PATI PATNI AUR WOH DO held up well in the third week as it dropped only 40% from the second week but its all to late in the day as the overall business is just not good enough. The film collected 7.50 crore nett in week three which takes it to 47.50 crore nett but it will be limited collections from here and the 50 crore nett mark looks to be far away.

The film has just not found much appreciation with the audience leading to lacklustre collections. The film has done okay business in Delhi/UP but it should have been much more as it holds appeal for that region. However, the content has just not been good enough.

The figures for PATI PATNI AUR WOH DO are as follows.

Week One - 27,69,00,000

Week Two - 12,47,00,000

Third Week - 7,50,00,000 apprx

CHAND MERA DIL collected 7.50 crore nett in its second week which is a drop of 57% and it is too much for a film which hardly collects anything in the first week. A film like KRISHNAVATARAM PART 1: THE HEART dropped only 15% and that is not to say that this film did well. But at least there was some sort of hold signaling some sort of appreciation, however minimal.

CHAND MERA DIL needed the trending of a KRISHNAVATARAM PART 1: THE HEART and then it could have even done well but it is well short of that. The problem is total rejection by the core Hindi belts and when this happens, its hard to survive in todays scenario. The film has 25 crore nett up on the board so far and it will be very limited collections from here.

Both PATI PATNI AUR WOH DO and CHAND MERA DIL will be fine in terms of recovery due to non theatrical deals and costs being in check but theatrically both are additions to the FLOP list.

The collections of CHAND MERA DIL are as follows.

Week One - 17,62,00,000

Second Week- 7,50,00,000 apprx

PEDDI (Hindi) had a low first day as it collected 2.50 - 2.75 crore nett apprx and it was pretty much dull business in all circuits. Odisha can be called somewhat decent but other places like Maharashtra and Gujarat, where these South films have done better in recent times, did not really collect. A Thursday release does not help when a trailer does not generate much response. But here, there is probably no choice as the film in its original language Telugu needs an extended weekend to get the best out of the initial.

The film has opened to a good response in Nizam/Andhra where collections will probably be 37-38 crore nett on the first day. Mysore is around 4.50 crore nett which means the first day figure across all versions will be around 45-47 crore nett. The problem is that the cost of the film is so high that unless something extraordinary happens in the South, it has to get collections in Hindi and that is not going to happen.

The film had issues in Andhra prior to release as there is a problem with exhibitors who want to shift to revenue sharing while distributors and producers prefer the present rental deals. The eventual outcome will be revenue sharing whether it happens today or a few years time as that is only way exhibitors have chance of surviving. The Nizam/Andhra circuit already has huge issues with lack of content for cinemas.

As for PEDDI, the Hindi collections pretty much settle its fate and this is not the case with this film but pretty much anything film from the South now which has these sort of costs associated it and they will start to find out what the real ground realities at present as compared to a few years back.

The Marathi film DEOOL BAND 2 has scored big and is looking to become one of the biggest Marathi films ever. There is a good chance it will be in the top three and maybe even the top two also. The film collected 28.25 crore nett in its first week and stands at almost 20 crore nett in week two with one day to go. Basically it will be at 50 crore nett after two weeks.

The hold in week two is extraordinary as it was an eight day first week and if you factor in seven days then it will be a fall of just 15% apprx. The top three films in Marathi language at present are SAIRAT, BAIPAN BHARI DEVA and RAJA SHIVAJI. While SAIRAT maybe out of reach, this film can challenge the other two as BAIPAN BHARI DEVA stands at 70 crore nett and RAJA SHIVAJI (still running) is at 66 crore nett. On the trend, a 70 crore nett plus total does not look tough but there are multiple releases which will affect screenings from this week onward.

The film is a devotional drama again showing which way the box office is going as the traction that these sort of films are getting post pandemic takes you back 75 years back when the Mythological/Devotional genre was strong.

RAJA SHIVAJI will end up being the highest grossing Marathi film ever but that will be because of a good contribution from the Hindi version. The film will finish with 90 crore nett apprx and just edge past the collections of SAIRAT though if we take only Marathi then it will be 67-68 crore nett only which is third best total so far. However, DEOOL BAND 2 has a good chance of beating this number.

