It isn’t surprising that it took Ayushmann Khurrana’s star power to bring a story about the transgender community into mainstream consciousness. Headlining Chandigarh Kare Aashiqui — a love story between the brash body-builder Manu and trans woman Maanvi — was as much a risky gamble as it was a brave move. The gamble, like most of the actor’s recent ones, has paid off. Director Abhishek Kapoor’s film has been widely appreciated, with critics applauding Khurrana and Vaani Kapoor’s performances.

For Khurrana, the film’s success indicates that the Indian audience is ready for progressive content. “Progressive films can only be made in a progressive society. The response that Chandigarh Kare Aashiqui is getting [reflects] the fact that people want to see more disruptive content. I am thankful to [the audience] for being open-minded to see films about a gay couple in Shubh Mangal Zyada Saavdhan [2020], and a cis-het man and a trans-woman’s love story in Chandigarh Kare Aashiqui,” says the actor.

With films like Badhaai Ho (2018), Article 15 (2019) and many more over the past four years, he has become the face of issue-based dramas, sometimes highlighting a social evil through a light-hearted fare, and other times, as a punch in the gut. His process of choosing scripts remains the same — he goes by instinct and intent. “When we set out to make Chandigarh Kare Aashiqui, our aim was to start a conversation on inclusivity and equality in India. It is amazing to see that the film has engaged the nation. This shows they are recognising the need for gender parity and inclusivity.” 

While Khurrana is relishing that the Indian audience is embracing his social entertainers, he credits his collaborators for bringing gutsy stories to the table. “I have always believed that cinema can serve a purpose to better society. I have to credit my filmmakers and scriptwriters for doing the brunt of the work. Their vision has triggered the winds of change.”

It goes without saying that 2020 was an awful year for the entire humankind and that includes the cinema world, too, which saw disastrous box-office business in a year that was all about shutdowns, lockdowns and stay-at-home.

To put things in perspective, as per industry estimates, the Hindi film industry’s total earnings in 2020 (from India) is just around ₹780-800 crore. Last year, the figure was a whopping ₹4,350 crore. In 2018, it was around ₹3,300 crore and 2017 saw the industry make ₹3,000 crore.

“I would want to forget 2020 as it was a nightmare in every possible manner. From trade point of view, there’s no shining highlight except maybe Tanhaji: The Unsung Warrior. The entire world, including movies, came to a standstill. It will still take some time before things get back to normal again,” says trade analyst Taran Adarsh.

Among the very few money-spinners of 2020 are Tanhaji: The Unsung Warrior (₹279.50 crore), Baaghi 3 (₹97 crore), Street Dancer 3D (₹75 crore), Shubh Mangal Zyada Saavdhan (₹62.50 crore) and Malang (₹59 crore). “The first quarter started on a great note but since then, there have been too many downs than ups,” says exhibitor-distribitor Akshaye Rathi.

Now, insiders hope that 2021 will “make up for all the losses in some way”. While the first quarter will see biggies like ‘83 and Sooryavanshi among others, next year has a number of biggies, including the ones that shifted from 2020 such as Radhe: Your Most Wanted Bhai and Laal Singh Chaddha etc., lined up to hit the silver-screen.

“The next financial year looks terrific with pent-up demand, pent-up content and a vaccine rollout around the same time,” says Rathi, even as Adarsh hopes that “2021 kicks off things on a blockbuster note.”

On September 30, The Ministry of Home Affairs announced new unlock provisions whereby movie theatres outside the containment zones are allowed to reopen from October 16 with 50 per cent occupancy. While theatres in Maharashtra, Rajasthan and some other states continue to remain shut, exhibitors across the rest of the country are ready to resume business. Ananya Panday and Ishaan Khatter’s Khaali Peeli, and Vivek Oberoi’s PM Narendra Modi were the first films to be announced, now a few other films, including Thappad, Tanhaji: The Unsung Warrior, Malang, Shubh Mangal Zyada Saavdhan (SMZS) and War, have joined the list of reruns.

