Showing posts with label Crew. Show all posts
Showing posts with label Crew. Show all posts
Why 2020s haven’t been able to deliver generational comedies like years before
9:01 AM
The 2020s have not been able to deliver a generational comedy like Jaane Bhi Do Yaaro, Munna Bhai MBBS, and Hera Pheri. What are we missing?
Akshita Maheshwari (MID-DAY; April 5, 2026)
“Comedy films are a good indicator of where a country is,” argues film commentator Karan Mirchandani. He names a list of films that defined a generation and highlighted its problems: Jaane Bhi Do Yaaro (1983) and builder corruption; Munna Bhai MBBS (2003) and systemic issues and red tape within our education system; Hera Pheri (2000) and the struggles of a common man; Badhaai Ho (2018) or the plethora of films from this genre which tacked socio-familial issues.
The 2020s have not been able to produce a generational comedy. What’s changed? Actor Pratik Gandhi, from Madgaon Express (2024), says that it’s the audiences. The inherent nature of comedies is that they offend, but “today, anything can offend anybody. And in comedy, you have to just let loose. Only then, it’s fun,” says Gandhi.
“Censorship has also become wild,” Gandhi says, “You’ll hear things like, ‘Don’t say sex, instead say sambhog, then it’s fine’.”
Actor Abhishek Banerjee, who was last seen in Stree 2 (2024), also agrees. “The 1990s comedy style is no longer funny. I don’t think today’s generation will enjoy it the same way,” Banerjee says, “Comedies like the ones David Dhawan and Govinda made, or Andaz Apna Apna (1994), or Jaane Bhi Do Yaaro — those are evergreen.”
What does it take to make an evergreen comedy? “They have satire. They have irony. I think what we lack today is satire,” Banerjee answers.
As soon as we realized not-so-politically-correct humour doesn’t work, we stopped trying to find other forms of comedy. Gandhi adds, “Comedy has many sub-genres, and we still haven’t explored them fully. For example, survival comedy. Most of the time, films fall into slapstick comedy. That’s usually the first instinct. But there are many more genres as well.”
Banerjee says, “Situational comedy is becoming more important than dialogue-based comedy. It’s not about saying a funny line — it’s about being in a serious situation and saying something completely unexpected. Layering that with intelligence helps even more.”
The 2020s have also been the decade of the Reel. Banerjee says, “I keep watching comedy Reels and they’re genuinely funny.” When people already have their appetite for funny filled on their phones, why should they come to the cinema for it? Gandhi says, “I never thought a two-hour film would have to compete with a 30-second Reel. But here we are.”
In the last few years, one comedy has broken into the 100-crore club — Crew. Director Rajesh A Krishnan tells us, “If you open social media, you’ll get a laugh. And Instagram doesn’t even need a subscription.”
Throughout the country too, laughter is not dying. “It seems like comedies are reducing but how much comedy content are you actually also consuming from Kerala? If you isolate comedy films coming out of the Hindi film industry, then it starts feeling like there is less comedy. Otherwise, people have been making comedies,” he says, “The scope of comedy has also changed. It’s crossed genres now like comedy-thriller, action-comedy, or horror-comedy.”
In the Hindi film industry, comedy films are surviving on franchise fame. “If we think from the producer’s perspective, franchises have been working well,” Krishnan says, “Sometimes standalone projects work so well that they get turned into franchises.”
The onset of OTT has meant that the theatre is saved for larger-than-life spectacles. So why should you step out to watch a comedy today? “I always feel like great comedies are a tool or even a weapon to critique the establishment. It has a softer touch to do it. And it’s one that lasts with you.”
From the times of the Angry Young Men, films have centred around the common man and his problems. Today, he is no longer at the core of our cinema, instead he is a “big, bearded, angry man on screen,” says Mirchandani.
Mirchandani also points out, “Films today exist in a kind of hyper-reality. They’re not rooted in a specific time or context. Because the moment you ground them — show real problems or systems — you’re also making a critique, and that’s something people are avoiding.”
A lot of comedies like Andaz Apna Apna, though were box office flops, found a second life on DVD. “That pipeline is gone today,” Mirchandani adds. Nothing comes close to a theatre for Gandhi, though. He says, “Any comedy film works best in theatres. Three hundred to 500 people laughing together — it is very, very contagious. You have a lot of fun in those two hours.”
Paisa bolta hai: Is there money to be made with a theatrical comedy?
The comedy genre is an evolving one, says trade analyst Taran Adarsh. “Right now, we’re seeing a lot of horror comedies. But the out-and-out comedies excelled by Akshay Kumar and before him the Govinda-David Dhawan style really worked. But there has been a vacuum since then.”
But is there money to be made in this genre? “Lots. Who doesn’t want to laugh, smile, and come out of a film feeling happy? That’s what cinema is about.” Then why is the genre slowing down? “The market scenario has changed. Profits, losses, hits, and flops dictate the industry more strongly now. Especially since the stakes are higher,” he says, “Actors also tend to follow what’s working because everyone wants to stay relevant, popular, and deliver hits.”
All hope is not lost though. “In the last couple of years, Madgaon Express has done well,” with a box office collection of Rs. 49 crore, “Crew (2024) was a smashing success,” as it sits happily in the Rs. 100-crore club with a box office run of Rs. 157 crore.
Comedy is no funny business: All sources tell us that making a comedy film is the toughest genre to crack
Niren Bhatt, who’s written films like Stree 2 (2024), Bala (2019), and Bhediya (2022), says, “Comedy is highly subjective. What lands for you, might not land for me.” He adds that what appears effortless on screen is often the hardest to write. “You can’t just have characters delivering one-liners. That’s stand-up. It has to be woven into a story, with conflict, world-building, and character arcs,” he explains.
“You might write 10 lines and only one works,” he says, noting how audiences respond differently to the same jokes. While some enjoy meta humour or wordplay, others dismiss it as overdone or “too literary”.
For actors too, comedy is all about instinct. Pratik Gandhi says, “All other emotions have a range. On a scale of one to 10, you can adjust. But in comedy, if it has to land at two, it has to land at exactly two. Unlike drama, where intensity can fluctuate, comedy requires precision down to 0.0001 and years of riyaz.”
Abhishek Banerjee adds that the genre leaves actors exposed. “In comedy, you’re on your own. You have your dialogues, your co-actors of course, but timing is everything. Nobody can teach you comic timing. If you don’t have the funny bone, it will fail.”
I got so much royalty from Diljit Dosanjh's Choli Ke Peeche, want him to pick up more of my songs-Ila Arun
9:50 AM
Devansh Sharma (HINDUSTAN TIMES; February 7, 2025)
Ila Arun may not have lent her voice to a Bollywood song for 12 years now, but the Hindi film industry still can't get enough of her. Two of her most popular songs were recreated for Rajesh A Krishnan's hit heist comedy Crew last year – Ghagra and Choli Ke Peeche, that she co-sang with Alka Yagnik for Subhash Ghai's 1993 crime drama Khal Nayak. Ila may have voiced her protest against the use of these songs sans her permission, but she's now made peace with it.
