I’ve received requests to perform the remixes during live concerts-Babul Supriyo
11:35 PM
Yashika Mathur (HINDUSTAN TIMES; April 10, 2026)
As remixes continue to dominate Bollywood playlists, singer-politician Babul Supriyo is pushing back against criticism over the trend. A day after the release of his latest track, a refreshed version of Inteha Ho Gai, originally from the 1984 Amitabh Bachchan-starrer Sharaabi, Supriyo calls remixes a “tribute” rather than a dilution of legacy.
“To me, a remix is actually paying tribute to the singers, composer, lyricists, and the timeless songs that have already earned their shelf life. It’s just introducing them to today’s listeners in a contemporary manner,” the 55-year-old tells us.
The original track, sung by Kishore Kumar and Asha Bhosle, remains one of Hindi cinema’s most recognisable melodies. The song joins a long list of recently recreated hits, including Tamma Tamma, Piya Tu Ab To Aaja, and Tirchi Topi Wale.
Supriyo, however, sees no contradiction. “I have sung a number of remixes at the beginning of my career. Most of DJ Aqeel’s hits are sung by me. Even Pardesiya (2005), the remix in which (actor) Rakhi Sawant was launched, was sung by me,” he shares, adding, “But I never received any flak. Rather, I’ve received requests to perform the remixes during live concerts.”
Rajiv Rai on suing Dhurandhar 2 makers over use of Oye Oye: "Didn’t create song for some guy to mutilate it"
11:31 PM
Suing ‘Dhurandhar The Revenge’ makers over alleged copyright infringement, ‘Tridev’ director Rajiv Rai says his ’80s contract with the music label didn’t include remix clause
Upala KBR (MID-DAY; April 10, 2026)
Oye Oye was everywhere when the film, Tridev, released in 1989. Today, over three decades later, the chartbuster has landed filmmaker Aditya Dhar and his massive hit Dhurandhar The Revenge in legal trouble. Last week, Tridev filmmaker Rajiv Rai filed a lawsuit against Dhar’s banner B62 Studios for allegedly using his song in the movie without seeking his permission.
“After I saw the movie and my song in it, I was in shock. I filed [the legal suit] now because it takes time to move the court,” said Rai, on a call with mid-day.
In the first hearing that took place on April 9, Rai’s production house Trimurti Films alleged that the usage of Oye Oye amounted to copyright infringement. While the filmmaker admitted that Tridev’s music was sold to late Gulshan Kumar and his label T-Series in the late ’80s, his point of contention is that the contract did not mention anything about the songs being remixed. According to him, composer Shashwat Sachdev reimagining it as Rang De Lal is a copyright violation.
He said, “I count all my songs as my creativity, along with that of the music director and lyricist. The catch is when you sold the music in the ’70s and ’80s, you had to sign a [contract]. In it, there was no [mention of] remixes or that one could take a song and put it in another film. That phenomenon didn’t exist then. I’m sure when you sign that piece of paper, you don’t sign away your copyright, IP [Intellectual Property], or creative rights. I have not created the song for some guy to mutilate it.”
For Rai, what added insult to the injury is the reinterpretation of the track. “They have mutilated Oye Oye, and the young producer [Dhar] feigns innocence. They have crossed the line. Where is their conscience? My lawyer said [the case] becomes too ambiguous [due to the contract]. But where have I given the permission to mutilate my song?”
What’s the practice today?
- During a film’s making, the producer is the primary copyright holder for the music.
- The music label acquires these rights from the producer while buying the film’s music. Contemporary contracts of labels include the all formats clause, which means the company has the power to remix and recreate the acquired songs.
- In the absence of an all formats clause, before remixing a song, the label has to take consent from the producer, who in turn has to seek permission from the composer, lyricist, and other stakeholders.
------------------------------------------
Natasha Coutinho (HINDUSTAN TIMES; April 10, 2026)
Even as Dhurandhar The Revenge continues shattering box office records, the Aditya Dhar film has landed in legal trouble. Production house Trimurti Films has filed a lawsuit against Dhar’s B62 Studios over ‘unauthorised use’ of the song Oye Oye.
