(Crisp) Movie Review: THE ODYSSEY by FENIL SETA
9:45 PM
The Odyssey has an unconventional start. For someone who last read about Greek mythology more than two decades ago, coincidentally after watching a film (Troy), it takes around 20 minutes to understand the setting, the characters and their relationships with one another. The story goes back-and-forth and yet, it is seamless. A few scenes of the voyage and what happens on the way are very memorable (and scary), while the emotional scenes touches heart. But it's the climax which takes the film to dizzying heights; see it to believe it! On the flipside, the interest levels dip at some places and a major plot point in the beginning is convenient. Matt Damon delivers one of the finest performances of his career. Whether its emotional scenes or indulging in action, he performs like a pro. A performance that deserves an Oscar! Tom Holland also makes his presence felt and delivers a sincere performance. Anne Hathaway delivers yet another remarkable performance. How she manages to slip into diverse characters effortlessly is a feat. Robert Pattinson gets under the skin of his character and is aptly cast. John Leguizamo (Eumaeus; blind man), Samantha Morton (Circe) and Charlize Theron (Calypso) leave a huge mark in small roles. Lupita Nyong'o is okay. Zendaya (Athena) is memorable in a cameo. The music score is also Oscar-worthy. The Sirens theme is haunting and one of the best pieces in a long time. All in all, The Odyssey is layered yet mass-appealing and a rare Christopher Nolan film that doesn't go bouncer. Don't miss!
My rating - **** ½ out of 5!
My rating - **** ½ out of 5!
Dhamaal 4 collects 82.25 cr in 5 days
3:50 PM
Box Office India Trade Network
DHAMAAL 4 had a good hold as it collected 8.25 crore nett on Monday falling around 41% from the first day which is good trending. The Monday is almost ditto WELCOME TO THE JUNGLE with that film being stronger in the North while Maharashtra/Gujarat is better for DHAMAAL 4. The film now stands at almost 73 crore nett and it should be a comfortable 90 crore nett first week and could even go towards 95 crore nett.
There is no discounted rates on Tuesday which is good as it can still trend well as now it is habitual for some of the audience to go on Tuesdays, This should benefit DHAMAAL 4 even though the cheap tickets are not there. The Monday hold ensures the film is a success and the next 4-5 days will tell if the film will become a HIT.
The biggest plus for DHAMAAL 4 is that there are no major Hindi releases till the Independence Day which has not been the case for films released in the last few weeks. There are huge Hollywood releases like THE ODYSSEY and SPIDER-MAN: BRAND NEW DAY but today the business of Hollywood films in Hindi belts is not what it used to be. A higher ratio than pre pandemic comes from the South and that is the weaker area for DHAMAAL 4.
The collections of DHAMAAL 4 till date are as follows.
Friday - 14,00,00,000 apprx
Saturday - 22,50,00,000 apprx
Sunday - 28,00,00,000 apprx
Monday - 8,25,00,000 apprx
TOTAL - 72,75,00,000 apprx
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DHAMAAL 4 had an excellent Tuesday as it collected 9.50 crore nett as collections went up 15% and this was on the regular weekday rates and not discounted ticket rates. It has probably become a bit habitual for some people to watch films on Tuesday for the cheap rates. So, when films don't go that way they still manage to benefit and that has happened for DHAMAAL 4. The fact that it gets this collection without discounted rates is what makes the collection excellent for Tuesday.
This now takes the film to 82 crore nett plus and and the week will be ending in the 95 crore nett range which will be more than WELCOME TO THE JUNGLE and the last DHAMAAL film, TOTAL DHAMAAL, which was released in 2019. The drop normally comes on Wednesday but as DHAMAAL 4 was not on discounted rates, this may be cushioned somewhat as compared to the Monday collections.
The crucial day now will be the second Friday as that will give an idea of the lifetime business of the film. The target will be to cross the 150 crore nett of the last film. It will mean the franchise going up with each film.
The collections of DHAMAAL 4 till date are as follows.
Friday - 14,00,00,000 apprx
Saturday - 22,50,00,000 apprx
Sunday - 28,00,00,000 apprx
Monday - 8,25,00,000 apprx
Tuesday - 9.50,00,000 apprx
TOTAL - 82,25,00,000 apprx
People have become casual about Covid, but my experience reminded me it still exists-Jaan Kumar Sanu
3:44 PM
Hasti Doshi (MUMBAI MIRROR; July 15, 2026)
Singer Jaan Kumar Sanu recently tested positive for Covid-19 and says the infection took a serious toll on his health, leaving him with a high fever, extreme weakness and a brief loss of consciousness. He also shared an update on his health by posting a video from the hospital on social media.