On Choli Ke Peeche and related controversies
“It is wrong. But I settled with them (Tips Music) on my own. I told them just because you have access to AI (artificial intelligence) now, you can't discount artists. But after Diljit Dosanjh's Choli Ke Peechhe, I got so much royalty that I want him to pick up a few more of my songs," Ila told Hindustan Times. Diljit performed the song not only for the Kareena Kapoor-Tabu-Kriti Sanon-starrer, but also as part of his popular Dil-Luminati Tour in India and overseas last year.
Only recently, Ila's daughter Ishitta Arun, an actor and singer herself, lamented on the podcast Cyrus Says that her mother didn't get the kind of singing offers she deserved. But Ila feels that's the daughter in Ishitta speaking, instead of the artist.
“She believes that her mother has more depth than the songs she was offered to sing. Songs like Reshma, which are a part of my albums. That's her personal point of view. My take is that the industry is commercial. Whatever works, sustains. If my sad numbers work, they'd sustain. I have no complaints. I love my film industry and I'm proud to be a part of the Mumbai film industry, as a singer and as an actor. The kind of roles I want to do, I get in theatre, so that's where I invest my commitment in,” Ila argues.
Top 25 films of 2024; only 5 hits in the year and 6 films crossed the 100 cr mark
8:38 AM
Box Office India Trade Network
The box office results in 2024 were pretty much a disaster as the the top 25 films accumulated around 2250 crore nett when the same was done in 2019 by just 12 films. Also, in 2019, there was no mega grosser like STREE 2 which is contributing 25% of the collections of the top twenty five films.
It is a dire strait of affairs and at the moment, there does not seem a way out with satellite and digital markets crashing. On top of it, the films are generally not getting the desired box office results which is resulting in the production sector practically at a stand still. Only the box office can turnaround the satellite and digital markets on which the industry is so dependent. Even when a film does well, it does not help the scenario much as generally films are doing far below what is expected of them.
There were four films to get to the 200 crore nett mark but for the likes of SINGHAM AGAIN and FIGHTER, these are mediocre totals as these two were the biggest original Hindi films of the year. SINGHAM AGAIN got there mainly due to Diwali in Mumbai circuit and FIGHTER got some decent numbers in South but faced mass rejection in Hindi circuits. Today, 200 crore is just around 1.25 crore footfalls which is not much of an ask from the bigger films.
The stand outs were STREE 2 and MUNJYA with support from BHOOL BHULAIYAA 3, SHAITAAN and ARTICLE 370. Hence, there were just five HITS in the whole year from the Hindi film industry and this does not look like getting better anytime soon.
The top twenty five films of 2024 are as follows.
1. Stree 2 - 5,79,61,00,000
2. Bhool Bhulaiyaa 3 - 2,50,71,00,000
3. Singham Again - 2,38,46,00,000
4. Fighter - 2,00,01,00,000
5. Shaitaan - 1,48,54,00,000
6. Munjya - 1,00,07,50,000
7. Teri Baaton Mein Aisa Uljha Jiya - 82,59,00,000
8. Crew - 81,57,00,000
9. Article 370 - 77,08,00,000
10. Bad Newz - 63,54,50,000
11. Chandu Champion - 60,78,00,000
12. Bade Miyan Chotte Miyan - 58,74,50,000
13. Maidaan - 51,16,00,000
14. Srikanth - 46,03,50,000
15. Khel Khel Mein - 40,80,00,000
16. Vicky Vidya Ka Woh Wala Video - 39,49,75,000
17. Madgaon Express - 35,72,50,000
18. Baby John - 34,86,50,000
19. Mr & Mrs Mahi - 34,52,00,000
20. Yodha - 32,20,00,000
21. The Sabarmati Report - 32,14,00,000
22. Jigra - 31,12,00,000
23. Swatantrya Veer Savarkar - 24,49,00,000
24. Kill - 23,68,50,000
25. Sarfira - 23,55,50,000
Every five years, I ask myself, what new can I do now?-Kareena Kapoor
8:03 AM
Renuka Vyavahare (BOMBAY TIMES; October 9, 2024)
Kareena Kapoor Khan will complete 25 years in the movie business next year. Her filmography boasts of an eclectic mix of memorable characters and no-nonsense, courageous leads. From Refugee (2000) to Crew and The Buckingham Murders this year, Bebo has had quite a journey. However, despite delivering some fine performances over the years, she is often in the focus for her trendsetting style and glamorous avatars.
The actress talks about her longevity in the industry and how she believes she has a long way to go.
‘It took many films for people to take me seriously as an actor’
When we asked her about glamour overshadowing acting talent at a recent event, the actress said, “People tend to overlook an actor’s gravitas if you are glamourous. If you see my choice of films, it proves this perception wrong. I have had a glamorous image, but I’ve never looked at myself like that. I prefer to keep my ear to the ground because it’s important for an actor to know the reality of a situation. I am focused on my performance. It took many films for people to take me seriously as an actor.”
She further added, “Today, when a film like Buckingham Murders releases, people take notice because I have constantly been at it, proving myself. That’s also one of the reasons behind the longevity I have been able to achieve as an actor. I have constantly tried to prove myself as an actor for the past 25 years. And I don’t want people to say you have done it all, now what? I have a long way to go.”
‘Perhaps, people like to see me in roles like Geet or Poo because the masses can connect to it more’
While Poo and Geet often walk away with all the glory, Kareena’s comic timing in films like 3 Idiots, Good Newwz and Crew have won a lot of appreciation, along with much critical acclaim for films like Omkara, Udta Punjab, Talaash, Jaane Jaan and The Buckingham Murders.
She elaborated, “In the last 25 years, the first decade went in people assuming that I was Poo, and the other went in people thinking I am Bhatinda ki sikhni Geet. Maybe I am a mix of both. I want people to know that I am an actor who is very passionate about her job.”
Talking about staying connected to the audience, she said, “People like to see me in roles like Geet or Poo more, perhaps because they are more connected to the masses. In the next 25 years, I will try to play more different roles. While I have done films with superstars, which have been hits, I have also had a career that I have simultaneously built to prove myself as an actor. The X factor combined with talent and, of course, 30 per cent of luck is what takes you places.”