The dispute concerns the rights to the track, co-composed by Kalyanji-Anandji and Viju Shah with lyrics by Anand Bakshi. Originally featured in Rajiv Rai’s 1989 film Tridev, the song was sung by Amit Kumar and Sapna Mukherjee. In its plea, Trimurti Films has claimed that the song, or a version substantially similar to it, has been used in Dhurandhar The Revenge without obtaining the necessary licences or permissions.
When contacted, Dhar’s legal representative Parag Khandhar, told us, “The matter was heard in court on Thursday. No interim injunction was granted over the song in the film. The Delhi High Court has referred all parties to mediation, scheduled for April 22, and deferred the hearing to May 6.”
A representative from Trimurti Films also confirmed that the matter is currently being dealt with in court.
Shraddha Kapoor approached to star opp Vicky Kaushal in Mahavatar
11:29 PM
Mohar Basu (MID-DAY; April 10, 2026)
Even as ‘Stree 3’ is currently being written, word is that Shraddha Kapoor has been approached by director Amar Kaushik and production house Maddock Films to headline another of their movies, ‘Mahavatar’. We’ve heard that the actor is the top choice to play the female lead opposite Vicky Kaushal, who portrays Parashurama in the mythological epic.
Discussions with Kapoor are said to be underway. If things work out, Kaushik will take the project — easily one of the most ambitious rolled by the banner — on floors after June.
A source told mid-day, “Shraddha fits the brief perfectly. The team was keen on someone who brings star value and presence. Plus, the Vicky-Shraddha pairing will be fresh, and the makers are confident this combination will resonate with the audience.”
mid-day reached out to Kapoor, who didn’t respond till press time.
Siddharth Singh, Garima Waha's Dukaan heads to Yokohama Film Festival
11:25 PM
Mohar Basu (MID-DAY; April 10, 2026)
Directors Siddharth Singh and Garima Wahal feel their 2024 film, Dukaan, may be having its moment now. Centred on commercial surrogacy, the Monika Panwar-led drama has been selected for screening at the Yokohama International Film Festival that kicks off on May 1.
Singh revealed that Dukaan went through a multi-stage selection process before making the cut. “We were informed in early March that we had cleared a few rounds, but it was only on March 17 that we received confirmation of our selection. It’s been a long process,” he said.
After its limited release in April 2024, Dukaan has failed to land on any OTT platform. Believing that its absence on any streamer has led to the audience not discovering the film, co-director Wahal said, “The film is currently with Jio. It’s a subject that can resonate with Indian audiences. After this recognition, we believe the film will finally get the OTT release it deserves.”
We had a thriving indie cinema movement, that space has disappeared today-Richa Chadha
11:20 PM
Neha Maheshwri (BOMBAY TIMES; April 10, 2026)
At a time when the lines between mainstream and independent cinema continue to blur, casting choices have become a key point of debate within the industry. Actress-producer Richa Chadha has weighed in on the conversation, questioning the growing tendency of independent films casting commercial faces even when they can’t guarantee box office or add meaningful value on the festival circuit.
Highlighting what she sees as a contradiction in the way indie projects are being mounted today, the actress says, “If an actor isn’t opening a film theatrically on a Friday and doesn’t add any real weight at festivals, then what exactly is the advantage of casting them in an independent film?”
Richa, who backed the Indian- French co-production Girls Will Be Girls which premiered at the 2024 Sundance Film Festival, also points to the economic reality behind such decisions.
She says, “I am not suggesting anything, but with trained actors, you are at least assured that performance quality will be maintained. There is a commerce behind indie films too. Some stories don’t need big faces to pull crowds. It is more economical to sign on an actor who brings credibility without creating a huge hole in the budget. Without taking away from any actor’s ability or worth, if indie films are to truly survive in 2026, we have to understand that audiences want quality stories with credible actors, and filmmakers do not want to put a strain on the budget.”