Thappad director Anubhav Sinha believes that his film, which opened on February 28 this year, had its run cut short by the Coronavirus-triggered pandemic. “We got only two weeks in theatres despite doing around 80 per cent business of the first week in the second which is a fair indicator that the film would’ve run for roughly six more weeks. It’s heartening that eight months after its initial release, it still has promise at the box office,” he says.

Meena Iyer, CEO, Ajay Devgn Ffilms, is happy to contribute to the resurgence of the business with Tanhaji. “The film had an amazing run, but if exhibitors feel that it can attract more footfalls, we’re happy to help. The further it travels, the happier we are,” she asserts.

For SMZS director Hitesh Kewalya, reruns are not for box office glory. “We got a good three-week run during the initial release and the film has a social message that is still relevant. Right now, the aim is to just gauge the audience and accustom them to community-viewing,” he reasons.

Bhushan Kumar, producer of four films up for re-release—Malang, Thappad, Tanhaji and SMZS—agrees that reruns are a way to learn the audience’s needs. “Reopening of theatres is good news for the industry. All four of our films have been successful during initial release. This time they’ll help us gauge audiences’ concerns and plan future releases accordingly,” he shares, adding that, not just theatre owners but also the audience need to strictly follow guidelines.

Trade analyst Taran Adarsh believes that these are just baby steps towards bringing the audience back to theatres. “It’s time to press the reset button. No one is looking at box office figures right now, it’s just about cultivating the habit of going back to cinema. The returns will be very low initially,” he avers, adding that the priority is to provide livelihood to people who’ve been out of business for the last seven months. “Over the years, cinema has faced a lot of roadblocks, but it has always survived and this too shall pass,” he concludes.

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When movies finally do release, in theatres or on the web, creating a buzz will now be a challenge
Juhi Chakraborty (HINDUSTAN TIMES; July 16, 2020)

The entertainment industry is slowly trying to recover from the repercussions of the Coronavirus crisis and two films, Sooryavanshi and '83, have already announced their theatrical release dates. But with social distancing and restrictions still in place, what happens to the grand promotional activities that involve huge crowds at malls and colleges, which form a very crucial aspect of a film’s release?

“Marketing will change majorly and we’ll no longer see those big events and press meets. The last few films that I worked on — Street Dancer 3D (2020), Shubh Mangal Zyada Saavdhan and Pati Patni Aur Woh (2019) — we had a lot of on-ground activities. Now nothing of that sort will be possible,” says Varun Gupta, founder director of MAX Marketing, adding strategies for theatrical films and OTT films will also differ.

Siddharth Kadam, head of marketing at Dharma Productions, feels it is now a game of waiting and watching how things pan out in the next few months. “A couple of projects have been announced for Diwali and Christmas, we don’t know what happens next as the number of cases are going up. But yes, large-scale promotional activities are no longer possible. Health and safety are priorities,” he says.

While physical multi-city promotional tours seem a distant dream as of now, digital seems to be the way forward. “I won’t be surprised if we have a virtual meet-and-greet, that will be interesting. We will have to be very particular and won’t be able to go all out. The studio partners and marketers will have to sit down and figure out smart and innovative means of promotion,” says Jay Gotecha, who looks after marketing at Emmay Entertainment.

Another important aspect that film promotions will have to focus on is messaging, which will involve making the announcement that the film industry is back with a bang, to get audiences back to the theatres.

“If I am working on my trailer, of course we will speak about the film but we will also have to tell people that ‘Entertainment is back and come join us’. That is something all of us have missed and it is important to weave that into our communication,” Gotecha adds.

