00,000

4,00,000

2,00,000

2,00,000

2,00,000

1,00,000

18,00,000

86,00,000

BiharJharkhand

26,00,000

50,000

50,000

50,000

25,000

25,000

25,000

25,000

2,50,000

28,50,000

Assam

12,00,000

25,000

25,000

25,000

25,000

25,000

25,000

25,000

1,75,000

13,75,000

Orissa

12,00,000

25,000

25,000

25,000

25,000

25,000

25,000

25,000

1,75,000

13,75,000

TNK

20,00,000

1,00,000

1,00,000

1,00,000

25,000

25,000

25,000

25,000

4,00,000

24,00,000

Total

14,44,00,000

68,00,000

1,10,00,000

1,23,00,000

55,00,000

42,00,000

38,00,000

28,00,000

4,64,00,000

19,08,00,000

30

Box Office India

26 October 2019

WAR - daywise collection WAR

1st Week

2nd Week

17th Day

18th Day

19th Day

20th Day

21st Day

22nd Day

23rd Day

3rd Week

Grand Total

Mumbai

68,57,00,000

13,67,00,000

82,00,000

1,23,00,000

1,72,00,000

62,00,000

55,00,000

52,00,000

45,00,000

5,91,00,000

88,15,00,000

Delhi-UP

49,20,00,000

9,64,00,000

65,00,000

98,00,000

1,20,00,000

45,00,000

40,00,000

38,00,000

32,00,000

4,38,00,000

63,22,00,000

East Punjab

20,43,00,000

4,09,00,000

24,00,000

36,00,000

56,00,000

20,00,000

18,00,000

16,00,000

15,00,000

1,85,00,000

26,37,00,000

CP

12,39,00,000

2,60,00,000

17,00,000

25,00,000

35,00,000

12,00,000

11,00,000

10,00,000

8,00,000

1,18,00,000

16,17,00,000

CI

7,93,00,000

1,73,00,000

11,00,000

17,00,000

20,00,000

8,00,000

7,00,000

6,00,000

5,00,000

74,00,000

10,40,00,000

Rajasthan

12,55,00,000

2,34,00,000

16,00,000

24,00,000

34,00,000

13,00,000

12,00,000

11,00,000

10,00,000

1,20,00,000

16,09,00,000

Nizam

9,81,00,000

2,01,00,000

12,00,000

18,00,000

28,00,000

8,00,000

7,00,000

6,00,000

5,00,000

84,00,000

12,66,00,000

Mysore

8,98,00,000

2,20,00,000

14,00,000

22,00,000

32,00,000

10,00,000

9,00,000

8,00,000

7,00,000

1,02,00,000

12,20,00,000

West Bengal

12,37,00,000

1,92,00,000

15,00,000

25,00,000

35,00,000

11,00,000

10,00,000

9,00,000

8,00,000

1,13,00,000

15,42,00,000

BiharJharkhand

7,73,00,000

1,40,00,000

5,00,000

11,00,000

15,00,000

6,00,000

5,00,000

5,00,000

4,00,000

51,00,000

9,64,00,000

Assam

3,34,00,000

42,00,000

2,00,000

4,00,000

5,00,000

2,00,000

2,00,000

2,00,000

2,00,000

19,00,000

3,95,00,000

Orissa

4,20,00,000

51,00,000

2,00,000

5,00,000

6,00,000

2,00,000

2,00,000

2,00,000

2,00,000

21,00,000

4,92,00,000

TNK

2,18,00,000

56,00,000

2,00,000

2,00,000

4,00,000

2,00,000

2,00,000

2,00,000

2,00,000

16,00,000

2,90,00,000

Total

2,19,68,00,000 43,09,00,000

2,67,00,000

4,10,00,000 5,62,00,000 2,01,00,000 1,80,00,000 1,67,00,000 1,45,00,000 19,32,00,000

2,82,09,00,000

PUBLIC NOTICE NOTICE is hereby given that our clients are in the process of purchasing (a) Exclusive Broadcast Rights; (b) Exclusive Cable Television Rights; (c) Exclusive Terrestrial Television Rights; (d) Exclusive On Demand Rights (except internet and mobile); (e) Exclusive linear IPTV Rights; (f) Subtitling Rights in Hindi language; (g) Ancillary Rights; (h) Simulcast Rights; (i) Exclusive Linear re-transmission right via internet and (j) Exclusive Syndication Rights; for all the aforementioned rights for telecasts of the Films as detailed in the Schedule herein below. To the best of our knowledge and belief, the Films are free from any encumbrances, claims or demands, whatsoever.