Drawing from the past, she adds, “In the 1980s, we had a thriving indie cinema movement, and actors like Farooque Sheikh, Amol Palekar and Shabana Azmi were stars in their own right. That space has disappeared today. If the industry continues to wait for a nod from a handful of top male actors, on whose already tired and busy shoulders films are mounted, all the best to you. There won’t be enough output.”
Tu Hi Re has become my Aadhar card-Hariharan
11:17 PM
Debarati S Sen (BOMBAY TIMES; April 10, 2026)
Few voices in Indian music carry the emotional depth and versatility of Hariharan. From timeless film melodies like Tu Hi Re, Roja Jaaneman, Ay Hairathe and Bahon Ke Darmiyan to his work in ghazals, the singer has been an inspiration to many. As he celebrates 50 years of ghazal singing with his new album Jaan Meri, the legendary vocalist reflects on iconic songs, creative droughts, the revival of ghazals and the explosive growth of India’s concert culture. Excerpts from a conversation with him during his visit to the Bombay Times office.
You’ve lent your voice to many unforgettable Bollywood melodies. Which songs remain closest to your heart?
There are quite a few. Jhonka Hawa was a song that told a story, and I enjoyed the way it unfolded musically. Pachai Nirame in Tamil is another favourite. And there’s an AR Rahman song, Tum Ho Meri Nigahon Pe from Kabhi Na Kabhi, written by Javed Akhtar. I always feel it didn’t get the recognition it deserved. It has a beautiful symphonic quality.
Your song Tu Hi Re remains one of the most-loved romantic tracks in Indian cinema.
(Cuts in)… Tu Hi Re has become my Aadhaar card (laughs). Wherever I go, people immediately connect me with that song. It has travelled across generations and still holds that emotional power.
There was a phase between 2008 and 2012 when you were less visible in the music space. How do you look back at that period?
That wasn’t a great phase for me creatively. During that period, I released only one album, Waqt Par Bolna. I was touring a lot with Rahman then, and we would record songs with musicians wherever we travelled around the world. Another reason I didn’t record much was that I didn’t have my own studio. The moment I opened my studio in 2012, I suddenly had so many tunes in my head waiting to be recorded. I had already sung so much for films, and there was also Colonial Cousins, my band with Leslee Lewis. Sometimes the best thing is to remain silent and just let the phase pass. Creative droughts happen to every artiste.
You recently released the album, Jaan Meri, which celebrates your 50 years of ghazal singing. You have also been doing ghazal concerts recently. Do you think that the genre is seeing a revival?
Absolutely. There is a clear resurgence. Many youngsters are listening to ghazals and even singing them. The beauty of a ghazal is that it sits right in the middle of the road as a form. It is pure poetry, with a matla, sher and maqta. Each couplet can talk about a different subject. One verse might be romantic, while another might reflect on society. Because the poetry is so lyrical, it lends itself easily to composition.
You come from a musical family. How did that environment shape your journey?
I was born in Matunga into a family of classical musicians. My father was the principal of Shanmukhananda Sabha. My mother has taught more than 1,500 students Carnatic music. People often ask me why I don’t teach music, but teaching requires incredible patience. I don’t think I have that. We lived near Ruia College, and I went to Don Bosco School, Wadala, where I began singing rock music. I even had a school band and sang songs like It’s Been a Hard Day’s Night. For me, singing Western or Indian music was never a big transition, I was simply a singer who loved to sing in any language.
The live music scene in India has exploded in recent years. How do you view this concert boom?
It has grown tremendously. In my entire life, I have never done so many concerts as I do now — not just me, but everyone. It’s almost four times more than earlier. People want to go out and enjoy music. It’s a healthy thing. Music heals; it intoxicates you without side effects. All of us have rhythm — after all, we have a beating heart. When audiences come to concerts and immerse themselves in music, it’s a beautiful experience.
With such rapid growth in the concert circuit, do you think there’s a risk of saturation?
Maybe. Maybe after I retire from music (laughs).