‘Sustaining yourself in the industry is tougher, so I like to make varied choices’
Speaking of longevity in her career, the actress reminisced, “At 17-18, it was all about wanting to be in every film. If you sustain for a decade, it’s about reinvention, which is scary in an industry which is male-dominated. Over the years, apart from me, there have been other brave actresses too who have taken big strides. Every five years, I ask myself, what new can I do now? It’s not just about being a part of successful films but leaving behind a legacy. I come from a family (the Kapoors) where I have been challenged because they all are such amazing actors, but I want to leave my mark somewhere. Every 10 years, there is someone new, so how am I going to last? Sustaining yourself is tougher, so I like to make varied choices, be it The Buckingham Murders, Singham Again, Crew or Jaane Jaan, which dropped on a streaming platform. I feel it would have done great on the big screen, too.”
Every bride must feel like they are going on the red carpet-Rhea Kapoor
8:12 AM
Shivika Manchanda (BOMBAY TIMES; September 16, 2024)
Ahead of the wedding season, brides-to-be in the capital were treated to a styling masterclass at Frontier Raas with celebrity stylist and film producer Rhea Kapoor. "Delhi is my soul place. From Aisha that was based in Delhi, Sonam’s character in Khoobsurat to Kareena’s character in Crew, all my films have some connection with Delhi," said Rhea, as she began her first such masterclass.
The beginning of Rhea's styling journey
"Sonam and I were raised in a conservative Punjabi setup. Even though my father (Anil Kapoor) was an actor, my mother (Sunita Kapoor) made sure we didn't go to his sets or attend Bollywood parties or to have cine magazines in the house," shared Rhea on being kept away from her dad's stardom throughout their childhood.
She added, "When I returned to Mumbai after my college and Sonam had become a heroine, being a celebrity stylist was not a job that existed. I was dressing up Sonam anyway. In the 2000s, the idea of a girl expressing herself with fashion was hardly there. For Sonam, fashion was a way to do her own thing and we did it together."
Here's a round up of the masterclass
Ensemble
- Opt for clothes that make you feel the most comfortable.
- There’s no point following a trend that doesn’t suit you.
- Invest in good innerwear, it can help you to look neat. It even affects your posture, how clothes fit and fall on you
- Red can be overwhelming for young brides. Hot pink is a versatile colour for Indian skin. Brides can also go for pastels to experiment Understand the undertone of your skin.
- Choosing an ensemble that’s a shade deeper than your skin’s undertone will enhance your look. So a person with a pink undertone should wear pink
- Hunt for real zari borders, add it to a fabric and use them as second drapes on your wedding ensemble. It adds a sense of drama and balances the silhouette
Jewellery
- Choose a one-of-a-kind highlight piece and let it become the focus
- Mix metals and jewellery types like gold, silver, uncut or cut polki, rose gold, as it gives the jewellery a lot of character
- Dig into your lockers to find the old pieces of jewellery that haven’t been worn in a long time - Weddings are a perfect occasion to embrace heirloom jewellery
- To make sure that the attention is on the face, keep the jewellery balanced
Hair
- Hair style must be decided on the basis of your jewellery.
- Open hair can look really good with a bridal look
- Chotis with parandis will look great on brides who opt for traditional looks
- Avoid a messy front. If the neck appears too busy with heavy jewels, pull back the hair from the front and leave it open at the back
'Celebrate your heritage in your wedding silhouette’
Suggesting that brides and their family members embrace their heritage for weddings, Rhea says, “If you are confused about what to wear for your big day, start talking to your grandparents, parents, aunts and uncles. Ask them about your ancestors and the region they belong to. Research and discover the crafts and embroideries that come from those regions. Your features are aligned to your roots, so if you opt to wear something that’s a part of your heritage, you’ll look the best in that attire.”
One can also mix and match two crafts from the same region, like bandhani and patola from Gujarat, which will go well with each other, she said at the event held at the ethnicwear brand's South-ex store. "Go timeless for weddings. Choose things that are going to be cool forever, she added.
"I did not buy a single thing for my wedding day. I wore what was comfortable and meaningful to me, like my mom’s uncut pearls set. You will always remember what you carry on your big day," mentioned Rhea.
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Every girl must feel like they are going on the red carpet. You may be more of a behind-the-scenes person, but it is important to feel great and enjoy (your wedding). Do all that makes you feel like the Madhuri Dixit of your moment
Half Yearly Classification 2024: Kalki 2898 AD and Munjya are the biggest hits of the year
8:25 AM
Box Office India Trade Network
The box office has been a struggle in 2024 and there has been no big BLOCKBUSTER in the first half of the year. The last month in the first half proved to be good with the two biggest HITS of the year (MUNJYA and KALKI 2898 AD) coming in this month.
KALKI 2898 AD is the biggest HIT of the first half and it could have been even bigger if the mass circuits continued how they started as then the film could have been looking at the 300 crore nett mark or thereabouts. But post the weeeknd collections started to drop in B and C centres and single screens. However, the bigger centres have sustained extremely well.
MUNJYA is the sleeper HIT of the year driven by BLOCKBUSTER business in Maharashtra. The film will finish up with business of around 100 crore nett which would be unthinkable before release although the trailer was decent due to the creature. The film is the biggest original Hindi film of the year so far.
SRIKANTH was also another surprise winner in the second quarter which took full benefit of the open run in May and had a solid sustained run for weeks. SHAITAAN and ARTICLE 370 were the HIT films of the first quarter while TERI BAATON MEIN AISA ULJHA JIYA and CREW also did well.
The second half is likely to see a BLOCKBUSTER with PUSHPA 2 - THE RULE but it is a film from the South and the Hindi film industry will also need to deliver one or two big HITS just to build confidence. If that doesn't happen, it will be pretty much a disaster year.
The half yearly classification for 2024 is as follows.
All Time Blockbuster
-
Super Blockbuster
-
Blockbuster
-
Super Hit
1. KALKI 2898 AD
2. MUNJYA
Hit
3. SHAITAAN
4. ARTICLE 370
Semi Hit
5. TERI BAATON MEIN AISA ULJA JIYA
6. CREW
7. SRIKANTH
Average
8. FIGHTER
9. MADGAON EXPRESS
Below Average
10. SWATANTRYA VEER SAVARKAR
11. LAAPATAA LADIES
Not everyone can make a Crew. It was a combination of story, casting, and marketing-Tabu
8:45 AM
As Auron Mein Kahan Dum Tha marks her tenth film with Ajay, Tabu says secret to their enduring chemistry is that they’ve played everything from lovers to rivals
Mohar Basu (MID-DAY; July 9, 2024)
First, a hit in Crew, then bagging the role of Sister Francesca in Dune: Prophecy, and now Auron Mein Kahan Dum Tha—clearly Tabu is having one hell of a year.
When we tell her that, the actor laughs, saying, “I don’t set out with the ambition of proving a point with any film. I go into a project thinking, ‘How will I be interesting?’ I want to enjoy what I’m doing. I want either a cutting-edge film that gives me something different experientially, or sometimes I want to do regular, predictable [stories]. Crew came to me when I was doing Drishyam 2 [2022] and Bholaa [2023]. So, I wanted a break from that zone.”
