Sourav Ganguly and Rajkummar Rao, who will portray the former India cricket captain in the upcoming biopic Dada: The Sourav Ganguly Story, made their first joint appearance in Ganguly’s hometown of Kolkata. The festivities began at the cricketer’s residence before he took the actor pandal hopping during the Durga Puja celebrations on Maha Ashtami on Monday.

Reminiscing about his childhood, Sourav told BT in an exclusive conversation, “Whenever I think of Durga Puja, I’m transported back to my childhood, when the festival meant pure joy, family and unforgettable memories. The excitement would begin days in advance, with my father or grandfather taking all of us cousins shopping for pujo clothes. We would get matching outfits in the same colours and patterns, and wearing them together was always a special feeling.”

He added, “Some of my fondest memories are of spending nights at our pujo pandals with my cousins, staying up late, laughing and chatting before waking up early to offer prayers at the thakur ghor. I still remember my grandfather giving each of us Rs. 10 for pandal hopping. Back then, it felt like a fortune!

Recalling his association with the festival, Rajkummar said, “Since I was a kid, I used to fast for all nine days during Navratri in Gurgaon. When I came to Mumbai, I was introduced to Durga Puja and garba nights. Then, a few years ago, Patralekhaa took me to Kolkata during Durga Puja. Since then, I’ve been coming to Kolkata, and it’s always fascinating to be here, especially during the festival. The whole city lights up, and the colours and food are all so good.”

Rajkummar spoke about his special bond with Kolkata and its people. “My relationship with Kolkata and Bengalis is very special. I’ve always had friends from Bengal since my school days. My class teacher, who also paid my school fees at one point, was a Bengali and one of my favourite teachers. Then I met Patralekhaa, a true Bengali girl, and the rest is history,” he smiled.

The duo visited some of Kolkata’s prominent pujo pandals, including Maddox Square and Allen Park, soaking in the city’s festive spirit. Ganguly ensured that his guest got a taste of the city’s culinary delights, insisting that Rajkummar try the signature puchka and biryani. “I also made Rajkummar have the traditional Bengali sweets,” he said.

Having portrayed two legendary figures associated with Bengal in biopics – Subhash Chandra Bose and now Sourav Ganguly – Rajkummar feels a strong connection with the state. “I truly feel at home in Kolkata. And, as they say here, I am Kolkata’s jamai!” he shared.

Actor Meezaan Jafri is set to make his web series debut with filmmaker Ali Abbas Zafar’s next. Mumbai Mirror has learnt that Zafar is directing a series for a leading streaming platform, featuring Meezaan alongside 12th Fail actress Medha Shankar. The romantic actioner is slated to go on floors by the end of October.

Meezaan, who made his acting debut with Malaal (2019), opposite Sharmin Segal, has since featured in Priyadarshan’s comedy Hungama 2 (2021) and Yaariyan 2 (2023). The son of actor Jaaved Jaaferi, he will now venture into the digital space with a project that blends romance and action. Details about the storyline and the rest of the cast are being kept under wraps.

Medha Shankr rose to prominence with Vidhu Vinod Chopra’s 12th Fail (2023), in which she played Shraddha Joshi opposite Vikrant Massey, earning widespread recognition for her performance. She has also featured in Shaadisthan (2021), Dil Bekaraar (2021) and Maalik (2025). In 2026, she starred in Ginny Weds Sunny 2 and Max, Min & Meowzaki.

When we reached out to Meezaan and Ali, both remained unavailable for a comment.

Meezaan in an earlier interview with Mumbai Mirror spoke about his fashion. The actor, who has often been noticed for his sartorial choices, said his style has evolved with experience. “I’ve sort of found my own space now. I know what works for me and what doesn’t. I know the kind of silhouettes that work for me, what kind of jeans suit me and what photographs well. These are things you learn over time. You make mistakes on red carpets, too, and then realise that an outfit doesn’t look as good on camera as you thought it would,” he said.

Having been in boarding school since the fifth standard, actor Anya Singh, known for Border 2 and the show The Ba***ds Of Bollywood, has fond memories of celebrating Dussehra with friends and teachers.

“When you are in a boarding school, it is very rare that you get the opportunity to dress up in Indian attire. That is a core memory because year after year, you are celebrating it with your best friends and teachers... It was like a community activity,” she shares.

A confessed sweet tooth, the 33-year-old says food has always been central to festive celebrations in her family. “On every big festival, my nani makes aate ka halwa. Ghar ka halwa hits different. That is something I miss.”