Another key aspect would be activities linked to the film, feels Gupta. While he admits that the movement of actors will get severely restricted, there will definitely be activities around a film which will help to promote it in different cities. “We will do a lot of things for Coolie No 1. While I might not take Varun Dhawan to Nagpur, for example, but I will still do something in the city which will move each and every person enough to go and watch the film in theatres,” he says, adding that it will be challenging yet exciting.

The actor on his journey from IIT to sketch comedies to riding the digital wave
Kunal Guha (MUMBAI MIRROR; July 5, 2020)

When Jitendra Kumar essayed a gay character in Shubh Mangal Zyada Saavdhan earlier this year, many found the actor’s choice rather bold. But the 29-year-old, who shot to fame with digital sketch comedies and series such as Pitchers, Bachelors, Kota Factory and Cheesecake, felt the film qualified as “important content”.

“I hope such stories, and the intention with which they were made, reach a larger audience,” says Kumar, who admits that his two lockdown releases, Panchayat and Chaman Bahaar, were both banking on the Ayushmann-starrer to elevate him to a household name despite his big screen debut with Gone Kesh last year. “When you’re starting out, you sometimes can’t refuse work because you have to survive. But I’ve learnt that if you focus, and are patient, you can find recognition and also get the roles that you believe in.” Considering the actor has recently become a digital sensation, keeping at it, perhaps, pays handsomely.

During the Coronavirus lockdown, Kumar, unlike many, hasn’t rekindled his culinary passion, but has been just “cooking for survival”. “I am very lazy, so I knead aata for two or three days at a go, and can make two rotis in one minute,” says the actor, who takes pride in whipping up dal tadka, egg curry, aloo shimla mirch and bhindi. Kumar credits his survival skills to his days in the NCC camps he attended in school, where he also learnt to cook on an open fire pit.

Surprisingly, Kumar’s formative years in Rajasthan’s Khairthal were singularly insular and his access to the world of entertainment was largely restricted to the small screen. “My childhood was all about cricket, cooking and studies. We usually watched Doordarshan, but during summer breaks, we would have a dish installed, and watch whatever played on the cable channels,” he says. “Back then, I never thought that I would ever become an actor or even visit Mumbai.”

A civil engineer from IIT Kharagpur, Kumar shares that he was initially drawn to acting while participating in college plays. “In IIT, we’re told to keep up with extracurriculars, so I took to the stage.” It is here that Kumar also met his college senior Biswapati Sarkar — someone who he would later collaborate with — who went from helming college plays to writing sketches for TVF, a digital content outfit, which began producing content for YouTube in the early days of web streaming in India.

Kumar remembers diving into the digital scene just after college, in 2012, spreading himself thin by straddling acting, numerous production jobs and assisting gigs. “Initially, I was unsure if this was my calling, so I gave it up in three months and took up a job with a construction company in Bangalore.” But nine months on, Kumar knew that he wasn’t cut out for civil engineering either. This is when one of his older sketches Munna Jazbaati dropped online and was received well... just enough to nudge him to face the camera again.

It helped that apart from numerous digital skits, he also bagged the show Change Aayega, Hum Laayenge (Bindaas), which was also sufficient to convince his parents of his career choice. “When they saw me on TV, they were assured of my skills,” he says. “Since my father is also a civil engineer, he understood that if I wasn’t interested in it, I wouldn’t do a good job.”

That Kumar joined the digital wave just before it became a rage also helped him get a firm foothold in the medium. “I literally saw digital content grow. And when Permanent Roommates became a hit, it changed the rules of the game and, in a way, helped establish the burgeoning industry.” The IIT-ian only featured in one episode of the show, but was convinced of its potential and reach by the overwhelming response the show garnered.

Today, Kumar feels blessed for having shared the screen with masters of the craft such as Raghubir Yadav and Gajraj Rao and feels that he’s picked up a lot from closely following their process. “When you see such actors approach a certain character through their iterations with writers and filmmakers, you learn about the different ways of internalising a character,” says the actor, who also credits acting workshops for sharpening his craft. “I am yet to develop the instinct of an actor, but that will come with time too, I hope.”