South cinema shift: Content-driven films outperform big stars
11:03 PM
Business model shifts to films with middling budgets as returns show star power not supreme
Rajesh N Naidu (THE ECONOMIC TIMES; April 10, 2026)
Mumbai: Mid-budget southern films lacking any established stars have not only been increasingly successful over the past two years but also generated superior return on investment (RoI) than high-budget superstar-led projects, marking a sharp shift toward content-driven productions.
This segment is emerging as a reliable business model, especially at a time when big-budget star-studded films are frequently delivering thin margins, said producers, film trade analysts and content deal syndicators.
Many films made within an estimated budget of Rs 10 crore – such as Little Hearts and Anaganaga Oka Raju (Telugu), Tourist Family and Youth (Tamil), Su From So and Love Mocktail 3 (Kannada) and Premalu, Kishkindha Kaandam and Vaazha - Biopic Of A Billion Boys (Malayalam) – generated box office collection of Rs 40-140 crore, said trade analysts.
For instance, the latest Malayalam sequel Vaazha 2: Biopic Of A Billion Bros, has grossed Rs 100 crore on a budget of Rs 10 crore, indicating a staggering RoI of 900%.
Return on Investment of 5-10x
“The biggest disruption in the southern cinema today is not scale but efficiency of returns. Mid-budget films made for less than Rs 10 crore are generating five to ten times returns,” said Suniel Wadhwa, co-founder and director, Karmic Films.
“This makes mid-budget films one of the most efficient and scalable opportunities for producers and distributors.”
Stars no longer guarantee business in southern films, with the result that the role of the script has become paramount for makers, according to analysts.
“Today, script is king. A bad film of a southern star loses the audience’s interest right after the morning or noon show through strong word-of-mouth communication on social media,” said Sreedhar Pillai, a veteran trade analyst.
“Historically, Malayalam cinema has always been known for non-star content-oriented films. But, today, we are seeing similar trends in other languages in the south too.”
The youth and family audiences have a large role to play in the success of the non-star films.
“Unlike star-studded films, these mid-budget films open slowly. But their collections grow so well organically that in the long run they beat even big-budget films in returns. Today’s youth—late teens to 34 years—is not awed by stars. Content—its novelty and freshness—drives the youth to theatres,” said Chennai-based entertainment sector analyst Ramesh Bala.
“Family audiences are drawn to these mid-budget films largely because they deal with highly relatable universal themes and values. Also, since the stakes are low, makers experiment a lot in these films by blending and innovating with genres through conviction-based storytelling," he added.
Bala cited the Tamil film Youth, for instance, which appealed both to the youth and family audiences. The film focuses on a school student’s journey to becoming a mature and responsible person.
Significantly, the rise of well-scripted mid-budget southern films can partly be attributed to streamers and broadcasters.
“Streamers and broadcasters have become selective in buying films. So, makers are focusing on good scripts which perform well in theatres and fetch them high valuations from streamers and broadcasters after their successful theatrical innings,” said Arun Kumar, a Chennai-based content deal syndicator.
Producers said they welcomed the success of mid-budget non-star films because it allowed them to invest effectively in stories and other cinematic elements, unlike in big-budget star-studded films, where much of the budget goes to actor fees.
(Crisp) Movie Review: DACOIT by FENIL SETA
2:13 PM
Dacoit is entirely set in rural and semi-urban Andhra Pradesh and yet, the makers have ensured that the film has scale and cinematic appeal. A few action scenes are entertaining and thankfully, are not gory or disturbing. The 152-minute-long film moves like a breeze and doesn’t bore. A twist in the pre-climax comes out of the blue and is surely unpredictable. But while it wows you for a moment, it also puzzles you the next second because it's also silly. One wonders how it even got approved. There are many other loopholes as well. Also, the direction is a bit incoherent. Lastly, the Hindi dialogues are not upto the mark and poorly worded. Adivi Sesh brings the required subtlety and mass appeal. Mrunal Thakur plays an author-backed role with a lot of conviction. Anurag Kashyap's role stands out this time and as expected, he's great. Prakash Raj, Atul Kulkarni and Sunil (Prasad; cop) are dependable. Zayn Marie Khan is decent but doesn't get much scope. The same goes for Kamakshi Bhaskarla (Malli); her character gets a raw deal. Vaibhav Tatwawadi (Bhaskar) is okay. All in all, Dacoit disappoints and is a loss of a great opportunity.