On the work front, Singh shares an exclusive update about her upcoming film, Vikram Bhatt’s 1920: Cold Winter, in which she stars alongside Ahan Shetty.

“We begin shooting in the first week of December. It is an intense story, and a lot needs to be said through the eyes. Vikram sir thought I’d be a good fit; he had enjoyed my part in The Ba***ds Of Bollywood. He said that while writing, he had me in mind. When I heard the story, I said, ‘Let’s go ahead’. Even though I am petrified of horror!”

Actor Tiger Shroff escaped gunshot injuries after three motorcycle-borne assailants opened fire at his car near Pushpa Park in Juhu on Sunday evening (October 18). His driver and an autorickshaw driver were injured in the incident. Karan Veer Mehra, who plays football with Tiger every Sunday, was at the venue and was travelling in the car right behind the actor’s when the firing took place.

Recalling the frightening moments and the confusion that followed, Karan shares, “We were playing football, as we do every Sunday. I was right behind Tiger’s car, clicking pictures with some kids, when I heard a loud, sharp sound. Given the festive season, one would imagine it was firecrackers bursting. However, people soon started shouting, ‘Goli chal gayi!’ as Tiger sped away in his car. Someone shouted that Tiger had been shot at. I left my car behind and ran outside to see what had happened. I saw bloodstains on the road.”

Karan says the situation was particularly alarming because he had been standing close to the actor moments earlier, and the people around them were initially unsure about what had happened.

He adds, “Tiger drove off to the Santacruz police station. I followed him, but we had to drop off our friends’ kids, who were attending a birthday party at the venue. On the way back, I spoke to Tiger, who told me, ‘Everything is fine. Don’t come. They have sealed the hospital.’ I drove past Nanavati Hospital and went back home.”

While Karan was relieved that Tiger was safe, the incident left him shaken, especially after he learnt that the actor’s driver had been injured.

He says, “Tiger’s driver was injured and got out of the car. He couldn’t drive, so Tiger took the wheel. Tiger must have been hit by glass shards. I was in touch with him until last night and also spoke to his sister, Krishna. It has been traumatising for everyone. I was absolutely terrified, to be honest.”

Recalling their regular Sunday football sessions, Karan points out that Tiger often steps out to meet fans and click pictures, making him grateful that the actor did not follow that routine on this occasion.

He says, “Tiger usually goes to the gate to click pictures, and I am glad he didn’t do that yesterday. I have seen videos of those men standing almost at point-blank range and shooting at his car. Thank God, nothing major happened. Luckily, the windows were tinted, so they couldn’t aim at him.”

Karan also expresses disbelief that someone would target the actor, whom he describes as focused on his work and fitness and respectful towards others. “Why would somebody attack this guy jo na lene mein na dene mein, na party mein, na controversy mein? Apna kaam karta hai, fitness mein rehta hai and he is so respectful towards everyone,” he says.

Dussehra is a celebration of the triumph of good over evil, a theme that resonates as much in our epics as it does on screen. This year, Vijay Varma celebrated the festival exclusively with Bombay Times, bringing a touch of tradition to the occasion as he arrived dressed in traditional attire. In a conversation with us, he recounted childhood memories of Dussehra, reflected on the timeless significance of the festival, and shared his thoughts on what it takes to be the new-age leading man.

Sharing his memories from Hyderabad and Rajasthan, Vijay says, “I have two distinct memories of Dussehra, each rooted in a different place. One is from Hyderabad, where I was born and raised. We would go to a mela held on a massive ground near the Old City, where they would burn the effigy of Ravana. It used to be incredibly crowded, and I remember sitting on my father’s shoulders to get a better view of the ceremony. That image has stayed with me. My second memory is from Rajasthan, where I lived with my grandmother for a few years. The Ramleela performances there were beautiful.”

Reflecting on Dussehra’s age-old theme of good triumphing over evil, the actor believes that human nature cannot always be separated as black and white. He says, “I find humanity in everything. You may disagree with a lot of things about people, and some people may be terribly wrong, but as an artiste, my job is to investigate those who are seemingly discarded as bad people. If there is no representation of different kinds of personalities, our collective understanding of them remains limited.”

The actor, who headlined the series Matka King this year, one of the highlights of his career, adds, “Great drama lies in conflict, and conflict cannot exist only in white; it has to have shades of grey. My understanding of grey helps me understand both white and black. I don’t see white and black as complete in themselves. Any flaw in a character becomes an opportunity for me to understand him. I cannot understand a flawless person. My job is to shed light on these complexities and portray them truthfully so that the story works.”