Recalling how it began, Jaan says, “I’d been busy rehearsing for a show. A few days ago, I suddenly developed a 103-degree fever. We went to the hospital thinking it was just a viral infection. They gave me medication and sent me back.”
However, his condition deteriorated rapidly. “By dawn, my fever had risen to, and I fainted. My family took me back to the hospital, and that’s when we found out it was COVID. It took a severe toll on my health. I’ve lost around two to three kilos in just three days.”
Describing his recovery, he adds, “There’s a lot of weakness, body pain and constant fatigue. Even the smallest chore takes a lot of energy. People have become much more casual about COVID, but this experience reminded me that it still exists.”
Urging people to remain cautious, Jaan says, “I’ve seen reports of COVID cases rising again, so I’d advise people to stay alert. I’ve been asked to wear a mask whenever I step out because my immunity has taken a big hit. COVID may not be as scary as it once was, but it can still have a significant impact on your health. People should continue to be mindful.”
Govinda to make a comeback with Roopa
3:42 PM
HINDUSTAN TIMES (July 15, 2026)
After months in the headlines over speculation surrounding his marriage to Ssunita Ahuja, Govinda is putting the drama back where fans first knew him best—the big screen.
The actor has announced his comeback film, Roopa, in which he will star opposite newcomer Rani Swarnkar. Govinda will also produce the project. The announcement comes seven years after his last theatrical release, Rangeela Raja (2019).
Reflecting on the setbacks in his career, the 62-year-old said in a press con on Monday, “Maybe it was destiny that I was written off many times. People said that now he will not appear in films. I start again.”
Govinda added that he hopes the film will connect with younger audiences. “I pray to God that what I have thought and what people cannot think, this film works its magic. This film is especially for youngsters.”
The comeback arrives amid intense public interest in Govinda and Ssunita’s marriage. Over the past year, Ssunita has addressed reports of separation and rumours linking the actor to a Marathi artiste, while recently speaking candidly about infidelity during her stint on the reality show Lock Upp 2.
Satluj faced this problem because it’s so explicit-Gurvinder Singh
3:39 PM
Honey Trehan and Gurvinder Singh
Disheartened by ‘Satluj’ ban, National Film Award-winning director Gurvinder Singh says the movie might have escaped the govt’s attention had Honey Trehan’s storytelling not been emphatic
Priyanka Sharma (MID-DAY; July 15, 2026)
Over the past week, Diljit Dosanjh’s Satluj has become a national talking point after Zee5 removed the film within days of its July 3 première. With many artistes and politicians debating over the sustained censorship meted out to Honey Trehan’s crime drama, where does filmmaker Gurvinder Singh — one of the most prominent voices of alternate Punjabi cinema — stand on the matter, we wondered.
“Disheartening” is how he described the ban on the movie that tells the story of human rights activist Jaswant Singh Khalra, who investigated the extrajudicial killings in Punjab of the 1990s.
“The censorship that the film has gone through is disheartening. But that’s the truth of the times we live in, and he [Trehan] should have been prepared [for this],” reflected Singh. Per him, there were “other ways” to tell the story.
“[That way] the government could have said, ‘Dekhne do logo ko.’ When the government sees my films, they feel, ‘Iss mein kya hai? Dekhne do.’ But Honey’s approach was the film should have that impact and reach everyone. In that context, it’s a very well-made movie. But the film faced this whole problem because it’s so explicit, because the government knows it will arouse people of different faiths for different reasons,” he said.
The National Film Award-winning director watched Satluj long ago at a preview in Chandigarh. What he remembers distinctly is how the film made him angry about what transpired in Punjab. “It’s not my kind of film because it doesn’t leave anything for you to imagine. It explicitly shows everything, and that’s fine if the filmmaker feels that’s the way needed to tell the story in the most emphatic manner. It made me angry about what happened at that time. So, they were successful in doing that,” shared Singh.