Kavita Awaasthi (HINDUSTAN TIMES; June 25, 2020)

After starring in the feature film Shubh Mangal Zyada Saavdhan (SMZS) that released in February, his web show, Panchayat, was well received, too, and the current positive response for his digital film Chaman Bahaar — actor Jitendra Kumar is no doubt on a roll. He says all of these were interesting projects and a blessing. “I don’t have a strategy and I make organic choices. I became an actor to act, so I try to pick the best from what is offered. The idea is to do different and interesting stories, which is happening. The credit goes to the audiences as they are enjoying and consuming different stories, which encourages us to make them,” says the actor, adding, “When people reacted to SMZS, I realised how important the film was to so many people which I didn’t know while shooting, as I was busy focusing on my craft. Films have a wide reach with a major chunk of family audience, while web shows are consumed more by people between the ages of 17 to 35.”

Kumar admits that there are certain risks “when one is trying to attempt different stories” but thankfully many OTT platforms are backing good content. “Now is the time to create content that one hasn’t seen before or that was maybe thought of as too different. A number of writers and directors are working in that direction, as many producers do support such ideas,” he says.

Like many in the industry, Kumar, too, has been affected by Sushant Singh Rajput’s demise. He feels, “Mental stress is in every industry. We have to work towards removing stigma around mental health. I feel, the support of family and friends is crucial in life and not just when you have anxiety or depression. One should share happiness and sadness with family and close friends. Before the lockdown, we were all running after fame, money and career and to prove ourselves in society. And while the lockdown has been tough on everyone, we also learnt how to be good to ourselves and appreciate our families and slow down a bit.”

With the Coronavirus pandemic, the actor admits the situation is worrisome. “We are all in this together and have to win over the outbreak collectively. We all want to go out there and work. I have been working on ideas and projects with people and will be ready to start soon, once things get better. But no one can say for sure how life will be post the lockdown,” he wonders.

Internet star Jitendra Kumar on how Shubh Mangal Zyada Saavdhan and Panchayat changed the game for him
Mohar Basu (MID-DAY; June 23, 2020)

It all started with an innocent bet after watching Amazon Prime's Panchayat, headlined by the delightful Jitendra Kumar. In one of the episodes, he has to let go of a chair that he holds close to his heart. At the end of the episode, his boss Sarpanch-ji brings a similar chair into the office. As my friend and I placed a bet on whether it was a new chair or not, we called the one man who would know the answer. Kumar incidentally is in the midst of promoting his Netflix film, Chaman Bahar, which tells the story of unrequited love. "My character aspires to run a paan shop and the film traces the reality of one-sided love. We've set the story in Chhattisgarh, complete with its local dialect and flavour," he says.

Kumar forayed into Bollywood earlier this year with Shubh Mangal Zyada Saavdhan. As an actor balancing both mediums, where does he stand on the OTT-versus-theatre debate? "The theatre experience can't be replicated. How do you shrink a Baahubali to a 13-inch screen? But, some stories reach better on OTT. For instance, people had missed Gone Kesh when it had released, but the film grabbed eyeballs on Amazon. On the other hand, Shubh Mangal is for community viewing where people can hoot, laugh and cry together."

Though Kumar was already a bona fide Internet star, he agrees that Shubh Mangal Zyada Saavdhan brought him mainstream appeal, and in turn, gave a boost to Panchayat. "Earlier, 15 to 35-year-olds would watch my work. After Shubh Mangal, aunties, mothers and uncles knew me, and that helped more people watch Panchayat. Their constant reference point was: 'Woh Shubh Mangal wala ladka hai iss show mein'. On some days, I wake up to long texts from fans who explain how the character resonated with them." The actor informs that the second season is in the works. "The writers are working on it."