Crew, starring Kareena Kapoor Khan and Kriti Sanon alongside her, has proven that a film doesn’t need a hero for it to run to packed houses. Its success has given hope to filmmakers to develop more women-led stories.
“Not everyone can make a Crew. It was a combination of story, casting, and marketing. But if a few people are encouraged to make films with women [leading them] because of Crew’s success, it is heartening. It speaks volumes about the conviction of the makers, Rhea Kapoor and Ektaa R Kapoor. Rhea always believed it would be a Rs 100-crore film. I look at success differently. But she wanted to make a statement and was able to.”
Now, Tabu is reuniting with one of her oldest friends, Ajay Devgn, in Auron Mein Kahan Dum Tha. The romantic drama marks their tenth film together. What’s the secret to their enduring chemistry?
“When we say yes to a film, the story means something to us. You can’t define good chemistry. We don’t feed off each other’s energies. But we don’t repeat our dynamics. In some films, we’re pitted against each other; in others, we’re romantically paired. There is freshness to the casting. In this film, what works is that audiences have seen us together for so many years. To them, it’s believable that these two people haven’t met in a long time. People tend to believe that Ajay and I are two people in love, who couldn’t meet and are meeting after eons.”
The drama is her first collaboration with director Neeraj Pandey. She says that he has a knack for moulding his actors beautifully. “He will mould you in every take, with the brief he gives you. By the third take, he will want you to reimagine your approach. He’ll say, ‘Let’s try it with a smile.’”
Producer bodies to meet celebrity talent management agencies to find ways to reduce movie budgets
8:09 AM
Eyeing to reduce film budgets, producer bodies to meet talent management agencies next week to discuss cutting down on entourage costs; want to encourage mid-budget movies for higher returns
Mohar Basu (MID-DAY; June 8, 2024)
Almost halfway into the year, Bollywood’s report card doesn’t look encouraging. So far, Hindi cinema has seen a handful of hits, including Shaitaan, Crew, Article 370 and Madgaon Express, while many tentpole movies had an underwhelming run. The lull has compelled producers to take stock of the situation. Next week, members of the Indian Motion Picture Producers’ Association (IMPPA), Producers Guild of India, Active Telugu Film Producers Guild, and Tamil Film Active Producers Association are set to meet six leading celebrity talent management agencies, for a third round of meeting. The agenda is clear—find ways to reduce the budget of movies.
While stars’ skyrocketing fees have long been a concern, the impending meeting will focus on cutting down entourage costs. A senior celebrity manager, who attended the last meeting held in May, told mid-day, “Our suggestion is to revert to the post-COVID norm, where an actor has an entourage of three.”
The manager reveals that the suggestion came from one of their clients, a senior star who shot three big films during the pandemic. “The star started out in the ’90s when entourage wasn’t a thing and vanity vans were reserved for megastars like Mr [Amitabh] Bachchan. He said that even today, a team comprising one spot boy, one make-up man and one additional hand is enough for him. For a female actor-host, we’ll consider an entourage of four.”
A senior member of the Producers Guild, who spoke to us on condition of anonymity, said that filmmakers have been struggling with budgets in the post-pandemic market. The high entourage costs came to the forefront with a recent episode.
“I agree that entourage cost is a part of the problem and not the whole issue. But recently, a studio’s CFO was shocked to see a Rs 7 lakh monthly bill from a make-up person. The CFO’s salary was lower than that! This can be brought under control,” he said.
Another subject that the producers will touch on at the meeting is to boost small and mid-budget movies. The months gone by have shown that they have generated high returns.
An IMPPA official said, “The box-office run of Crew, Madgaon Express and Article 370 has been good. Producers must seek high-concept films, spend more on writing, and pay reasonable fees to the stars and crew. We will also talk to OTT heads to widen the gap between theatrical and OTT release [in the hope that people will visit theatres]. Otherwise, people may stop visiting cinemas.”
Cinemas cut number of shows as major releases tank
8:08 AM
Niharika Lal (BOMBAY TIMES; May 16, 2024)
With fewer moviegoers heading out to catch the latest releases, several cinemas have reduced the number of daily shows for these films. Industry insiders suggest that while there are multiple theories, the major reason is that many recent movies simply aren’t attracting audiences.
There's a huge flow of films after May: Ajay Bijli
Cinemas say that while they have to work with the content pipeline they have, offerings such as summer festivals, re-release screenings, and anime festivals are receiving a positive response from the audience.
Ajay Bijli, Managing Director of PVR INOX Limited, says, "It is very difficult to predict box-office success just by looking at the pipeline. In March, 'Crew' has done incredible numbers, 'Laapataa Ladies' has done incredible numbers, so we never really know which movie is going to work. The pipeline is what it is. Because of elections, not much is coming until the end of May; however, after May, there is a huge flow of films." There is a lot of focus on scripts, so cinemas are expecting many sleeper hits this year.
‘No night shows this summer’
Cutting down shows is not the norm. In fact, when a film performs well at the box office, cinemas in the past have added 4am/7am shows to accommodate the audience.
Raj Bansal, a veteran business analyst and exhibitor, says, “Summer is the time when the audience is ready to come for even 11pm shows, but the industry is losing out on these slots. If cinemas are filling empty day slots with older popular content and cutting down shows, then why would they add any night shows? We just need a few good movies to turn around the situation.”
Re-releases, concert screenings adding to summer lineup
“It’s summer, and losing this box office may affect not just the business of cinemas but also the habit of moviegoing. Even if movies have failed to entertain, there are still enough people coming to cinemas out of habit, boredom, or a desire to get out of the house. Hence, cinemas have also launched movie passes, curated summer specials, and some upcoming releases to bring back the scenario of 10-20 shows again,” says a multiplex source.
“This summer, the box-office isn’t that exciting in terms of the choices that moviegoers have. Last time, we saw it during the COVID period. The summer box office is usually lucrative because exams are over, holidays begin, and in the past, several big-budget films have been released, so the box office is always brimming. But this year, exhibitors are facing a situation where certain screens are being shut,” says Girish Johar, a cinema business analyst.
Mumbai circuit gets back on track; Fighter collects better than Dunki
8:41 AM
Box Office India Trade Network
The Mumbai circuit has seen poor returns post the pandemic but has seen a good upturn this year driven by the major centres in Maharashtra. The Thane belt was doing well since cinema returned in 2021 but this year has seen Mumbai city and Pune also start recording some good numbers.
The Mumbai and Delhi/UP circuit had got pretty similar in the 21-23 period for films in a certain zone. It is likely that if CREW and TERI BAATON MEIN AISA ULJHA JIYA came in 2022, they would not have got these numbers in Mumbai circuit and numbers will be closer to the Delhi/UP numbers.