A film isn’t finished till the audience tells me what they think-Christopher Nolan
3:37 PM
In an exclusive interview, Christopher Nolan talks about leaving his films open to interpretation
Natasha Coutinho (HINDUSTAN TIMES; July 15, 2026)
Oscar-winning filmmaker Christopher Nolan arrived in Mumbai over the weekend for the first-ever India premiere of one of his films, The Odyssey. The director behind The Dark Knight trilogy (2005–2012), Inception (2010), Interstellar (2014), Dunkirk (2017) and Oppenheimer (2023) remains one of the few filmmakers whose name alone can turn a movie into a global cinematic event. Known for pairing ambitious storytelling with immersive big-screen spectacle, Nolan spoke exclusively to HT City during his visit about The Odyssey, audience interpretations and the enduring appeal of cinema. Excerpts:
Your films continue to spark debate and multiple interpretations years after their release. Has any interpretation ever surprised you?
(Laughs) The fun thing is that if you leave room for interpretation, you engage the audience more. It is also important that I don’t judge those interpretations. I accept the idea that I’m putting things out there for people to make their own. With The Odyssey, it is no different. I make films for the cinema audience. Thousands of people have worked on the film, but it isn’t finished until it goes out to the audience and they tell me what they think.
What was it like to see Interstellar find a new audience in India after its re-release?
It’s interesting to see how things emerge in culture, when a film first releases and then over time. With Interstellar, which was re-released in India not so long ago, it has been very interesting to see its relationship with the audience evolve. That’s pretty satisfying as a filmmaker.
At a time when short-form content dominates, how important are films that celebrate cinema in its truest form?
What I like about telling an adventure story and putting it on the biggest screens possible is that this generation of young filmgoers may not have seen a film made on this scale before.
I see young audiences engage with cinema in incredible ways. I look at the work of Curry Barker with Obsession and Kane Parsons with The Backrooms. With The Odyssey, I’m hoping to open cinema screens to a large-scale story and a style of filmmaking they may not be familiar with. We’ll see how that goes.
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Filmmaker Christopher Nolan’s bond with India goes back several years. He shot portions of The Dark Knight Rises (2012) in Jodhpur and Tenet (2020) in Mumbai. This visit marked a first of another kind: Nolan had never before travelled to the country to launch and promote one of his films.
You’ve said Indian audiences celebrate cinema. Any interesting visuals you observed this visit?
It was fun to be at the fan screening of The Odyssey in Mumbai, which is one of the first audiences in the world to see the film. Emma (Thomas, producer), Matt (Damon, actor), Tom (Holland, actor) and I came and said hi to the fans at the end. We took a selfie with the audience, and it was remarkable to see hundreds of them with their IMAX camera popcorn buckets.
You, too, are celebrated as one of the most loved international filmmakers in the country...
To have fans in India respond to my work is a great thrill and a huge honour.
This is not your first visit to India. How has your perception of the country evolved over the years?
I love coming here. I’ve had the privilege of working here a couple of times and engaging with local crews. Working in Mumbai, particularly on Tenet, was a wonderful experience.
While driving from the airport, I saw some of the locations and it brought back happy memories. It
was really nice to be back, but it was especially meaningful to return to launch and promote a new film. I’ve never had the chance to do that here, though I’ve wanted to for many years. It’s exciting to be premiering a film here in India.
There are commonalities in The Odyssey and the Mahabharata-Christopher Nolan
3:34 PM
Anshul Chaturvedi (BOMBAY TIMES; July 15, 2026)
Christopher Nolan is an avid consumer of fine Earl Grey tea. Christopher Nolan was relishing a very clearly non-Earl Grey chai with bun maska in Mumbai. Christopher Nolan’s films are so cerebral that they are interpreted and decoded and deciphered and analysed. Christopher Nolan’s film collections are as often bigger than those of the massiest, most dumbed-down cinema ever made.
There are many truths to Nolan’s persona and cinema that coexist simultaneously, and he is as layered a mind as the stories he tells.
And perhaps, The Odyssey is as layered a tale as he has ever told.
There is something about grand tales that delve into ethics, morality, philosophy and truths that transcend the barriers of both time and culture. It is on that account, perhaps, that our conversation in Mumbai with Nolan did not feel very ‘foreign’. The emphasis he places on the Greek concept of Xenia, of the thought that one should be respectful even to a humble beggar who comes at your door since he may be a god walking the earth in disguise, reminds one of Tulsidas’ ‘Na jaane kis vesh mein Narayan mil jaye’. The focus in his story on how a guest should be treated reminds us that ‘atithi devo bhava’ existed as a sacred thought across the world long before it became a tourism punchline. The stories of characters living on earth whose parents are gods, or at least non-human, reminds us of so many characters in the Mahabharata. The remorse that Nolan’s primary protagonist suffers even after engineering a famous victory reminds us of the name behind the Indian national emblem – how Asoka the Great’s remorse post-Kalinga shaped what he, and the land he ruled, have stood for a very, very long time.