Having started out with TVF sketches in 2012, Kumar was gradually perceived as the quintessential boy-next-door as small-town stories became a sub-genre into themselves. Ask him if he fears that his middle-class-boy act will get repetitive, and he reasons, "Am I stereotyped? Probably, but Aman Tripathi of Shubh Mangal is nothing like Sacheev in Panchayat. Small-town stories are far too many and we have just started to explore them on screen. If we write fresh material, I don't think we will run out of ideas. I came from IIT Kharagpur to Mumbai to become an actor. I was confident that in a month, I will have movies, and in a year, I will be a star. The reality was starkly different. Despite how long it took to reach here, I can say with complete faith that hard work and relentless effort are rewarded. My college friends still don't take me seriously as an actor, but I have a sense of contentment." In the wake of Sushant Singh Rajput's tragic demise, Kumar's is the much-needed story of an engineer from a small town who broke into Bollywood.

Of course, the chat will be incomplete without asking him about the chair. He laughs, "The Sarpanch buys himself a new chair to show the young city-bred boy who is the boss of the village!" That's a bet won, alright.

As the first half of 2020 is set to end on a disappointing note for the film exhibition sector, we take a look at how grim the situation is
Prashant Singh (HINDUSTAN TIMES; June 14, 2020)

The first half of 2020 can surely be termed ‘highly disappointing’ on all counts, and the movie business is no different. The industry’s net collections in this half has been around ₹780 crore with hits such as Tanhaji: The Unsung Warrior (almost ₹280 crore) and Baaghi 3 (₹97 crore) and average ones such as Shubh Mangal Zyada Saavdhan (close to ₹63 crore) and Malang (₹60 crore).

In comparison, 2019’s first half saw Bollywood make a whopping ₹2,400 crore, buoyed by hits like Uri: The Surgical Strike, Bharat, Gully Boy, Kabir Singh, Kesari, Total Dhamaal and De De Pyaar De. This was 10% higher than the first half of 2018 which saw collections of ₹2,200 crore.

“It has been nothing less than a disaster. The movie business did extremely well in 2018 as well as 2019, so the expectation was of a fantastic first half. But everyone knows what has transpired,” says trade analyst Taran Adarsh, adding, “Also, don’t forget that we have lost out on a lucrative summer vacation period due to the pandemic, so the film business is in real doldrums.”

While only a handful of films managed to release before the Coronavirus lockdown forced theatres to shut, except a few successes, the first half saw big disappointments such as Street Dancer 3D, Love Aaj Kal and Chhapaak. “Apart from Tanhaji and the above-average Baaghi 3, nothing did well in the first quarter [of 2020] as well. I feel the business in that period also could have been a little better,” says trade expert Komal Nahta, who puts losses for the industry in the last two-and-a-half to three months, including the exhibition sector, at ₹3,000 crore.

Interestingly, last year’s first half also saw Hollywood hits such as Avengers: Endgame (₹373 crore) and Captain Marvel (₹85 crore). “It would be unfair to look at the ‘first half’ of the year because the second quarter doesn’t even exist as the theatres have been shut. It’s been extremely bad. Thankfully, however, things are getting back to normal and people would want to go out and experience movies too,” says exhibitor-distributor Akshaye Rathi.

Although there are indications that cinema halls may get permissions to reopen around mid-July, experts are concerned. “What will theatres run when the government gives the green signal? Almost 12-14 films, including the ones already announced, would have gone to OTT platforms. So, where will the new content come from?” says Nahta.

However, Rathi remains optimistic. “Mark my words, the exhibition sector will rise like a tsunami wave,” he adds.
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CHRISTOPHER NOLAN MOVES DATE AHEAD!

Filmmaker Christopher Nolan’s date with the box office for his much-talked-about Tenet has moved to July 31, from July 17. But experts continue to be gung-ho about the Hollywood master’s next, saying such a film could be the one to draw people back to theatres. As Akshaye Rathi puts it: “Whenever we reopen, we really need quality, big-screen films such as Tenet from Hollywood, and Sooryavanshi/’83 from Bollywood to get people back in theatres. There has to be some magnetic appeal in them.”