However, should any person(s) have claim against, to, or in respect of the Films 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 7 (seven) 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

HITMAN

Jet Li

BLACK MASK

Jet Li

Language

Territory

Effective Date 12th Dec 2020

Hindi dubbed

India on exclusive basis and the territories of Pakistan, Bangladesh, Sri Lanka, Nepal, Bhutan and Maldives on non-exclusive basis

12th Dec 2020

Dated: 26th 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 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.

26 October 2019

Box Office India

31

COMSCORE Box office Charts

WEEKEND TOP 20 India - PROVISIONAL REPORT Rank Title

Language

Dist

Wk

Polled Locs

Polled Screens

Weekend Gross Rs

Weekend Net Rs

Avg/Loc Gross Rs

Avg/Loc Net Rs

Flash Cume Gross Rs

Flash Cume Net Rs

1

War

Hindi

YSHRAJ

3

459

711

10,75,74,754

9,15,23,123

2,19,989

1,87,164

1,49,11,53,824

1,25,35,14,298

2

Joker

English

WBI

3

325

523

6,13,61,053

5,18,97,358

1,75,317

1,48,278

50,06,93,029

43,55,86,506

3

Maleficent: Mistress of Evil

English

UTVDIS

1

401

472

4,22,62,244

3,47,60,391

90,887

74,754

4,22,93,766

3,47,87,104

4

The Sky Is Pink

Hindi

RSVP

2

164

242

2,47,89,459

2,13,26,184

1,37,719

1,18,479

10,24,68,917

8,87,37,331

5

Raju Gari Gadhi 3

Telugu

INDP

1

57

91

1,91,73,226

1,65,39,729

2,99,582

2,58,433

1,91,73,226

1,65,39,729

6

Laal Kaptaan

Hindi

EROS

1

239

291

1,46,52,251

1,26,32,465

44,536

38,397

1,47,21,051

1,26,90,773

7

Sye Raa Narasimha Reddy

Telugu

KNIDLA

3

64

92

1,31,63,807

1,16,26,938

1,85,406

1,63,760

26,74,70,205

23,31,89,504

8

Ardab Mutiyaran

Punjabi

WHS

1

59

93

1,24,14,504

1,06,40,784

1,72,424

1,47,789

1,24,14,504

1,06,40,784

9

Zombieland 2: Double Tap

English

SPE

1

221

273

1,04,43,113

86,97,486

40,166

33,452

1,04,43,113

86,97,486

10

Dream Girl

Hindi

BLJMP

6

105

152

1,00,17,997

90,00,023

87,113

78,261

63,87,35,840

55,65,98,976

11

Asuran

Tamil

MSVC

3

30

44

92,55,338

72,36,846

3,08,511

2,41,228

5,01,29,698

4,03,94,364

12

Ghost

Hindi

INDP

1

117

159

80,35,935

71,22,486

56,591

50,158

80,35,935

71,22,486

13

Bharaate

Kannada

INDP

1

22

37

75,19,646

64,49,435

3,13,319

2,68,726

75,19,646

64,49,435

14

P se Pyaar F se Farraar

Hindi

INDP

1

48

50

56,80,723

58,26,941

45,446

46,616

57,08,323

58,50,332

15

Downton Abbey

English

UPI

1

53

70

37,42,500

31,20,307

56,705

47,277

37,45,190

31,22,686

16

Chhichhore

Hindi

FOXSTAR

7

59

64

31,95,595

27,40,065

46,994

40,295

1,03,55,95,826

88,12,00,744

17

Jallikattu

Malayalam

INDP

3

31

35

19,76,668

16,26,427

52,018

42,801

60,99,782

50,17,796

18

Edakkad Battalion 06

Malayalam

INDP

1

28

30

19,74,604

16,24,391

58,077

47,776

19,74,604

16,24,391

19

Namma Veettu Pillai

Tamil

SUNPIC

4

9

12

14,55,684

11,47,607

1,61,743

1,27,512

3,50,43,265

2,84,89,561

20

Petromax

Tamil

INDP

2

10

16

12,88,827

9,68,036

1,17,166

88,003

34,13,556

26,00,066

2501

3457

35,99,77,928

30,65,07,020

4,25,68,33,300

3,63,28,54,350

Date : 18 - 24 October Note: INOX data is partial.

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

34

Box Office India

26 October 2019

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