“After years of war, no one could stand between my men and home” – when I hear Odysseus saying this, it made me think of another great Greek story, but one that is tied to India. Alexander The Great regarded Achilles as a role model. He carried a copy of the Iliad with him wherever he travelled. And some 850 years after Troy, Alexander’s troops, on the borders of India, rebelled and refused to go any further, and said, you know, like, nobody can come between us and home now. So, this universalness of the longing of a soldier to return home which cuts across cultures and across time, the diminishing thrill of conquest, these emotional contradictions of them both as brutal hardened warriors, and as sentimental individuals just wanting to finally get back home – as a filmmaker, how do you look at the psychology of such men, given that they are so conflicted in the two extremes?
I think it’s one of the eternal human contradictions. Love and war, essentially, that fuel drama and has fueled literature for thousands and thousands of years. I mean, the Odyssey is 3,000 years old, and I think it taps into very human truths.
I think that in my adaptation, I feel that – without going into spoilers, people haven’t seen it – but I think the character of Circe is given some things to say about that, and about that contradiction, that I think is very relevant to the overall story, because there is that contradiction of the qualities that make a good soldier.
Loyalty is one of them, loyalty and obedience and bravery and so forth, all these sorts of positive qualities – but aimed at this incredibly negative end, which is to inflict harm on somebody, to bring death and destruction, and so forth.
And that contradiction, I think, is one of the most interesting and evocative things that storytelling can deal with.
When I came to adapt the Odyssey, I found that that contradiction underlies everything really in the poem. And so, in different ways, I’ve tried to bring that out in the film, including the feel of the experience of the audience as well, in terms of what the audience’s relationship is with the adventure of the piece, but then also the gravity of the seriousness of war, of death, of destruction, all these things that are happening...
But I think it’s an eternal conflict that fuels drama in a very compelling way.
Is post-violence remorse the sign of an evolved soul, in your view, as opposed to people who relish it and enjoy it?
I mean, I think – even more complicated than that – I think within the same individual, there can be the element of remorse, there can (also) be element of inappropriate enjoyment of violence. Different attitudes towards violence at different times can exist within the same individual. And I think that’s one of the things that we’re dealing with, with the character of Odysseus, for example.
One of the reasons I wanted Matt Damon to play the part is, Matt, I mean, he’s a brilliant actor, that sort of goes without saying, but for me, even more than that, I wanted to retain the complexities and contradictions of the character of Odysseus, which are not the traditional characteristics of the hero of an epic.
And Matt is able to open that to the audience and bring the audience in, so you can retain those contradictions and complexities, but he can make you feel that you’re seeing the world through his eyes and you’re experiencing that with him.
And I think part of that is the idea of feeling grounded ethically in a character’s worldview, and then having that challenge, and especially retroactive, looking back at things you’ve already seen in the story, and maybe look at them in a slightly different way at the end of the film than we did at the beginning of the film. And that’s the kind of storytelling I very much enjoy.
You spoke about two things which intrigued me greatly. You talked about the epic being from a time when people saw divinity in everything — the thunder, the water, everything was from the gods. And you said that so many epics and modern stories come from the desire for us to believe that gods could walk amongst us. And in the story, you depict entities who are mortals on earth, but who are children of gods. These concepts are very familiar in Indian mythology and culture; the Mahabharata has so many stories of that nature. So my question is, in your filmmaking, the challenge or the goal often is to make the characters as ‘human’ and relatable as possible. But when you’re dealing with a god, there is no template. How do you approach the character of a god or a half god? How do you bring tears to his or her eyes?
Well, for me, you know, the film has something of a contradiction in this sense, because I have embraced the fantastical elements of the story, the creatures, for example, the cyclopses in the film, those things… But when it came to the gods and the portrayal of the gods, what I became interested in was something that you find in the poem.
It’s a Greek concept known as Xenia. In the film, we refer to it as Zeus’s law, very specifically, and it’s essentially the golden rule. It’s the idea that we have to treat each other with mutual respect.