GULABO SITABO which was supposed to release in theatres in April and will now release on digital seems to have got a great price for its digital rights. The film fetched a premium of around 65 crore nett box office worth on top of its original price and now after the trailer of the film, this looks a great price. On top of that, the film does not suffer the unpredictably of the box office.

The trailer had nothing and moreover, it was poor in look which meant a huge struggle for an initial. A film like SHUBH MANGAL ZYADA SAAVDHAN had opened under 9 crore nett on a holiday and this film would have struggled to even challenge the fair value of that film which was a 7 crore nett. Both films are UP based and Delhi/UP circuit would have been best but the treatment of GULABO SITABO means most stations of UP would have been less than SHUBH MANGAL ZYADA SAAVDHAN. The Delhi/UP circuit may have seen Delhi city, Noida, Lucknow and Dehradun being better for GULABO SITABO but not the rest.

SHUBH MANGAL ZYADA SAAVDHAN finished with around 59 crore nett and that would have been a huge task for GULABO SITABO as the audience is more limited for this film. Even if we assume that the film is really liked by the target audience then maybe it could at best reach 75-80 crore nett. But here you are getting a 65 crore nett value without testing waters and there is probably more chance of staying below that 65 crore nett than go higher.

There is also no PA spend on the film which would have been 8-9 crore worldwide which you would expect to cover from Overseas but even there $3.25-3.50 million may have a proved to be a task too. The producers have done very well with this deal while Amazon Prime could have taken the film at a 30 crore lower price after a theatrical release. Its not as if this extra 30 crore is going to be covered by getting extra subscribers and it also does not look like a film that can have many watchers after the initial period.

The digital release looks a get out of jail card for the film going by the trailer of the film.

In the post Covid-19 era, physical or emotional intimate scenes could be a no-go in Bollywood
Shreya Mukherjee and Sonil Dedhia (HINDUSTAN TIMES; May 18, 2020)

“Do phool takraayenge, aur hum samajh jaayenge,” quips actor-filmmaker Satish Kaushik as he conjectures how romantic and intimate scenes could rewind to the ’70s and ’80s in the post Coronavirus era. But on a serious note, considering how new rules of on-screen intimacy — emotional and physical — are being outlined across the world in these times of social distancing, “safety is more important than passionate scenes,” says Kaushik.

Filmmaker Shoojit Sircar had recently raised the topic about how the shooting of intimate scenarios in films will change after this pandemic.

And while actor Dia Mirza had a fitting reply, “Guru, the entire process of making a film is intimate!”, screenwriter-director Hitesh Kewalya says in a country like India, where we work shoulder-to-shoulder, “it’s difficult to maintain social distancing to begin with. It won’t be easy, but we’ve to find a way”, says the Shubh Mangal Zyada Saavdhan director.

Cinematographer Sudeep Chatterjee, who is working on Gangubai Kathiawadi, believes “physical and emotional intimate scenes can be managed” by putting the “actors, who’d be performing these scenes, in quarantine and monitoring their health before shooting, or with certain camera angles, and use of technology and visual effects”.

Actor Kunal Kemmu gives his perspective by saying since he has a two and half year old daughter at home, he would like to check into a hotel till a schedule is completed. “It would cut off the risk of my family being affected even if there are any chances. Obviously, there is no clarity as to when we will start shooting but production houses are deciding on certain norms keeping in mind the safety of everyone,” he says.

Though intimate scenes often become talking points and generate interest, trade expert Atul Mohan feels not many “actors would be ready to take the risk” of doing such scenes. “We’ll have to avoid shooting such scenes,” he adds.