DHURANDHAR THE REVENGE (Hindi) will end its worldwide business at over 1650 crore comfortably making it the biggest worldwide grosser ever for a Hindi film. The previous record holder was DHURANDHAR 1 which did around 1235 crore which means DHURANDHAR THE REVENGE is beating its predecessor by over 400 crore crore worldwide.

JAWAN and PATHAAN are the other two Hindi films to cross 1000 crore worldwide outside the DHURANDHAR films. These worldwide collections are coming without business in Gulf which could have been anywhere between 100-200 crore. So, fair value worldwide business for the film will be somewhere in the 1800 crore range.

The film was also released in a regional versions and if we include that, then the collections go up to almost 1720 crore. But in this way it remains behind films like BAAHUBALI 2: THE CONCLUSION and DANGAL. Taking the fair value of Gulf would take the film above BAAHUBALI 2: THE CONCLUSION but DANGAL remains the top film with 2020 crore plus if all its formats are counted. But it is no comparison with the original Hindi film as DANGAL is 702 crore and DHURANDHAR THE REVENGE is 1650 crore plus.

The film is still running in India and may add another one crore to its total. The worldwide collections of DHURANDHAR THE REVENGE till date are as follows. 

India - 1214 crore (1006 crore nett)

Overseas - 438 crore ($47.1 million)

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DHURANDHAR THE REVENGE hit 4 crore footfalls in Hindi with another 30 lakh plus coming from regional versions which takes it footfalls to over 4.3 crore in all versions. Despite doing business of around 275 crore nett more than PUSHPA 2 - THE RULE in Hindi, the footfalls are just 10 lakh more due to the insane pricing at multiplexes.

The huge pricing was just not just for the weekend or week but continued for some time until the collections went to lower levels. This is also why the 1000 crore nett number has to be taken with a pinch of salt as not many films will be able to keep this sort of pricing after the initial days. No doubt some of the bigger films to come can release with even higher pricing than DHURANDHAR THE REVENGE but to sustain this pricing the way the Ranveer Singh-starrer has done is very tough.

It is this sustained high pricing post the first week which has taken the film to 1000 crore and so far ahead of PUSHPA 2 - THE RULE. However, its hard to believe with the collections PUSHPA 2 - THE RULE actually had deeper penetration and wider appreciation as far the Hindi circuits are concerned. If we take out South India where PUSHPA had the regional versions, then the footfalls of PUSHPA 2 - THE RULE are actually higher by around 30-35 lakhs which is a considerable amount.

All the Hindi circuits have more footfalls for PUSHPA 2 - THE RULE apart from East Punjab and Delhi/UP. There are now seven Hindi films post the pandemic which have crossed 3 crore footfalls. This is basically in the last five years and if we go to the 2010-2019 period then there were around 6-7 films to hit 3 crore footfalls in the whole decade. So, this decade till date compares well.

This also shows the shift of the public to the bigger film as admissions are down generally but they are better for the bigger films. Below are the top ten apprx footfalls post the pandemic for Hindi films. The figure in brackets adds the regional versions when they are there.

2. Pushpa 2 - The Rule - 3.9 crore (6.2 cr)

3. Dhurandhar - 3.55 crore

4. Gadar 2 - 3.4 crore

5. Stree 2 - 3.2 crore

6. Jawan - 3.1 crore (3.5 cr)

7. Chhaava - 3 crore (3.12 cr)

8. Pathaan - 2.8 crore (2.92 cr)

9. Animal - 2.7 crore (3 cr)

10. KGF - Chapter 2 - 2.55 crore (4.9 cr)

Manali done, now Mumbai is calling out to Salman Khan and Nayanthara. Sources have told mid-day that the two actors are set to kick off the next schedule of their yet-untitled film, directed by Vamshi Paidipally, on June 10 in the Maximum City.

What’s on the agenda? To film critical action blocks that have been envisioned against the city’s locations. “The team will shoot across multiple outdoor locations in and around Bandra because the sequences require the texture and scale of an urban setting. The sequences, featuring both leads, include chases, vehicle-based action, close-quarter combat, and crowd-heavy moments,” revealed a source.

Producer Dil Raju and the director have also lined up a key set-piece involving Khan. An insider shared, “It’s one of the film’s major action pieces. It begins as a pursuit and gradually escalates into a confrontation.”

After Mumbai, the unit will head to Hyderabad in July for the next leg.