And the theological underpinning in that Bronze Age is you may look like a humble beggar, but you might be a god in disguise. And so, I have to treat you the way I would want to be treated. In the modern world, we don’t necessarily have that theological underpinning, but of course, what I came to realize is it’s so essential for the story that modern civilization is founded on exactly the same principle, mutual respect.
But the fact that it’s a strong theological underpinning in the Bronze Age led me to want to portray the gods in the way that those people might have experienced them, through nature, through the evidence of the gods, that the sun rises in the morning, that the wind blows, that the tides come in. That’s all evidence of divinity. That’s evidence of gods.
And people walking amongst them may also be gods in disguise. They may be seeing gods in men. And I wanted to keep to that view of the gods, essentially, rather than portraying them as separate, in their own world, up on Mount Olympus or whatever, talking and so forth, as sometimes has been the case in older films.
I really wanted to stay within that mindset of the characters. I wanted to give it, because I think that idea of Xenia, that idea of Zeus’s law, by the end of the film, you realize how important that is. And I felt like portraying the gods in that way would make that more obvious.
Any Indian epic that would appeal to you tomorrow as a filmmaker, as a story?
I mean, I’m always interested in any great story. And I know that Indian culture is full of incredible great stories. But as far as the specifics of what attracts me to a project, I don’t know. I mean, there are commonalities in the Odyssey with, as you say, and the Mahabharata. But I have certainly enjoyed dealing in a mythological landscape, yes.
What is the finest work that you have seen of Indian cinema, in any space, directing, acting, music? Has anything held you?
I mean, I came very late to Satyajit Ray, Pather Panchali. It’s a masterpiece. It’s as good a film as I’ve ever seen. And I was, I did not realize, I think, how… obviously I’d heard of Ray, but some years ago, right before I came to India the first time, I watched that film for the first time, and it’s as fine a film as I’ve ever seen. He was an absolutely extraordinary filmmaker.
The moral centre that you wrote for Matt Damon’s character, like you explained, you know, that whole transition of hard and soft, conflicted, contradiction-filled – how different is that moral centre different from your own personal moral centre?
(Pauses) I think that’s a very tough question for this kind of interview! (laughs)
I mean, we’re all complicated… we’re all complicated the way that Odysseus is complicated… (but) I do not think the word that is most often applied to Odysseus, I don’t think people would necessarily apply that to me. And that word is wily. And, you know, it’s that idea of the trickster or somebody who’s always got – he’s hiding his motive, and has a sort of ulterior motive.
I don’t think, I don’t think I share that.
But even there, by the end of the story, you didn’t make him feel very proud of that. You made him go back and wonder whether it was the right thing to do.
Well, possibly because that’s how I would feel. This is… (laughs) Now I feel like I’m on the psychoanalyst couch!
But he’s not an apologetically wily character, is he? In your telling of it. He’s like somebody who’s been there and then is not so proud of it.
Yeah, I think so. But I also think that, you see, he’s aware of it, in a way, the whole film. But you still see him enjoying his intelligence and enjoying his way of working around things.
And so it’s that thing of somebody who knows what they should be doing and still perhaps isn’t doing it.
And, you know, we all share that.
(And as we wrap it up there, Nolan has a concluding take with a laugh: ‘That’s some tough questions!’ )
Hollywood returns to India box office spotlight with Spider-Man: Brand New Day, The Odyssey and others
3:05 PM
Packed slate of major releases could help exhibitors rake in robust collections in the coming weeks
Rajesh N Naidu (THE ECONOMIC TIMES; July 15, 2026)
Mumbai: Hollywood’s tentpole films have steadily gained ground at the Indian box office over the past 18 months, a trend industry insiders expect to accelerate this month as a cluster of major releases arrives within a fortnight, boosting overall collections.
From superhero spectacle Spider-Man: Brand New Day and auteur-driven The Odyssey to kids and family entertainment Moana and horror genre Evil Dead Burn, Hollywood films offer exhibitors strong potential for robust collections in the coming weeks, exhibitors, film trade analysts and producers told ET.
“Hollywood has enjoyed a strong run in 2026, with films such as Obsession, Project Hail Mary and Michael, among others, reaffirming the strength of the English-language box office in India. The upcoming line-up is also remarkably diverse,” said Gautam Dutta, chief executive, revenue and operations at PVR Inox.