He adds that every role pushes him to confront his own inhibitions and prejudices. Citing Matka King, he says the character’s honesty in a corrupt system made him particularly fascinating to explore. He says, “Every new character pushes me to break my inhibitions and set aside my personal biases and prejudices. In Matka King, I found a fascinating character in a man whose superpower is his honesty. In a system where people can be bought and manipulated, an honest person becomes dangerous.”

The burning of Ravana’s effigy represents the destruction of negativity. Reflecting on the personal and professional obstacles he has overcome, the actor says learning to rise above failures and self-doubt has been an important part of his journey.

“As artistes, we have to go deeper, overcome our inhibitions, biases and prejudices, and work on the obstacles that hold us back. I spent years with no recognition, success, work or money, and no certainty about tomorrow. The biggest challenge was to keep going with hope, without letting my spirit break. Failures can bring you to rock bottom, but they also help you rediscover your strength and improve yourself. Ultimately, the pursuit is to become a better version of yourself.”

From playing Moeen, the drug peddler in Gully Boy, Hamza, the abusive husband in Darlings, to Anand Swarnakar, the serial killer hiding behind the facade of an ordinary family man in Dahaad, the characters he portrays are flawed, morally complex and far removed from the traditional leading man. Does he believe he is part of a new generation redefining what it means to be a hero?

He explains, “I feel like I’m the face of a new kind of Bollywood, because the traditional kind of films that used to be made are not being made now. In fact, they are not making those films even with younger stars. Where is Jaane Tu... Ya Jaane Na? Where is a film like that? Where are the films that Shahid Kapoor starred in during his earlier days? That switch has happened. I am just fortunate to be in this place where stories that I like are being made. There are actors who are very good at bringing people to the theatres, but I think I am an actor that will make sure that people will not leave the theatre. An actor’s job is to capture them and give them an immersive experience where they don’t even want to look at their phones.”

Talking about being a part of Ramleela on stage, he shares, “I have been part of a Ramleela during my time at FTII. Jaideep Ahlawat played Ravana, another friend played Ram, Sunny Hinduja was Hanuman, and I played Jatayu. Later, I even played Sita in one of the short films we made as students. I have never played Ravana on screen, but I have portrayed my own versions of the character in different ways.”

(Location Courtesy: The Tanjore Tiffin Room, Versova)

Mumbai: Until recently, celebrity-spotters hoping to catch a glimpse of film stars would stake out Bandra Bandstand, Juhu or Film City in the suburbs. The hunt has now taken an unexpected turn to south Mumbai-to Courtroom No. 55, tucked away on the fifth floor of a building in the city civil and sessions court complex in Kala Ghoda.

For those tracking Bollywood's uneasy brush with the gangland network of Lawrence Bishnoi, this is the arena where the famous meet the infamous.

Presided over by special judge Satyanarayan Ramjivan Navandar, the court is hearing a cluster of cases linked to the Lawrence gang under the Maharashtra Control of Organized Crime Act (MCOCA). The list includes alleged firing outside actor Salman Khan's Bandra residence and filmmaker Rohit Shetty's home, and the murder of politician Baba Siddique who had ties with Bollywood's elite. If MCOCA is invoked in the attack on actor Tiger Shroff, that matter too could find its way here.

It was the Salman Khan case hearings that first brought the chamber into the spotlight. He is expected to appear as a key witness along with his brother, actor-producer Arbaaz. It was on the same building's fourth floor in Courtroom No 52 that Salman was sentenced to 5 years in jail for running over four people and killing one in 2002 (he was acquitted by Bombay high court). His repeated appearances over 2 years then drew large crowds.

Among regular visitors was Pranita Fulsagar from Pune who travelled four hours for every hearing. Now married to a cop and mother to twins, Fulsagar, 32, is hoping to see the actor in person again. "I have a book full of his pictures," she said. "I want him to live a full and happy life," she said.

Quiet courtrooms in the City Civil and Sessions Court complex have often been dramatically transformed during sensational trials into packed spaced filled with lawyers, litigants, court staff and curious onlookers. They make up a motley bunch. One frequent attendee at Salman’s last trial was a senior citizen from Bandra, who took notes with coloured pens and claimed he had been at the accident spot on the night of the incident. For the Salman Khan case of 2002, the day of the judgment in May 2015 was marked by special arrangements.