My rating - ** out of 5!
Fenil's Bollywood Talk # 929
5:17 PM
DHURANDHAR THE REVENGE SLOWS DOWN; WILL DACOIT TAKE ADVANTAGE OF THE DRY PERIOD?
Dhurandhar The Revenge has slowed down a bit, but continues to find a steady audience across the country. After collecting Rs. 590 crores in Week 1 and Rs. 228.97 crores in Week 2, it started the third week with a bang. While the second Thursday collections were Rs. 16 crores, the film saw a jump on its third Friday as it earned Rs. 20 crores. This was possible due to the Good Friday holiday and zero competition.
As a result, the Saturday and Sunday jumps were low. On Saturday, the film collected Rs. 23 crores, while Sunday earnings were Rs. 25 crores. On Monday, it slipped to single digits for the first time, collecting Rs. 8.50 crores. Hence, its 26-day collections were Rs. 895.83 crores. This also means that it crossed the Rs. 900 crore club on Tuesday. By the end of the third week, the film is expected to earn in the range of Rs. 915 and 920 crores.
This way, the third-week collections are expected to be around Rs. 100 crores. If it reaches Rs. 920 crore mark by Thursday, it means that it’ll have to earn Rs. 80 crores more to hit the coveted Rs. 1000 crore mark. Thankfully for the makers, there’s limited competition on Friday, April 10. Yet, collecting Rs. 80 odd crores will be a challenge now that the film is seeing dropping collections. But the box office is unpredictable and if it manages to collect steadily over the next few weeks, the unthinkable can happen.
This week will see the release of Dacoit. It’s a bi-lingual shot in Telugu as well as Hindi and stars Adivi Sesh, Mrunal Thakur and Anurag Kashyap. The promotions for this film have been going on for a long time. The makers released the teaser back in December and held an event for it then.
Initially, the film was scheduled to be released on March 19 to coincide with the Ugadi holiday. But due to strong competition from Dhurandhar The Revenge, the makers chose to postpone the release to April 10.
The advance booking for the Telugu version is very strong in India as well as overseas. However, the ticket sales in Hindi are poor. The hope is that the film would open at Rs. 1 crore and then grow well with positive word-of-mouth. The timing is right as Dhurandhar The Revenge has been massively consumed. Hence, those wanting to take a trip to the cinema over the weekend should prefer Dacoit.
Dhurandhar The Revenge has slowed down a bit, but continues to find a steady audience across the country. After collecting Rs. 590 crores in Week 1 and Rs. 228.97 crores in Week 2, it started the third week with a bang. While the second Thursday collections were Rs. 16 crores, the film saw a jump on its third Friday as it earned Rs. 20 crores. This was possible due to the Good Friday holiday and zero competition.
As a result, the Saturday and Sunday jumps were low. On Saturday, the film collected Rs. 23 crores, while Sunday earnings were Rs. 25 crores. On Monday, it slipped to single digits for the first time, collecting Rs. 8.50 crores. Hence, its 26-day collections were Rs. 895.83 crores. This also means that it crossed the Rs. 900 crore club on Tuesday. By the end of the third week, the film is expected to earn in the range of Rs. 915 and 920 crores.
This way, the third-week collections are expected to be around Rs. 100 crores. If it reaches Rs. 920 crore mark by Thursday, it means that it’ll have to earn Rs. 80 crores more to hit the coveted Rs. 1000 crore mark. Thankfully for the makers, there’s limited competition on Friday, April 10. Yet, collecting Rs. 80 odd crores will be a challenge now that the film is seeing dropping collections. But the box office is unpredictable and if it manages to collect steadily over the next few weeks, the unthinkable can happen.