The 60 crore nett plus number of the biggest grosser FIGHTER is not great but despite being an action film, it has beaten DUNKI which has a genre is better for Mumbai circuit and that too directed by Rajkumar Hirani whose films score heavy in Mumbai circuit due to humour element.
Films like MADGAON EXPRESS and SWATANTRYA VEER SAVARKAR are actually HIT films in Mumbai circuit though they met with a horrible fate outside the circuit. ARTICLE 370 was the standout in Mumbai this year though other circuits again were not as good. This would also have been tough a year or two back.
This circuit getting better numbers is the only good news in the crisis facing the film industry and its coming with the Gujarat side not really doing well. No film has done well in Gujarat this year and when both Maharashtra and Gujarat fire, it makes a huge difference.
The top ten films of 2024 in Mumbai circuit are as follows
1. Fighter - 62,04,00,000
2. Shaitaan - 46,64,00,000 (8 weeks)
3. Article 370 - 32,40,00,000 (10 weeks)
4. Teri Baaton Mein Aisa Uljha Jiya - 27,28,50,000
5. Crew - 25,15,00,000 (5 Weeks)
6. Madgaon Express - 18,60,00,000 (6 weeks)
7. Bade Miyan Chote Miyan - 17,65,00,000 (3 weeks)
8. Swatantrya Veer Savarkar - 16,80,00,000 (6 weeks)
9. Maidaan - 15,75,00,000 (3 weeks)
10. Laapataa Ladies - 6,15,00,000 (9 weeks)
I was told to do a day’s work in 30 minutes while shooting for Crew-Trupti Khamkar
11:21 PM
HINDUSTAN TIMES (April 12, 2024)
Actor Trupti Khamkar, whose performance has been praised in the recent Kareena Kapoor Khan-Tabu-Kriti Sanon starrer Crew, has spoken about her not so pleasant experience on sets.
She alleged that she was made to wait till the end of the day, until the lead actors had wrapped up their shoots. “When you are working with a star cast, it’s obvious that first their work will be done. Then your work will start. It used to happen that in a 12-hour shift, all the cameras were on them. I was standing there, memorizing my lines, and then they would leave. Then there would be the last half-hour of the shift left, and I was told, ‘Trupti, how much work has been done today for the film, do it in half an hour.’ Then I was like, ‘Alright, I’ll do it’,” she told Zoom.
Khamkar feels she can take on any challenge after this film. She also claimed no one gave her lines and she had to be alert the entire day so she could be prepared. “I think this was a great learning process. I have a masters degree in theatre... the training you receive on set is different. You have to keep an eye all the time on which scenes you are in throughout the entire day. People won’t give you lines,” said the actor.
2024's first quarter is decent; Shaitaan is the true bonafide hit in the first three months
8:43 AM
Box Office India Trade Network
The industry has seen a pretty decent first quarter as the exhibition sector fared the worst as the biggest film of the quarter FIGHTER did not live upto expectations. But its been a steady run post FIGHTER and some films have managed to make a mark.
There is an issue with very little content. There are just ten films which have gone over 10 crore nett which is hardly a number and they are below. These will be the films with some sort of awareness or face value that were released in the first quarter.
The classifications of those ten main films are as follows.
Merry Christmas (FLOP): A mystery thriller film with vey little for theatres and a film that would only do well in Mumbai city even if liked. These sort of filsms will be available in hundreds for audiences on television at home.
Fighter (AVERAGE): The film is the highest grosser of the year but could not fair well in mass circuits. Its not about the planes or anything but the landscape has changed in these areas and its about raw and rustic films driven by the storylines rather than Hollywood type of action. TIGER 3 also had a similar struggle and Hollywood films are finding it tough going in the Hindi circuits. FIGHTER had stars and music but the appeal remained limited and its a lot to do with how much these mass circuits have changed post pandemic. If we take the fact that it did not release in Gulf then, there was an outperformance overseas. However, the final number does not suggest that as its without Gulf.
Teri Baaton Mein Aisa Ulja Jiya (SEMI HIT): The film did very well for its genre driven by the music. The music was not blockbuster but the fact that it had music and it was good enough which is more than what most films have. The was pushed by the buy one get one offer but it does look that offers will not help if the audience is not with the. So, the benefit of the offer is probably very limited.
Article 370 (HIT): The first HIT of the year which proved a SUPER HIT in Mumbai circuit. The film did extremely well for its budget but it was a costly acquisition and with streaming likely to be in house it was about India theatrical for recovery. Nevertheless, the film actually pulled it of very well.
Crakk (DISASTER): The heavily budget action film for the face value but this sort of action content is just not relatable to the mass centres where it has to score.
Laapataa Ladies (FLOP): A ladies film looking by its name and which has trended well in its run holding well every week but it just could not find much of an audience. The trending of the film can be called respectable. However, that hardly matters when there are no overall numbers.
Shaitaan (HIT): The true bonafide HIT of the first quarter which did well all over. The film was a psychological/horror film but the family sentiments worked strongly for the film. The box office today is about reaching the mass and it's basically going back to the 80's. What happened here was when the big budgets were not there, the films catering to family sentiments emerged winners at the box office. Today, any genre will work as long as it has these family sentiments as this is where the reach will come from. SHAITAAN was devoid of music which is the other way to push the reach but still did the trick.
Yodha (FLOP): A urban action film on a hijacking and when a FIGHTER struggled for reach with the mass audiences, it was always going to be tough for this film. Action films made in Hindi for urban audiences have never done well although there maybe some exceptions but those will be very few if any.
Madgaon Express (FLOP): A Goa holiday/trip film which pretty much seals the fate in most of the country with the trailer itself. For some reason, the industry actually had hope for the film. The film did better in Mumbai circuit but even there, the numbers were still poor. Rest of the circuits were very dull.
Swatantrya Veer Savarkar (FLOP): A film on a Maharashtrian political figure which had no scope outside Maharashtra. The plus is that it will do around 15 crore nett in the state of Maharashtra which means some sort of acceptance here. But its a Hindi film and rest of India is extremely dull with practically no collections.
Crew (SEMI HIT/AVERAGE): The last release of the quarter which has done pretty well. The film has scored very well in North (NCR and East Punjab) and along with SHAITAAN is the only other film to do so. The film will have shortened run due to Eid which will hold back the numbers. It has had decent run nevertheless and is an out performer in Overseas.
Outside the organic Hindi movies, the dubbed SOUTH film HANUMAN proved to be a HIT while GODZILLA x KONG: THE NEW EMPIRE was also a HIT. The latter was just AVERAGE in Hindi circuits but the business in the South took it to HIT status.