Entry to the fourth-floor courtroom was cordoned off, and people scaled the building opposite the court using water pipelines to catch a glimpse of Khan through the courtroom window. Court staff fear a repeat of the dangerous climb, this time a floor higher, when Khan arrives to depose in the MCOCA trial. Threats received by the actor from the Bishnoi network culminated in the firing outside his home on Apr 14, 2024 and triggered a major investigation into organised crime rackets operating across states.

The Baba Siddique case has added a graver dimension. Siddique was shot dead outside his son’s office in Bandra (E) on October 12, 2024. Police linked the murder to Bishnoi-led organised crime activity. The tone in court around such a case is sombre. Even in a room used to high-profile name-dropping, a murder trial changes the atmosphere. There is less whispering, more note-taking, and a constant reminder that behind every “sensational case” is a dead man, a grieving family and a prosecution required to prove guilt beyond reasonable doubt.

The Rohit Shetty case has added to the impression that Courtroom 55 is the place where cases involving alleged gang threats to Bollywood are heard. Now, with reports that the Tiger Shroff case may be tried under MCOCA, Courtroom No 55 could see another high-profile number. MCOCA cases are not routine assignments, they require allegations of organised crime activity, prior offences, continuing unlawful activity and sanction from the authorities.

If that threshold is crossed, Courtroom No 55 could be assigned with hearing more such remands. Yet despite the celebrity backdrop, everyday life inside 55 remains rooted in bureaucratic reality. Known for maintaining a strict, no-nonsense courtroom, Judge Navandar delivers sharp judicial remarks when police procedure falters.

When investigators recently faced difficulty securing physical custody of Anmol Bishnoi, the judge pulled up the Crime Branch for showing little effort and asked why video conferencing had not been used if transfer orders were stuck in red tape. In 55, celebrity, box-office success and gangster notoriety carry little weight if the paperwork is not in order.

Years after becoming a familiar face on the first season of Indian Idol, singer Amit Sana has returned to television with the show’s new season, Legends Return. However, the journey back has been far from easy.

“When I did my second album, I invested a lot of money into it and people loved it, but somehow, I made quite a loss monetarily,” Sana recalls.

“You don’t get the kind of royalties you need in India. The publicity that was promised never really happened. As an artist, you get scared. How do you come out with another new song when you aren’t financially well off?”

Sana says he received little support from fellow artists during this difficult phase. “No one from the industry ever chose to help, no one reached out. The truth is, somewhere, we were all struggling. This is the bitter thing about reality shows. Offers don’t instantly start pouring in once you become a part of one or gain fame through it. There have been a lot of seasons of Indian Idol, but very few people have actually managed to make it big in the industry.”

Recalling his state of mind after the show, he says, “As soon as the season ended, I was very depressed because I didn’t know what I was going to do. Everyone else was very happy, thinking, ‘Wow, now we are going to do shows, we are going to make money.’ I remember thinking, what am I going to do? How will I sustain myself in this city?”

Looking at an industry increasingly shaped by younger artists and new technology, Sana believes there is still an audience for the music his generation represents. “People are not very happy with the kind of music that is being created these days. It is too daring; it overpowers your senses. So it doesn’t make you remember a particular song,” says Amit, adding: “Music which used to heal you, which used to make you connect back with yourself and feel like your emotions are being sung in the song, that is something I’m missing. With this new season, we are going to use our experience, the school that we are coming from, but at the same time, we are going to use modern technology as well. So I am going to make a middle path here.”

As her journey as Tulsi in Kyunki Saas Bhi Kabhi Bahu Thi comes to an end, actress and politician Smriti Irani talks about reclaiming her love for acting and balancing two demanding careers.

Smriti is clear that she is not shutting the doors to acting this time. She says, “My political responsibilities are a commitment I have made to public life. Acting is a craft I had stopped practising, but apparently never stopped loving. I don’t know if I would call this a comeback. I would call it a rediscovery. And this time, I don’t feel the need to shut one door merely to prove my commitment to the room I am already in.”

She adds, “Life has taught me to be very careful with the word ‘never’. For years, I believed acting was a chapter I had closed. Twenty-five years after Tulsi first entered my life, I found myself standing before a camera as her again. There is a larger lesson in that – Why must one part of a person’s identity disappear for another to be authentic? I don’t know which character will come to me later. But unlike before, if something excites me creatively and I can honour its commitment, I would certainly explore it.”