This week will see the release of Dacoit. It’s a bi-lingual shot in Telugu as well as Hindi and stars Adivi Sesh, Mrunal Thakur and Anurag Kashyap. The promotions for this film have been going on for a long time. The makers released the teaser back in December and held an event for it then.
Initially, the film was scheduled to be released on March 19 to coincide with the Ugadi holiday. But due to strong competition from Dhurandhar The Revenge, the makers chose to postpone the release to April 10.
The advance booking for the Telugu version is very strong in India as well as overseas. However, the ticket sales in Hindi are poor. The hope is that the film would open at Rs. 1 crore and then grow well with positive word-of-mouth. The timing is right as Dhurandhar The Revenge has been massively consumed. Hence, those wanting to take a trip to the cinema over the weekend should prefer Dacoit.
Dhurandhar The Revenge collects 895.83 cr in 26 days; no 1 film in Delhi/UP; no 3 in Overseas
10:29 AM
Box Office India Trade Network
DHURANDHAR THE REVENGE is heading towards becoming the first 200 crore nett film in Delhi/UP as it accumulates 187 crore nett till date. The film has comfortably beaten the figures of DHURANDHAR which had beaten the numbers of STREE 2 by a margin. STREE 2 was the first film to hit 150 crore nett and just 18 months later, a film will inaugurate the 200 crore nett club in this circuit.
Delhi/UP is traditionally a circuit where big stars with larger than life images dominate. A newcomer or lesser star film sometimes did phenomenally well in Mumbai but Delhi/UP was less comparatively as business in UP was so star driven. But now the top three films are DHURANDHAR THE REVENGE, DHURANDHAR and STREE 2. Even if we take the next, GADAR 2, it came at a time when Sunny Deol was not that Sunny Deol of GHATAK, GADAR, etc.
This is just reflective of how the box office is going away from star driven vehicles and if this is happening in Delhi/UP, then other areas will be far ahead in this process. Box office megastardom has been on the downward curve through this century as cinema competes with other forms of entertainment and a trip to the cinemas becomes more and more expensive leaving it out of reach for many. This makes it more about the film than any star. The stardom of Salman Khan for that period post 2010 was probably an abberation to that downward curve of stardom down the years.
The top ten original Hindi grossers in Delhi/UP circuit of all time are as follows. Only DANGAL remains from the pre pandemic days. If we include the dubbed films, then DANGAL would be out though BAAHUBALI 2: THE CONCLUSION would remain from the pre pandemic films.
1. Dhurandhar The Revenge - 1,87,00,00,000 apprx (18 days)
2. Dhurandhar - 1,71,32,00,000
3. Stree 2 - 1,50,37,00,000
4. Gadar 2 - 1,35,89,00,000
5. Jawan - 1,20,95,00,000
6. Pathaan - 1,12,35,00,000
7.Animal - 1,10,52,00,000
8. Dangal - 80,22,00,000
9. Border 2- 79,32,00,000
10. Saiyaara - 79,20,00,000
----------------------------------------
DHURANDHAR THE REVENGE had another huge weekend as it collected 68 crore nett apprx taking its overall total to 887 crore nett. It was a holiday on Friday and so, the weekend saw limited growth on Saturday. On Sunday, it was the same story as last weekend as the A certification holds it back a little. The drop is only 55% from last week and if you factor the holiday on Friday, then its about 60%.
DHURANDHAR THE REVENGE should do around 100 crore nett in its third week and week four will also see the film with no competition which should mean good collections in that week as well. The film remains on target for the 1000 crore nett mark but it all depends on the next few weeks. The trend at the moment suggest an apprx 1000 crore nett finish but all it takes is one bigger drop than expected and things become tougher.
The film is no doubt that it is the biggest BLOCKBUSTER of recent times as footfalls will cross 4 crore in time and this is a mark which is very rare this century. Considering the footfalls of original Hindi films in the 2005-2020 period, you would think 4 crore is impossible after the pandemic when generally admits are less.
The collections of DHURANDHAR THE REVENGE (Hindi) are as follows.