Intimacy coordinator Amanda Cutting, who has worked on web series Mastram and also on an unaired prequel pilot for Game Of Thrones, says that protocols have already been put in place in Spain, Australia and Italy, and India could take a cue from them. “We’ll have to look at different options. Can intimacy be done without kissing? Absolutely. An intimate moment can be two people making eye-contact or a hand touching another hand which tells a passionate love story,” she says.

Action director Sham Kaushal says that change is the law of the nature and a lot of things are going to be different when it comes to how we approach the shoots now. “We’ll have to reinvent our working style and be cautious. Also, the technology is so advanced. We can take help of VFX to show a few things.”

Censor board member and writer Mihir Bhuta says regulations from the World Health Organisation and the Ministry of Health, in this regard are awaited. Bhuta, who is avoiding adding group scenes in his projects, adds, “Physical intimate scenes involves two people at a time. That can be done by getting them tested and quarantining them. But that’d be difficult for over 25 people on the set.”

Ayushmann Khurrana reflects on his successful run at the movies as he clocks eight years in the industry today
Mohar Basu (MID-DAY; April 20, 2020)

Even though the nepotism debate has gained credence in Bollywood, Ayushmann Khurrana's success story proves that talent doesn't go unrewarded. "I'm grateful to the industry for welcoming me with open arms," says the actor, who completes eight years in the industry today.

From playing a sperm donor in his debut vehicle Vicky Donor (2012) to tackling caste divide in Article 15 (2019) and bringing a same-sex love story to the big screen with Shubh Mangal Zyada Saavdhan, Khurrana has shown that films can go beyond their three-hour runtime to effect social change. "The journey wasn't easy, I had my share of tears and moments of self-doubt. [The credit goes to] the visionary filmmakers who made me a part of their stories," he reflects.

On the cards is a reunion with director Anubhav Sinha for an action thriller even as he looks forward to the release of Gulabo Sitabo. Khurrana acknowledges that the spate of successful films has brought as much responsibility as joy. "Audiences expect my films to be different and clutter-breaking, and I enjoy shouldering this expectation. This only shows that people want to watch my films in theatres. In today's times, that's the best compliment for an actor."

2020’S FIRST QUARTER SUFFERS A BIG DROP, AND NOT JUST DUE TO CORONAVIRUS!

A few years back, it was normal to not expect much from the business point view in Bollywood from the first three months of the year. Very few biggies used to release and it was said that a combination of reasons like cold wave, exams etc used to affect footfalls in cinemas. But things began to change from 2018. It saw a series of successful films like Padmaavat, Sonu Ke Titu Ki Sweety, Raid, Hichki and Baaghi 2. Padmaavat even in fact collected a mind-boggling Rs. 282.28 crore at the box office, despite not releasing in 4 states. Baaghi 2 too exceeded expectations with a business of Rs. 160.74 crore. Sonu Ke Titu Ki Sweety came with some hype but no one dreamed it’ll manage to cross the Rs. 100 crore mark.

The scenario got a bit better in 2019. It began with a bang with the blockbuster success of Uri. No one expected it to cross even Rs. 50 crore mark but it earned, believe it or not, Rs. 244 crore. Manikarnika – The Queen Of Jhansi was not a hit but accumulated Rs. 90 crore. Total Dhamaal had a lot of negativity among media and so-called intellectuals but masses made it a Rs. 150 crore grosser. Other films like Gully Boy, Luka Chuppi, Badla and Kesari too exceled at the ticket window.

As for 2020, it also started on an encouraging note thanks to Tanhaji – The Unsung Warrior. It was not a success in some states but the business in Maharashtra especially was so legendary that it ended its business with Rs. 269.70 crore. The other upcoming films too seemed exciting but sadly none of them worked well at the box office. Street Dancer seemed like a sure-shot hit to many but its opening was shockingly poor and so was its overall business. Love Aaj Kal started off well but public response was terrible. It opened at Rs. 11.47 crore but its lifetime earnings didn’t even cross the Rs. 35 crore mark! Bhoot – Part One: The Haunted Ship was Vicky Kaushal’s first film after Uri but its niche appeal and mixed word of mouth proved detrimental. Meanwhile, a lot was expected from Chhapaak and Panga. But these women-centric films proved to be flops.