Smriti refuses to see her two careers as competing commitments. “I have been fortunate to experience success in two demanding and unforgiving worlds. Both teach you the same lesson: yesterday’s success gives you no entitlement to tomorrow’s opportunity. Politics gave me responsibilities and an understanding of India that the young actor in me could never have imagined. And then, after many years, Tulsi came knocking again. There is something wonderfully circular about that,” she shares.

Looking ahead, Smriti says she is focused on growth rather than labels. “At this stage of my life, I don’t feel the need to choose one identity simply to make myself easier for other people to understand. I am a political worker. I am an actor. I have been an administrator. I have known extraordinary success and I have known defeat. I have led, I have learnt, and I have started again. All of those experiences belong to the same person. Today, I don’t measure my life by how many designations I can accumulate or how frequently I appear on a screen. I ask myself simpler questions: Can I still contribute? Can I still learn? Can I walk into a new room without believing my past entitles me to a place in it? Can I still have the courage to attempt something at which I may have to prove myself all over again? If the answer is yes, I want to keep doing it. So, I don’t see myself returning from one world to another. I see myself moving forward – with everything both worlds have taught me,” she concludes.

One of the defining moments of Smriti’s return to entertainment came after her defeat in the 2024 Lok Sabha elections, when she decided to pick up the phone herself and ask for acting opportunities.

“I am actually very proud that I picked up that phone. Why should asking for work embarrass me? I began my professional life asking for opportunities. Why should success make me so entitled that asking for an opportunity again becomes beneath me? I have held significant responsibilities in public life, and I have also known what it is to pick up a telephone and say, ‘Is there work for me?’ I am equally comfortable owning both experiences. Position can give you authority. It should never give you entitlement. There is enormous dignity in work and enormous strength in being willing to begin again. After 2024, I could have waited for somebody to call me. I didn’t. I made the call myself. Perhaps what I reclaimed in that moment wasn’t merely acting. I reclaimed the young woman in me who never believed that starting again was something to be ashamed of. Sometimes the ability to begin again is a greater measure of confidence than the ability to remain at the top,” she elaborates.

Though born into a Bengali family, Rohit Roy, who spent his early years in Ahmedabad, feels a stronger affinity with Gujarati culture. And festivals make the similarities too obvious. “I’m going to get killed for saying this, but I identify more as a Gujarati than a Bengali (laughs). I’ve realised that there are so many similarities between our celebrations,” says the actor recently seen in Chumbak.

Speaking about the celebrations, Rohit shares, “The plan is the same every year – we visit the pujo pandal, offer our prayers and remember Maa. The only difference now is that I have stopped asking her for things because she has already given me so much. In your 20s, you ask her to make you a star; in your 30s, you want a bungalow, a car and watches; in your 40s, you pray for the next leap in your career. But by the time you reach your 50s, all you ask for is good health. This year, we are going for dandiya and visiting the mandir and pujo pandal, but I will not ask for anything. I will simply thank her for everything she has given me.”

“When we were in school, we were quite protected until Class VII. But from Class VIII onwards, we started going to our friends’ Navratri venues. The only problem was that getting in was really difficult, especially when 12-15 of us turned up together!”

Recalling one such incident, he says, “The biggest garba in Ahmedabad back then was at NID (National Institute of Design). We were from St Xavier’s, and we were quite naughty! There was just one pass, so one of the boys would enter first and then pass it back to us through the bushes. The next person would take it in, followed by the next, and that’s how all 12 of us managed to get in with just one pass! Now, I’ve exposed all my friends (laughs)!”

While Navratri brings back memories of Ahmedabad, Durga pujo is a family affair for him in Mumbai. 

“I usually celebrate Durga pujo in Mumbai. The city has a huge Bengali population and its own pujo celebrations. Neelam aunty (Joy Mukherjee’s wife) and my mother are best friends. Neelam aunty has been organising a lovely, intimate pujo for the last 20-25 years, where only around 100-150 people attend each day. Those four days are truly blissful because, unfortunately, everything has become so commercialised. But this group has stayed true to the essence of pujo. It is a family-run celebration, and Manasi (his wife) and I take turns with Ronit (Roy) and his wife, Neelam, to host the bhog on different days. It feels as though we are performing the pujo at our home. Usually, someone sponsors the bhog on a particular day, like Saptami or Nobomi (Navami), and both days are very special. Manasi, Kiara (his daughter), and I join everyone else in serving the bhog, and the offering that day is from our home. We serve the bhog ourselves, and it is a beautiful experience.”