Week Two - 2,28,97,00,000
Friday - 20,00,00,000 apprx
Saturday - 23,00,00,000 apprx
Sunday - 25,00,00,000 apprx
Third Weekend - 68,00,00,000 apprx
TOTAL - 8,87,33,00,000 apprx
----------------------------------------
DHURANDHAR THE REVENGE had a strong hold on its third Monday as it collected 8.50 crore nett which is a 57-58% drop from Friday but the Friday was a holiday for Good Friday. The trend does not look good if you compare with DHURANDHAR but that film clocked around 200 crore nett in week one and here it is almost 600 crore nett. If you take out the DHURANDHAR comparisons, then these third Monday figures are excellent and even more so considering the huge opening week of the film.
DHURANDHAR THE REVENGE stands at 896 crore nett till date and will cross the 900 crore nett mark today. The film also crossed the footfalls of DHURANDHAR after its third weekend. It will be around 3.6 crore now for the films as it chases the 3.9 crore of PUSHPA 2 - THE RULE and the eventually the 4 crore mark. The pricing is at lower rates now but still high for a regular third Monday.
The third week stands at 76.50 crore nett after four days and its probably looking to close in the 95-100 crore nett range. There is only one film with a 100 crore nett third week and that is DHURANDHAR. The film is racking up numbers across and although in some circuits the smaller centres will not reach PUSHPA 2 - THE RULE numbers, the bigger centres in these circuits are more than compensating which may lead to record collections in places like Rajasthan, CI and maybe even Bihar.
The collections of DHURANDHAR THE REVENGE (Hindi) are as follows.
Week One - 5,90,36,00,000
Week Two - 2,28,97,00,000
Friday - 20,00,00,000 apprx
Saturday - 23,00,00,000 apprx
Sunday - 25,00,00,000 apprx
Monday - 8,50,00,000 apprx
Third Week - 76,50,00,000 apprx ( 4 Days)
TOTAL - 8,95,83,00,000 apprx
----------------------------------------
DHURANDHAR THE REVENGE is now the third highest collecting HINDI film Overseas after the Shahrukh Khan starrers PATHAAN and JAWAN. It is closing on the collections of these two films but may have to settle for third place as the pace has slowed now. It may edge get to JAWAN but the PATHAAN number looks out of reach.
However, that does not matter as all things considered, it is the number one film in Overseas. The film has the highest totals ever in US, Canada and Australia and even in many smaller territories, it has set new benchmarks. The missing business is in Gulf and PATHAAN and JAWAN got $14m and $17 million there respectively. Even if we give DHURANDHAR THE REVENGE a very modest $10 million from Gulf, it would be sailing past PATHAAN and JAWAN figures and also become first HINDI film to cross $50 million.
DHURANDHAR THE REVENGE has set new highs in USA, Canada and Australia but actually the best performance is United Kingdom where it is still short of PATHAAN. However, United Kingdom has a heavy Pakistan/Bangla crowd and a PATHAAN type of film would be lapped up by that crowd especially with Shah Rukh Khan in the lead while a DHURANDHAR THE REVENGE will see a chunk of this crowd go missing. As a result, for DHURANDHAR THE REVENGE to be even challenging the PATHAAN numbers is pretty much unthinkable. The film has to earn another £300k to become the biggest film in United Kingdom and it will be touch and go whether it gets there. If it gets there it will be the biggest overseas record for DHURANDHAR THE REVENGE.
The HINDI Overseas grossers of all time are as follows. This only includes collections from the ORIGINAL Hindi versions and not the other formats which some films got released in.
1. Pathaan - $48,500,000
2. Jawan -$46,900,000
3. Dhurandhar The Revenge - $43,250,000 (26 days)
4. Dhurandhar - $32,500,000
5. Dangal - $30,700,000
6. Padmaavat - $29,140,000
7. Bajrangi Bhaijaan - $28,640,000
8. Dhoom 3 - $28,330,000
9. Animal - $27,210,000
10. Dilwale - $26,580,000
NOTE - All films include Nepal collections. (These are reported in India numbers by some distributors)
Subscribe to:
Comments (Atom)