Charming and full of energy, Varun Dhawan brings his infectious sense of humour to the latest episode of the Bombay Times Lounge driven by Jeep. But beyond the laughs, the actor — whose latest release, Hai Jawani Toh Ishq Hona Hai, directed by David Dhawan, hit theatres on Friday — reveals a more reflective side as he opens up about the dangers of chasing perceptions, the pressures of fame, and why staying true to yourself matters more than ever. A conversation that’s equal parts entertaining and insightful — much like Varun himself. Watch the full episode on the Bombay Times YouTube channel.

My dad always told us, ‘I never went in to make comedy films. Main entertainer bana raha tha. Main logon ko entertain karna chahta tha. Usme romance tha, emotion tha, drama bhi tha, thoda sa action bhi tha. Aur uss mein logon ko hasaa bhi raha tha. But unn emotions ke bagair, those films would not be what they were. People and maybe critics back then, labelled them as comedy, but actually they were wholesome entertainers’.

Recently, at the David Dhawan Film Festival, where they showcased Aankhen, so many of us sat together and watched the film on the big screen — it was still so entertaining and magical. The comedy is not forced, it’s not gaggy... ki yaar, yeh trend mein hai, bolenge toh yeh chalega. It’s very close to real things that happen around us. I believe comedy is basically about capturing the nuances of real life and maybe magnifying them a little bit.

Yes, I was told by a very popular director back then that, ‘I wanted to cast you in a film, but I feel the kind of cinema you’re doing, you can only do that. But you should not do such cinema.’

Yes!

At one point, we thought that he wouldn’t direct a film again because his health was down. So, Rohit (brother), my mom and I, felt he should not direct a film. He was going through a very low phase, and I remember Anil Kapoor, telling me, ‘You have to let your father get back on the sets. He has spent more time on the set than he has spent at home. His home is the set and behind the camera. We are built differently, Varun. Humne bahut kaam kiya hai, so unko khushi agar usme mil rahi hai, let him do it and as a son support him.’ Anil uncle has a similar work ethic, so I understood what he said and that made me think about it a lot. Rohit was a little bit more hesitant to let him direct again, but we knew we had to support him.

I think no one comes prepared to deal with the ups and downs in their life. I’ve had my share of ups and downs and my moments of weakness. But what I have learnt is — you have to move on and take the next step. You can dwell over it and feel bad for yourself. You can play victim, but how long will you play victim? This is something that my dad always tells me — move on, take the next step, you have to take the next step. There’s no point sitting and blaming people for your sorrows and think…ki I’m here because usne mere saath yeh kiya, ya yeh hua mere saath. Arre bhai, tumhari bhi thodi galti toh hogi na? So, introspect, take the learnings and move on. Blaming anyone is not going to get you anywhere.

What is number one? It means you’re better than someone. There’s always going to be someone better than you. Someone will come along and something will change. My idea is to just do my work in the best way possible and enjoy the journey. There was a time when we were all being brought up in that very individualistic mindset. I myself have moved away from it a little bit. I was running too fast and sometimes when you do that, you forget which direction you are running in.

It’s addictive.

The lonely moments that you spend with yourself. When you’re all alone in your van, when you’re all alone in your house — those are the lonely moments. Actors’ lives are very lonely, and this is something which I always discuss. I would say most actors are lonely.

Luckily, from the beginning, I kind of dropped the façade. I am what you see. I can’t keep pretending, because I feel my mental health will go for a toss and I will burst somewhere. I mean, if you see my earlier interviews, I was even more moohfat. Abhi thoda sa conscious ho rahe hain log because of social media and all that. But kya hi hone wala hai? Kya hi kar denge? Cancel kar denge? After a point, you’ve just got to be yourself, whether it’s good or bad — at least you’re yourself. Otherwise after some time, you won’t even know who you are.

I feel that bringing people to come and buy the ticket is tough today. You can make a good film, and many good films are being made, but not all of them make money. It’s not like we are not making good films. I saw Superboys Of Malegaon aur mujhe bahut acchi lagi. I loved Laapataa Ladies and 12th Fail; the movie was also a hit, but it could have made even more money given that it was such a good film. Then there is a film like Dhurandhar, which is an entertaining film, it has stars and everything comes together and it does well. So, it’s possible, but not easy. It was never easy.