Having grown up celebrating both, Rohit sees little difference between Navratri and pujo. “Whether it is Navratri or pujo, the spirit remains the same. In Kolkata, people go pandal hopping, while in Gujarat, they move from one dandiya venue to another. We celebrate the same spirit. The primary difference is that we play garba and dandiya in Gujarat, while Bengal has dhunuchi dance. Having lived in Ahmedabad all my life, I have celebrated both pujo and Navratri with equal fervour since childhood. I have reached a point where I cannot distinguish between the two.”

UDTA TEER had a fair first day as it collected 4 crore nett on day one as it made very good gains from the evening shows. The opening of the film was such that it looked like a 3 crore nett first day and to end up at 4 crore nett gives this film a good chance of success. The urban centres really made strong gains which all goes well for the Saturday as these centres are very strong on Saturday.

Considering the Friday trend, it does have a chance of doubling up which would mean actually a good Saturday collection. Its a spoofy comedy which have limitations but this growth on the first day indicates the target audience in big centres may have liked the comedy in the film. The opening day has edged past the collections of PATI PATNI AUR WOH DO which was an Ayushmann Khurana starrer released a few months back.

The trailer or music had made little impact and thats why the film so low but its all about the response and it looks far better for this film than the similar level films released last week. Dharma Productions, which has been having a bad run for the last couple of years, may see some sort of success out of this film which did not seem initially. Its going to be about the weekdays and just two weeks to to get the figures.

The other release of the week, PEHLA PYAAR DOOSRI BAAR, could not do much and collected around 50 lakhs nett and that was with a buy one get one free offer which continues today.

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UDTA TEER did well on the second day as it collected 7-7.25 crore nett which is growth of around 80% from the day. This growth would have been more but there is a pre Diwali affect in some places like NCR. The two day collections of the film are 11 crore nett and its going to about where the film lands on Monday.

The trend is good so far though it has to make up ground in terms of collections and that will be down to the weekdays and week two but for that the Monday hold is all important. Also if the film holds really well, it can still get some collections over the Diwali holiday period. The growth on Sunday will have limitations being an urban film. Actually nowadays going up on Sunday is good enough for films which don't have a strong ratio of business coming from the mass circuits.

The collections of UDTA TEER till date are as follows.

Friday - 4,00,00,000

Saturday - 7,15,00,000

The other release of the week, PEHLA PYAAR DOOSRI BAAR, could not do much and collected 45 lakhs on day one and a little over 50 lakhs on day two for a total of 1 crore nett in two days.

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UDTA TEER has seen a good trend over the weekend though collections remain moderate. The film has collected a little over 19 crore nett over the first weekend from a 4 crore nett opening day which is a good result from where the film started, But overall figures is not so good and it has a lot of ground to make up.

The comparison is PATI PATNI AUR WOH DO which released earlier this year though that is a less costlier film. However, it had the franchise factor though it is unlikely to be worth much. PATI PATNI AUR WOH DO had a weekend of 16.75 crore nett and went on to do almost 49 crore nett. Here the weekend is better but lifetime will probably be struggle due to the big Diwali release, RAMAYANA. 

The collections of UDTA TEER till date are as follows.

Friday - 4,00,00,000

Saturday - 7,15,00,000

Sunday - 8,00,00,000 apprx

The other release of the week, PEHLA PYAAR DOOSRI BAAR, could not do much and collected 45 lakhs on day one, a little over 50 lakhs on day two and around 55 lakhs on the third day for a total of 1.50 crore nett for the first weekend.

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UDTA TEER collected 3 crore nett on Monday dropping around 25% from the first day which now takes the total of the film to 22 crore nett. It should be a first week of 30 crore nett plus as there should be some growth today due to the discounted rates.

The business of the film is very much on the lines of PATI PATNI AUR WOH DO which had a similar cast and UDTA TEER could even do a little more than that film over the first week. However, it also has a higher cost. PATI PATNI AUR WOH DO did what you can call respectable business and if UDTA TEER can continue to hold till RAMAYANA and then can do a little after, the lifetime of both films could be the same.

The collections of UDTA TEER till date are as follows.

Friday - 4,00,00,000

Saturday - 7,15,00,000

Sunday - 8,00,00,000 apprx

Monday - 3,00,00,000 apprx

The other release of the week, PEHLA PYAAR DOOSRI BAAR, could not do much. It collected 45 lakhs on day one, a little over 50 lakhs on day two and around 55 lakhs on the third day for a total of 1.50 crore nett for the first weekend. Monday was around 25 lakhs for a four day total of 1.75 crore nett.