Diverse themes and audience segments are likely to play a pivotal role in the success of these event films, trade insiders said.
They foresee a highly favourable response, especially to Christopher Nolan’s The Odyssey and Spider-Man: Brand New Day, given their loyal fan bases.
“There is a large fan base for director Christopher Nolan, actor Tom Holland and Marvel films in India,” said producer Rajesh R Nair. “The success of Hollywood films over the past year has become even more visible because of the weak content coming from Hindi cinema. In July, these four films are likely to perform well as there is almost no competition, even from regional cinema,” he added.
According to trade sources, Spider-Man: Brand New Day has already generated pre-sales of Rs 5 crore in India, while The Odyssey has recorded pre-sales of around Rs 2 crore.
Distributors said the two films will be showcased extensively in premium-format screens, which is expected to further boost box-office collections in July.
“These Hollywood films will be released across premium large-format screens such as Imax, ScreenX, 4DX and P[XL]. Ticket prices in these formats range from Rs 700 to Rs 3,300,” said Shaaminder Malik, distributor and film business expert.
“One must also bear in mind that they will be released in multiple Indian languages. Therefore, these global tentpole releases are likely to drive repeat visits to theatres, thereby boosting occupancy and collections.”
Film trade analysts estimate that, cumulatively, these four films could contribute close to Rs 400 crore to the Indian box office. They pointed out that a collection of Rs 20-30 crore is generally enough for a Hollywood film to be considered a hit in India.
“I expect The Odyssey and Spider-Man: Brand New Day to outperform the other Hollywood releases in the coming weeks. Both films can easily collect at least Rs 300 crore, given the high level of audience interest,” said Girish Johar, producer and film business expert.
Dhamaal 4 collects 64.50 cr in 3 days
10:02 AM
Box Office India Trade Network
DHAMAAL 4 has had a very good first weekend as it collects almost 65 crore nett over its first three days. The film has shown strong growth on Saturday and Sunday after a good first day. The film collected less than WELCOME TO THE JUNGLE on Friday but more on Saturday and Sunday. The overall weekend was higher and that is even if we count the paid previews of WELCOME TO THE JUNGLE.
The main difference between the two films is Mumbai circuit as DHAMAAL 4 is around 3 crore nett better. DHAMAAL 4 is superb in Mumbai circuit as it collects almost 23 crore nett with Sunday being close to 10 crore nett. Gujarat is also excellent for DHAMAAL 4 which should mean a good run for the film long term as this circuits holds up well.
DHAMAAL 4 is not as big as film as the last film in the franchise, TOTAL DHAMAAL, and its initial was also less. But the public seems to have liked the film and it now looks to have a chance to go on and beat the collections of TOTAL DHAMAAL which were around 150 crore nett. This would be a great result and a HIT film but with this weekend trend you would want the film to go even further.
The main obstacles in the way are Hollywood releases like THE ODYSSEY and SPIDER-MAN: BRAND NEW DAY but its better to have in these in the way rather than big Hindi releases. There have been four back to back Hindi releases over the last month and DHAMAAL 4 looks to best one among them. It has come last and is the best release date also.
The collections of DHAMAAL 4 till date are as follows.
Friday - 14,00,00,000 apprx
Saturday - 22,50,00,000 apprx
Sunday - 28,00,00,000 apprx
TOTAL - 64,50,00,000 apprx
Alpha collects 51.75 cr in 10 days
9:59 AM
Box Office India Trade Network
ALPHA had a huge fall in the second weekend as it collected only 5.50 crore nett as against the 33 crore nett in the first weekend which now takes the total of the film 51.75 crore nett after ten days. The release of DHAMAAL 4 affected the second weekend but it would be to the tune of a few crore only and the drop is more to with the content being rejected.
The film will lose money but its around 20 crore and considering the huge failure of the franchise tentpole WAR 2, then this sort of loss means actually getting away with it. This 40 crore recovery from theatres worldwide could have actually been less considering the rejection of WAR 2.
The film in not likely to add much from here and will probably finish at more than 55 crore nett but 60 crore nett looks hard to reach.
The first week collections of ALPHA are as follows.
Week One - 46,25,00,000 apprx
Friday - 1,25,00,000 apprx
Saturday - 2,00,00,000 apprx
Sunday - 2,25,00,000 apprx
Second Weekend - 5,50,00,000 apprx
TOTAL - 51,75,00,000 apprx
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