Fenil's Bollywood Talk # 824
7:38 PM
2024'S FIRST QUARTER ENDS ON A HAPPY NOTE
The first three months of 2024 are over and overall, it has been satisfactory though it could have been better. 2023's first quarter saw a Hindi film crossing the Rs. 500 crore mark for the first time with Pathaan. Most of the other films in the first three months last year didn't do well. Yet, the blockbuster numbers of the Shah Rukh Khan-starrer spread cheer in the industry.
2024's first quarter, meanwhile, saw just one film barely crossing the Rs. 200 crore mark - Fighter. It was expected to do more than Rs. 300 crores, looking at the word of mouth. The way it dropped on the weekdays in the first week, it seemed like it might not even reach Rs. 175 crores in its lifetime. Thankfully, it held well in the subsequent weeks.
Teri Baaton Mein Aisa Uljha Jiya, meanwhile, was a surprise hit. The reviews were mixed. However, the audience took to the film and it ended up collecting more than Rs. 80 crores. Article 370 will also end up with collections in the same range.
Shaitaan, on the other hand, was a rare horror film starring A-listers. It had a superb opening and maintained very well. It is expected to end its run with collections amounting to Rs. 145-150 crores.
Crew, which was released last Friday, had an impressive opening and if all goes well, it will have a lifetime in the range of Rs. 75 and 90 crores.
Another success, albeit a small one, was Laapataa Ladies. Thanks to outstanding word of mouth and the association of Aamir Khan, it slowly attracted a section of the audience. It'll end with Rs. 15 crore collections, which was unthinkable in its first week.
A dubbed version and Hollywood flicks also saw some success. Hanuman was released with low expectations and went on to collect Rs. 50 crores in Hindi. Kung Fu Panda 4 will accumulate nearly Rs. 35 crores or even more. Last week's Godzilla x Kong: The New Empire can cross the Rs. 100 crore mark.
And like any other quarter, there were some disappointments as well. Merry Christmas, Main Atal Hoon, Crakk, Dange, Bastar, Yodha and Swatantrya Veer Savarkar failed at the box office. Madgaon Express got positive reports but has majorly worked only in Maharashtra.
All eyes are now on the second quarter, especially the two big Eid releases - Bade Miyan Chote Miyan and Maidaan. Since these films will release on Wednesday, April 10, this Friday will see the release of small films. Dukaan is the biggest of them all but doesn't stand a chance due to negligible hype.
The film that has some chance is the Hollywood horror flick, The First Omen. It is a prequel to the 1976 classic, The Omen. Hollywood horror films often surprise though they are released without noise. If The First Omen turns out to be a great entertainer, it will retain shows even after the release of Bade Miyan Chote Miyan and Maidaan.
The first three months of 2024 are over and overall, it has been satisfactory though it could have been better. 2023's first quarter saw a Hindi film crossing the Rs. 500 crore mark for the first time with Pathaan. Most of the other films in the first three months last year didn't do well. Yet, the blockbuster numbers of the Shah Rukh Khan-starrer spread cheer in the industry.
2024's first quarter, meanwhile, saw just one film barely crossing the Rs. 200 crore mark - Fighter. It was expected to do more than Rs. 300 crores, looking at the word of mouth. The way it dropped on the weekdays in the first week, it seemed like it might not even reach Rs. 175 crores in its lifetime. Thankfully, it held well in the subsequent weeks.
Teri Baaton Mein Aisa Uljha Jiya, meanwhile, was a surprise hit. The reviews were mixed. However, the audience took to the film and it ended up collecting more than Rs. 80 crores. Article 370 will also end up with collections in the same range.
Shaitaan, on the other hand, was a rare horror film starring A-listers. It had a superb opening and maintained very well. It is expected to end its run with collections amounting to Rs. 145-150 crores.
Crew, which was released last Friday, had an impressive opening and if all goes well, it will have a lifetime in the range of Rs. 75 and 90 crores.
Another success, albeit a small one, was Laapataa Ladies. Thanks to outstanding word of mouth and the association of Aamir Khan, it slowly attracted a section of the audience. It'll end with Rs. 15 crore collections, which was unthinkable in its first week.
A dubbed version and Hollywood flicks also saw some success. Hanuman was released with low expectations and went on to collect Rs. 50 crores in Hindi. Kung Fu Panda 4 will accumulate nearly Rs. 35 crores or even more. Last week's Godzilla x Kong: The New Empire can cross the Rs. 100 crore mark.
And like any other quarter, there were some disappointments as well. Merry Christmas, Main Atal Hoon, Crakk, Dange, Bastar, Yodha and Swatantrya Veer Savarkar failed at the box office. Madgaon Express got positive reports but has majorly worked only in Maharashtra.
All eyes are now on the second quarter, especially the two big Eid releases - Bade Miyan Chote Miyan and Maidaan. Since these films will release on Wednesday, April 10, this Friday will see the release of small films. Dukaan is the biggest of them all but doesn't stand a chance due to negligible hype.
The film that has some chance is the Hollywood horror flick, The First Omen. It is a prequel to the 1976 classic, The Omen. Hollywood horror films often surprise though they are released without noise. If The First Omen turns out to be a great entertainer, it will retain shows even after the release of Bade Miyan Chote Miyan and Maidaan.
Kareena Kapoor and Alia Bhatt dominate the list of day 1 collections of top 10 female centric films
8:55 AM
Box Office India Trade Network
CREW is the third highest opening ever as far as female lead driven films go only behind VEERE DI WEDDING and GANGUBAI KATHIAWADI though final numbers can even take it above the latter. It is a holiday which has pushed the film to the levels of GANGUBAI KATHIAWADI but even without that, it would have been in the top ten
The top ten list is dominated by films of Kareena Kapoor and Alia Bhatt who are probably the biggest female stars of the past two decades or so. There is also HEROINE (Kareena Kapoor) sitting on 11th place. CREW is an ensemble cast featuring other female stars like Tabu and Kriti Sanon. Hence, its a package but Kareena Kapoor is the main driving force as far as box office goes. There is only one double digit film and that is also a Kareena Kapoor starrer, VEERE DI WEDDING
There have been five heroines in the Hindi film industry who would be in the all time great list and were undisputed in their times and they are Vyjayanthimala, Mumtaz, Hema Malini, Sridevi and Madhuri Dixit and post this opening of CREW, Kareena Kapoor joins the list. Maybe the level of success is not as high as the other names above but the longevity makes up for that. If the success ratio of Alia Bhatt keeps up over the next few years, her name will also be up there with the all time greats, making it seven heroines.
The opening of the film is also boost to the films featuring the heroines as central leads as today most of the top female stars want such roles which makes it tough to get a top male star and a top female star in the same film catering to the mass audience as it will be male dominated.
The problem occurs that today films post pandemic have to cater to a wider audience to get an initial. As a result, it has to be more commercial and cinematic which is tougher with females. It leads the heroines towards action and they play avenging angels or spy agents and basically become the heroes. But the fact remains that heroines become stars due to their songs and glamour but this all goes out of the window in an action/thriller film.