By the time it was March, the Coronavirus scare began to increase day by day. Baaghi 3 had minimal impact of it initially but its opening got affected by lack of considerably hype and word of mouth. It ended it’s week one at Rs. 86.73 crore and it’s lifetime would have been around Rs. 115 crore. But sadly, cinema halls began to gradually shut from its 6th day of release. By the time it was its 11th day (March 17), cinema halls had shut across India. It’s collection stood at Rs. 92.31 crore and it’s said that it’s unlikely that it’ll re-release after normalcy.

Angrezi Medium was the unfortunate one as it released a day after Delhi government shut its theatres. On Day 2 of release, most centres of Maharashtra were closed down. Slowly, all other states also followed suit. It’s lifetime was a mere Rs. 9.06 crore. Despite Delhi shutdown and the fear, it had a decent opening of Rs. 4.03 crore. Hence, a Rs. 5 crore opening was possible if things were normal. Many missed watching it and it was hoped that it’ll resume its run once theatres open. A few days ago however, it arrived on digital platform Disney+ Hotstar. The inside news is that it the OTT giant handsomely paid the makers for its rights.

Meanwhile, a few films did well thankfully. Malang didn’t open well but had great response from public. It earned Rs. 57.96 crore. Saif Ali Khan-starrer Jawaani Jaaneman performed decently with Rs.24.58 crore. Shubh Mangal Zyada Saavdhan was helped by Ayushmann Khurrana’s presence majorly though the gay theme kept people away. Thappad did very well considering its subject and collected Rs. 29.70 crore. It could have easily crossed the Rs. 35 crore mark if things were fine.

The total nett box office collections of all Bollywood films in 2018’s first quarter was Rs. 880 crore approx. In 2019’s first quarter, it jumped to Rs. 1041 crore approx. In 2020, it however came down at Rs. 735 crore approx. Had the highly awaited Sooryavanshi released on its scheduled date on March 24, then this figure could have crossed the Rs. 1000 crore mark.

The first quarter has seen a dull response with only TANHAJI: THE UNSUNG WARRIOR emerging a success and a huge one also. The film became the third biggest blockbuster of the last 20 years in Mumbai circuit with footfalls only behind BAAHUBALI 2: THE CONCLUSION and GADAR - EK PREM KATHA.

The rest of the films did not work at all though BAAGHI 3 would have been a SEMI HIT/HIT film as it would have hit the 115 crore nett mark and maybe even crossed 120 crore nett for HIT status if it was not for the shutdown of theatres due to Coronavirus. The film could still make AVERAGE status if it get another 2.50 crore share when cinemas reopen.

The only two other films to avoid FLOP status were SHUBH MANGAL ZYADA SAAVDHAN and MALANG though the former under performed and the latter had far too high costs for the cast of the film. The classifications of the the major films released in the first quarter of 2020 are as follows. Only BAAGHI 3 may have a change depending on what happens when cinemas reopen.

All Time Blockbuster 
-

Super Blockbuster
-

Blockbuster
Tanhaji: The Unsung Warrior (131 crore)

Super Hit
-

Hit
-

Semi Hit
-

Average
-

Below Average
Baaghi 3 (47.50 crore)
Shubh Mangal Zyada Saavdhan (26.50 crore)
Malang (26 crore)

FLOP
Street Dancer (32 crore)
Chhapaak (14.75 crore)
Bhoot: Part One – The Haunted Ship - (14 crore)
Thappad - (13.50 crore)
Jawaani Jaaneman - (13 crore)
Panga (8.75 crore)
Angrezi Medium (4.25 crore)
Shikara (3.25 crore)