Driven by: Jeep

Location courtesy: Luuma House

After nearly a year of digital detox, Taapsee Pannu is back online. The actor, who recently asked followers what kind of content they would like to see from her, says the return was prompted partly by industry realities, including being told that some brands prefer celebrities who are more active and visible on social media.

“The detox was because of multiple reasons. It felt like you are always in the race of starting trends or participating in trends. It was exhausting. I wanted to live my life and not constantly check social media,” Pannu tells us.

To break the habit, she deleted social media apps from her phone and accessed them only through her iPad. “Actors are also told not to expose themselves too much. Otherwise, why would people come to theatres to watch you? That logic made sense to me,” she says.

But reduced visibility came at a cost. “I was told brands want people who are visible. I was also told, ‘You don’t post so much, so this brand won’t associate with you. That brand prefers someone who is hyperactive on social media. You should be like this particular person’.”

Pannu, however, questions the logic. “If a brand is coming to me, they are coming for me as a person. If I have to be like someone else, what’s the point?”

Surprise was Ravi Kishan’s first reaction when he heard director Suresh Triveni’s narration of Maa Behen. “Even after doing so many films, I had never played a character like Gupta ji before,” marvelled the actor. The novel character became his incentive to play the middle-aged man attracted to his neighbour Rekha, essayed by Madhuri Dixit Nene.

The cherry on the top was the authenticity with which a North Indian small town was shown in the Netflix crime comedy, also starring Triptii Dimri and Dharna Durga.

“I know these areas. The small-town humour has been missing from Hindi cinema, and when [Bollywood] depicts it, it feels a little fake. You can’t fool me when it comes to this world. I know what kind of comments are passed when a woman is walking alone, or how people wait for her to step out when her husband is not home,” said Kishan.

Matching him, beat for beat, to bring the story alive was Dixit. Impressed by his co-star’s professionalism, Kishan said, “No matter what, she will be on set by 6 am. She is present at every moment. I might have given some trouble to our director, but Madhuri ma’am is calm like a river.”

He deeply cherishes her professional attitude, especially having worked with actors who lacked it. “I have many stories of co-stars, who aren’t like that. If provoked, I will give out names,” he laughed.

Pankaj Tripathi is celebrated as much for his acting style as for his deeply rooted off-screen personality. Raised in the village of Belsand in Bihar, the actor’s farming background continues to shape his connection with the environment.

On World Environment Day today, the 49-year-old says the biggest reminder from Nature is simple: “We are a part of Nature, but we have started believing that we are Nature’s maalik! Jo ki sach nahin hai, aur prakriti humko jhatka dekar sachet karti rehti hai ki sudhar jao!”

Tripathi shares that his resolve to minimise his carbon footprint came during the filming of Sherdil: The Pilibhit Saga (2022) on location in jungles. Now, he has made it a part of his daily routine.

“During my entire schedule, I cook my own food in vanity — dal, chawal, aur sabji dalkar khichdi — and treat my fellow actors, too. I use steel tiffin and bottle, store water in an earthen pot, and avoid plastic as much as possible. I avoid branded clothes, except when playing a character, and prefer wearing khadi, handloom and handicraft clothes,” he says.

While he admits that one person can only make a little bit of a difference, Tripathi insists that it is a starting point: “My team and people around me take inspiration. If we all start individually, change will surely happen. I have very high hopes for our younger generation.”

Singer-composer Amaal Mallik has opened up about industry politics in Bollywood, weeks after claiming that he was removed from more than 60 projects between 2019 and 2026. Ahead of his concert in Gurugram on June 5, Amaal said his outspoken nature often makes his journey in the film industry challenging.

“Not many from Bollywood want to call a spade a spade,” Amaal tells us, adding that he still has moments when he feels like stepping back. “I feel that every day, and then I force myself back up (laughs). It’s difficult for someone who comes with an independent attitude into the film industry. I don’t know how to be very ‘Ji, sir’. That’s very tough for me,” he says.

Ask him about his recent Instagram story about being a victim of industry politics, the 35-year-old shares, “I don’t want to name anybody. The culprits are not just one particular label, director, or actor. They keep changing. I have handled them for 10 years.” “What I believe is that you can take 60 films away from me, I will answer it with one Awarapan,” Amaal shares referring to his upcoming song in Emraan Hashmi’s Awarapan 2.