Obviously its action which is going to take these opening numbers higher but how do you do it retaining the essence of the Hindi film heroine with songs and glamour as presenting the heroine like a male will not cut it with the wider audience.
The top ten opening days for heroine led films are as follows.
1. Veere Di Wedding - 10,42,00,000 (Kareena Kapoor)
2. Gangubai Kathiawadi - 9,62,00,000 (Alia Bhatt)
3. Crew - 9,50,00,000 apprx (Kareena Kapoor) (Holiday)
4. Dear Zindagi - 8,62,00,000 (Alia Bhatt)
5. Tanu Weds Manu Returns - 8,61,00,000 (Kangana Ranuat)
6. Mary Kom - 8,32,00,000 (Priyanka Chopra)
7. Ragini MMS 2 - 7,93,00,000 (Sunny Leone)
8. Manikarnika - The Queen Of Jhansi - 7,66,00,000 (Kangana Ranaut)
9. Jism 2 - 7,46,00,000 (Sunny Leone)
10. Raazi - 7,33,00,000 (Alia Bhatt)
Ila Arun blasts remix of Choli Ke Peechhe: "When you destroy the mystery of a song, it turns vulgar"
3:14 PM
The OG singer of Choli Ke Peechhe is ‘unable to digest’ the recreation of the classic track; finds it ‘aesthetically’ off
Akash Bhatnagar (HINDUSTAN TIMES; March 29, 2024)
Singer Ila Arun’s classics Ghagra and Choli Ke Peeche (Khalnayak; 1993) have been recreated for the film Crew. While they have got mixed reactions, the veteran is confused. “Some people are telling me to be grateful that the songs have been recreated and this generation is loving them. But I am confused. I don’t know if I should be proud or unhappy, as I am unable to digest them aesthetically. Younger generation ko pasand hoga, mujhe nahin,” she says.
Arun adds, “Choli Ke Peeche was like an answer to the teasing by men who’d ask, ‘Choli ke peeche kya hai?’. It was about telling them to look beyond the obvious. But the newer version has a captain’s announcement at the starting, saying, ‘Your captain speaking, please tighten your choli’. I don’t like it. When you destroy the mystery of a song, it turns vulgar.”
Sharing how she was informed about the recreations, the 70-year-old says, “My terms with the recording label are good. But I was told just five minutes before the release that they needed my blessing. I don’t have the rights to Choli Ke Peeche, but Ghagra is my intellectual property. I would have appreciated if I was asked beforehand. They could have called me; I would have sung them and given a few suggestions.” Arun feels “if there is a recreation, there should be royalty and payment”, which she plans to ask for “later”.
(Crisp) Movie Review: CREW by FENIL SETA
10:44 AM
Crew starts with style. The back-and-forth narrative and the introduction of the characters suck you into their world instantly. The 120-minute film doesn't get boring even for a moment. The last 30 minutes are very engaging. Songs are catchy and the use of the instrumental theme of 'Choli' in the background score is a very smart idea. On the flipside, the film never goes into the 'LOL' zone, when the potential was very much there. The makers, at places, rush the narrative too quickly and don't allow viewers to process certain developments. Things also happen quite conveniently for the trio from start to finish. Kareena Kapoor and Tabu look stunning and deliver fine performances. Kriti Sanon deserves praise as she puts up a strong performance despite sharing space with two powerful performers. Diljit Dosanjh and Kapil Sharma are lovely in supporting roles. Trupti Khamkar (Mala; customs officer) is the surprise of the film. Rajesh Sharma, Saswata Chatterjee, Charu Shankar (Sudha Mittal) and Rammakant Daayama (Rajvanshi) are decent. All in all, Crew is a one-time watch timepass entertainer.
My rating - *** out of 5!
My rating - *** out of 5!
Fenil's Bollywood Talk # 823
8:44 PM
WILL CREW AND GODZILLA X KONG: THE EMPIRE BRING CHEER FOR THE INDUSTRY?
The last two weeks haven’t been encouraging for the industry. Yodha failed to succeed and will end its lifetime under Rs. 35 crores. Last week’s releases, Madgaon Express and Swatantrya Veer Savarkar have found patronage mainly in Maharashtra. Madgaon Express should cross the Rs. 20 crore mark while Swatantrya Veer Savarkar will end its lifetime at around Rs. 15 crores.
Thankfully, the two big releases this week look exciting. Godzilla x Kong: The New Empire is part of the popular Monsterverse and the last film, Godzilla vs. Kong, was a huge hit. Though released during the start of the second wave of Covid-19 wave in March 2021, it did a healthy business of around Rs. 45 crores. If the theatres had not shut in April 2021, then the film could have had a lifetime of nearly Rs. 75 crores.
Godzilla vs. Kong opened at Rs. 6.42 crores. Godzilla x Kong: The New Empire, hopefully, should open at around Rs. 10 crores. The holy month of Ramzan and examinations will dent its collections. But in the long run, the film will manage to get the audience it’ll miss in the first week, provided the content is exciting. The mass audience has always loved the character of Kong and they’ll surely come in hordes to watch Godzilla x Kong: The New Empire.
Crew, meanwhile, stars Kareena Kapoor, Tabu and Kriti Sanon. It is directed by Rajesh Krishnan of Lootcase fame and is produced by Ekta Kapoor, Rhea Kapoor and Anil Kapoor. Diljit Dosanjh and Kapil Sharma also star in supporting roles. The actresses play air hostesses in this crime comedy, which seems inspired by the Kingfisher Airlines-Vijay Mallya bankruptcy episode. The teaser and trailer have worked and the songs, on the other hand, have become a rage.
Crew can have an opening of Rs. 7-8 crores. With no major film next week, it’s crucial that both these movies work well so that the audience keeps flocking in until the Eid releases – Bade Miyan Chote Miyan and Maidaan – hit cinemas.
The last two weeks haven’t been encouraging for the industry. Yodha failed to succeed and will end its lifetime under Rs. 35 crores. Last week’s releases, Madgaon Express and Swatantrya Veer Savarkar have found patronage mainly in Maharashtra. Madgaon Express should cross the Rs. 20 crore mark while Swatantrya Veer Savarkar will end its lifetime at around Rs. 15 crores.
Thankfully, the two big releases this week look exciting. Godzilla x Kong: The New Empire is part of the popular Monsterverse and the last film, Godzilla vs. Kong, was a huge hit. Though released during the start of the second wave of Covid-19 wave in March 2021, it did a healthy business of around Rs. 45 crores. If the theatres had not shut in April 2021, then the film could have had a lifetime of nearly Rs. 75 crores.
Godzilla vs. Kong opened at Rs. 6.42 crores. Godzilla x Kong: The New Empire, hopefully, should open at around Rs. 10 crores. The holy month of Ramzan and examinations will dent its collections. But in the long run, the film will manage to get the audience it’ll miss in the first week, provided the content is exciting. The mass audience has always loved the character of Kong and they’ll surely come in hordes to watch Godzilla x Kong: The New Empire.
Crew, meanwhile, stars Kareena Kapoor, Tabu and Kriti Sanon. It is directed by Rajesh Krishnan of Lootcase fame and is produced by Ekta Kapoor, Rhea Kapoor and Anil Kapoor. Diljit Dosanjh and Kapil Sharma also star in supporting roles. The actresses play air hostesses in this crime comedy, which seems inspired by the Kingfisher Airlines-Vijay Mallya bankruptcy episode. The teaser and trailer have worked and the songs, on the other hand, have become a rage.
Crew can have an opening of Rs. 7-8 crores. With no major film next week, it’s crucial that both these movies work well so that the audience keeps flocking in until the Eid releases – Bade Miyan Chote Miyan and Maidaan – hit cinemas.
Diljit Dosanjh usually sings on a high scale. Here, we made him sing on a low scale-Akshay & IP Singh
8:58 AM
Having crafted one original and two re-imagined numbers for Crew, composer duo Akshay & IP Singh on the liberties they enjoyed while working on the Tabu, Kareena and Kriti starrer
Sonia Lulla (MID-DAY; March 26, 2024)
Rendered by B Praak and Asees Kaur, Akshay & IP Singh’s composition Dar Ba Dar was a track safely guarded by Rhea Kapoor who admired it when she first heard it, several years ago. It wasn’t until Crew came along that the song found a suitable home.
“Rhea, who had been listening to it since we first played it for her, contacted us to use it for this film,” recalls Akshay of the Friday release, adding, “There was no script that demanded this song before Crew, but when this was made, the song was a fitting [addition]. She wanted us to see the film so that we could make some minor tweaks for it to fit the story, and that’s how this number came about,” says Akshay, who calls the track “special” given that it resulted from a casual jamming session with Singh.
“Until now, it was only [played] on the piano. But Rhea encouraged us by stating that even if it was a soft romantic number, we could venture into an electronic zone. We are glad that it plays at an integral part in the film,” he says of the Tabu, Kareena Kapoor Khan, and Kriti Sanon starrer.
When Rhea asked the musician duo to watch the film and introduce suitable tweaks to the track to make it “fit the movie”, the composers realized that there were “more situations” in the film to which they could contribute their skills.
“We went through the catalogue of the [music label] and arrived at two past numbers that we could re-imagine,” says Singh, as Akshay adds, “In the film, [some characters] are seen smuggling gold. That’s why we zeroed in on Sona Kitna Sona. Similarly, Choli Ke Peeche was selected for another appropriate situation.”
Credits have been retained for the original singers of Choli Ke Peeche, including Ila Arun and Alka Yagnik. “We know remakes are not appreciated, and that’s why we call them reimagined numbers—because, apart from the hook line, it’s like a fresh composition. We’ve retained the original integrity. There’s a reason why a song was loved. If we do something wrong, we’ll [invite criticism]. So, the songs are like the originals, and we’ve kept the original vocals of Ila ji and Alka ji. Sonically, though, it has a contemporary treatment,” says Akshay.
Singh adds, “We wanted to retain the song’s legacy, flavours, and essence, and add our tadka to it. We jammed along and came up with the Punjabi and hip-hop bits.”
Given that Diljit Dosanjh features in the offering, approaching him to render this new version was a no-brainer. “Diljit usually sings on a high scale. Here, we made him sing on a low scale. So, while this is not typically his sound, [it is enjoyable]. We had 30 minutes [to record it], and he gave us everything we needed.”
To me, Kareena Kapoor, Tabu, Kriti Sanon are no different from Shah Rukh, Salman, Aamir Khan-Rajesh Krishnan
9:34 AM
Wary of bracketing Crew as female-centric movie, director says Tabu, Kareena and Kriti’s crime comedy is driven by gender-agnostic story
Mohar Basu (MID-DAY; March 22, 2024)
How do you bring three of Bollywood’s biggest heroines on screen together? Get a solid story, and rope in a director who can pull it off.
Result: Rajesh Krishnan’s Crew, starring Tabu, Kareena Kapoor Khan and Kriti Sanon. But the director is wary of bracketing it as a female-centric movie. To him, it’s a humorous story told well. He begins, “Nothing convinces harder than good humour. I don’t have it in me to sell a movie as female-centric. I don’t know what that genre is. Everyone wants to know the story, and a story like this is gender-agnostic. To me, Kareena, Tabu and Kriti are no different from Shah Rukh [Khan], Salman [Khan] and Aamir [Khan]. The story is about three underdogs.”
In this underdog story, three flight attendants, who have not been paid for months as the airline is on the verge of bankruptcy, devise their own means to make money. He gleefully says, “Three meek air-hostesses go from hum kya hi kar lenge to maloom hai, hum kya kar sakte hai?”
But the director promptly points out that it’s more than a crime film. At a time when there have been multiple instances of airline staff being treated disrespectfully by entitled passengers, he hopes Crew will make viewers rethink their behaviour before they get on their next flight. “They say namaste, wear a smile, and have to be nice to you. That doesn’t mean they should be snapped at and asked, ‘Where is my alcohol?’ I have been surrounded by so many sassy women, and they’ve raised me well. I don’t take basic human dignity for granted. Here is a story of three mature people fighting [the odds] with their brains. These three women are done taking nonsense.”
If Krishnan got a sharply written comedy, he also got actors who would elevate it further. Crew’s trailer shines bright with the easy chemistry between Kapoor, Tabu and Sanon. “They have inherent chemistry. What united them was they all thought my jokes were funny. They understood the intent of the film. Each had their own devices and made the material on paper land. Sometimes, they would do a brilliant take, then at some point they would start laughing because it was so funny and spoil the take. In comedy, we do our best work when we don’t take pressure, make some mistakes and don’t take ourselves too seriously. So, I didn’t interfere with their process. I would get the technical bits out of the way first and then do extensive readings of what they are to shoot that day.”
The director considers himself lucky that he got immense support for the comedy—be it from actors Diljit Dosanjh and Kapil Sharma who agreed to play pivotal roles, or producers Anil Kapoor and Rhea Kapoor who pulled out all stops.
“We shot on tarmacs that civilians haven’t even seen—be it in Goa airport or Abu Dhabi airport. Anil Kapoor and Rhea Kapoor got us the necessary permissions. Once we were shooting in Goa, and a mob of 50 came to see Tabu, Kareena and Kriti. I almost panicked, but thankfully, our producers knew the on-ground challenges and had put the best people on the job.”
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